Posts Tagged ‘review’

Pride and Prejudice
by Jane Austen
Adapted by Christopher Baker
Directed by Hana S. Sharif
Repertory Theatre of St. Louis
December 6, 2019

Nick Rehberger, Katie Kleiger
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Rep’s brand new Artistic Director Hana S. Sharif makes her directorial debut with the company with an adaptation of the much-dramatized Jane Austen classic, Pride and Prejudice, and it’s a fun production. Although, as is usual with stage adaptations of literature, there are some liberties taken with the story, this version is extremely fast-paced and comedic, and the leads give compelling and relatable performances. It’s witty and engaging, with sumptuous production values and inventive staging.

The story here is essentially what anyone who knows the book will remember, with a few alterations. For instance, instead of five Bennet sisters as in the novel, there are four, and their age order has been changed around a bit. Jane (Rebecca Haden), Elizabeth (Katie Kleiger), and Lydia (Sydney Leiser) are presented essentially as they are in the book, but Mary (Maison Kelly)–who is the youngest sister here–is something of an amalgamation of book-Mary, her younger sister Kitty (excised from this adaptation), and youngest Dashwood sister Margaret as interpreted in the two most recent filmed versions of another Austen novel, Sense and Sensibility. Also, some characters, such as Georgiana Darcy and Anne DeBourgh, are relegated to off-stage status, mentioned but not seen. This all makes sense in terms of the direction the adapter seems to have taken with the material, which is to focus on the most important characters and relationships, and to play up the comedy while managing to keep most of the characters on a more human scale and out of the realm of caricature. The central relationship, as always, is between the witty second daughter Elizabeth and the seemingly haughty, socially awkward Mr. Darcy (Nick Rehberger), with due time also given to Jane’s courtship with new neighbor and Darcy’s friend Mr. Bingley (Grayson DeJesus), and the initially charming but rakish ways of Darcy’s old acquaintance Mr Wickham (Stephen Michael Spencer), who tries to cast his spell on both Elizabeth and Lydia, with varying degrees of success. What I especially like here is the emphasis on the Bennet parents (Michael James Reed as Mr. Bennet, Michelle Hand as Mrs. Bennet), and their portrayal as genuine flawed human beings rather than caricatures. Mrs. Bennet in particular has often come across as cartoonish in adaptations, and thankfully she doesn’t come across that way here. While she certainly can be single-minded and meddling, the playwright and the production give her a clearly communicated reason for her actions, which I find especially refreshing. Although the second act especially seems to move too fast at times in an effort to get all the important plot points covered, for the most part this is lively, quick-witted and spirited production that preserves the general essence of the novel while also making the story work as a theatrical presentation.

The cast here is, for the most part, excellent and ideally chosen. Kleiger and Rehberger lead the way with their strong personalities and palpable chemistry in a particularly effective pairing as Elizabeth and Darcy, who grow and change believably throughout the production. The sisters are also excellent, with fine performances from Haden as the shy and sweet-spirited Jane, Leiser as the more reckless Lydia, and especially Kelly in a fun performance in this show’s unique interpretation of Mary. There are also convincing performances from DeJesus as the kind, charming Mr. Bingley, Rebeca Miller as Elizabeth’s friend Charlotte Lucas, Blake Segal as the fastidious and over-eager Mr. Collins, and Jennie Greenberry as Bingley’s haughty sister Caroline. Particularly notable, though, are Reed and especially Hand as the Bennets, who bring a real sense of humanity along with humor to their characterizations and their relationship. Hand was also particularly impressive on opening night, dealing with a set furniture malfunction in a thoroughly in-character and appropriately hilarious manner. There are fine performances all around, with the one weaker link being Lizan Mitchell as Lady Catherine DeBourgh, whose wildly over-the-top performance seems like it belongs in a different play than everyone else. Still, that’s a small role and not enough to detract from the overall enjoyment of this delightful production.

In terms of set, designer Scott Bradley has given us something that’s appropriately dazzling, with grand windows and staircases and an excellent use of shadowy rooms behind the main playing area, where the audience is allowed to view the various characters observing one another at various moments. There’s also dazzling lighting by Xavier Pierce and colorful, meticulously detailed period costumes by Dorothy Marshall Englis. The music and sound by Nathan A. Roberts and Charles Coes contributes an effective brightly atmospheric tone to the production, and the projections by Alex Basco Koch contribute well to the transitions between scenes, although they do occasionally suggest an “English travelogue” vibe.

I love Pride and Prejudice, and I’ve seen many adaptations (film, television, and stage) over the years in addition to having read the book a few times. To my mind, this latest version from the Rep strikes a lively tone and pace, bringing out qualities of the characters that have sometimes been ignored in other productions. Austen purists might object to some of the liberties taken, but I think that they are mostly well within the spirit of the piece. It’s a fun, witty, extremely fast-moving show that showcases a classic literary pairing with appropriate emphasis, but also provides a tone and atmosphere that adequately reflects its English Regency setting and Austen’s well-established characters. The adapter, Christopher Baker, even managed to work Christmas into the story in a believable way that makes this work as a holiday show. It’s a treat of a production.

Cast of Pride and Prejudice
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Pride and Prejudice until December 29, 2019

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Fully Committed
by Becky Mode
Directed by Ellie Schwetye
New Jewish Theatre
December 5, 2019

Will Bonfliglio
Photo by Jon Gitchoff
New Jewish Theatre

One person shows are difficult enough, I would think. Still, when that one person is playing a multitude of characters all in the course of approximately 80 minutes, that seems especially challenging. Will Bonfiglio, as a performer, is no stranger to one person shows, winning critical acclaim, but now he’s taking the challenge to the next level in New Jewish Theatre’s latest production, the quick-paced, multi-character comedy Fully Committed. In fact, that title is an apt description for Bonfliglio’s performance, as he shows off his comic and dramatic abilities with impressive versatility and timing.

Bonfiglio showed his versatility playing multiple characters a few years ago in Stray Dog Theatre’s production of Buyer and Cellar. This time, he’s in a differently structured show and playing a lot more characters, and he’s just as stellar. In fact, his feat might even be more impressive considering how quick-moving playwright Becky Mode’s script is, and just how fast the transitions are between the 40-ish different characters Bonfiglio plays. He’s not narrating here, as he was in the show at SDT. Here, the play throws us right into the action as out-of-work actor Sam (Bonfiglio) is working the reservations desk at a highly trendy New York restaurant. The play is structured as such that at first, we are “meeting” so many different characters–difficult customers, restaurant staff, the personal assistants of celebrities, Sam’s friends and family–that we don’t really get to know Sam very much, until his personality and goals are gradually revealed through his various phone conversations. We are allowed to become invested in Sam’s situation as we experience his difficult job along with him, and as he is “encouraged”/taunted by his acting friend/rival Jerry and too-politely avoided by his agent, we see what his real passion is–acting, as he waits to hear the outcome of a recent audition. We also learn of his desire to take a few days off to spend Christmas with his father and siblings, and how that hope is variously ignored and treated as an inconvenience by some of his co-workers. We also get to the see the contrast between how he is treated by co-workers, relatives, friends, and strangers alike, as his day gets busier and busier and occasional respites come in the form of conversation partners who actually listen, realizing the person they are talking to is an actual human being and not merely an obstacle to their own goals. It’s a cleverly structured play that starts out as a simple series of conversations and eventually becomes a story told through those conversations. It’s also hilarious, with fast-paced comedy and broadly drawn characters that give the excellent, versatile Bonfiglio a lot to work with, and he never ceases to impress as he conveys the story, reveals Sam’s distinct character, and manages to become a host of contrasting characters consistently throughout the production.

Although in a real sense, Bonfiglio is the show, he is also ably supported by the top-notch technical aspects of the production. David Blake’s detailed set brings the audience into a vividly realized restaurant basement, which becomes something of a symbol of Sam’s reluctant confinement. There’s also excellent lighting by Elizabeth Lund and sound by Kareem Deanes that contribute to the overall tone of the production. Director Ellie Schwetye’s staging makes excellent use of the whole performance space, as well.

This is one of those shows that provide a prime showcase for a talented performer, and Will Bonfiglio certainly makes the most of that showcase with his excellent timing and winning stage presence. It’s a hilarious show that introduces the audience to a variety of characters, from accepted “types”–the gruff, pompous celebrity chef, the overworked staff, the demanding celebrities, and more–but also reveals a fair amount of depth in the course of a relatively short intermissionless show. There are a lot of laughs here, certainly, but there’s also a clear glimpse of humanity. It’s a gift of a show for the holiday season.

Will Bonfiglio
Photo by Jon Gitchoff
New Jewish Theatre

New Jewish Theatre is presenting Fully Committed at the Marvin & Harlene Wool Studio Theatre at the JCC’s Staenberg Family Complex until December 22, 2019

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The Merchant of Venice
by William Shakespeare
Directed by Phil Gill
St. Louis Shakespeare
November 8, 2019

Addison Brown, Julie George-Carlson, Riley Capp
Photo: St. Louis Shakespeare

For St. Louis Shakespeare’s latest production, director Phil Gill has made a bold move. The Merchant of Venice is known as one of the Bard’s more problematic plays, especially when viewed by modern audiences. Other companies have found various ways of approaching this material to mitigate or somehow try to “fix” some of the problems, but this production seems to go the other way, presenting a fairly straightforward staging–aside from one notable twist–that highlights the difficulties, forcing the audience to confront them and think about what they mean, both for the Shakespearean setting and for today.

The one twist here is that the character of Jewish moneylender Shylock, who is usually played by a man, is played here by a woman (Julie George-Carlson), and as a woman, with all the pronouns and other references previously referring to the character as male changed to reflect the casting. Otherwise, though, nothing else has significantly changed. It’s a difficult story, ostensibly a comedy, in which characters who are supposed to be likable do some especially unsavory things, especially in reference to Shylock and the attitude toward Jewish people in general. When this was written in Shakespeare’s day, the message regarding Shylock may have been considered moderate for its day, but now it’s most certainly not, and the audience is forced to face the reality of how society mistreats and marginalizes those who don’t fit in. So, while the Shylock character does make a demand that seems unreasonable, the staging and portrayal here emphasizes what her reasoning may have been for that. The rest of the story, in which Antonio (Addison Brown) borrows the money from Shylock to help his friend Bassanio (Riley Capp) woo the wealthy Portia (Liv Somner), and some other plot points involving Bassanio’s associates Gratiano (Jeremy Goldmeier), Portia’s lady in waiting Nerissa (Erin Struckhof), as well as Bassanio’s other friend Lorenzo (Joseph Garner) and Shylock’s daughter Jessica (Erin McRaven) are more in the vein of romantic comedy, but these get tied into the Antonio and Shylock dispute eventually, as Portia and Nerissa disguise themselves as men to participate in the trial, and the Duke of Venice (Jeff Lovell) presides. There’s also some funny business involving a provision by Portia’s father for how she is to find a husband, involving choosing between three caskets and featuring some hilariously bombastic would-be suitors, the princes of Morocco (Victor Mendez) and Arragon (Duncan Phillips). It’s a compelling story, if more than a little uncomfortable to watch at times, as we see otherwise “noble” characters behaving not-so-nobly in several notable moments, and particularly at the trial, and then after some fairly brutal moments we are expected to switch back to more light romance scenes. It’s jarring, and in this staging remarkably effective.

The casting is, for the most part, excellent. Leading the way is George-Carlson in an especially memorable turn as Shylock. Her Shylock is stubborn, to be sure, but there is also a real sense of pain and anger here, which is credible considering how everyone else treats her. She is the clear standout here, although there are strong performances all around. Brown is something of a laid-back Antonio, but Capp is a lively Bassanio, displaying strong chemistry with Somner’s equally strong Portia. Goldmeier is also memorable as a particularly boisterous Gratiano, who is well-matched by Struckhof’s amiable Nerissa. Mendez and Phillips are also notable in strong comic performances as the would-be suitors, and also with Phillips in an additional role as Shylock’s dissatisfied servant Launcelot. It’s a good ensemble all around, keeping up the pacing and tone well.

The physical staging is limited somewhat by the venue. The stage at Tower Grove Baptist Church isn’t ideal, with a difficult seating set-up and not much in the way of a backstage. Still, the simple set by Kyra Bishop Sanford is in keeping with the traditional setting, even though the frequent scene changes can get monotonous. The costumes by Michele Friedman Siler are excellent, however, with rich period detail and well-suited for the characters. The lighting by Tony Anselmo, sound by Kaitlynn Ferris, and props by Trish Baylard also work well for the production, making for a coherent, engaging presentation.

The Merchant of Venice is, for various reasons, not my favorite of Shakespeare’s plays. It has its moments, but it’s especially problematic in its overall theme. St. Louis Shakespeare is to be commended for facing the problems straight on with this relatively simple, bold staging. It’s a picture of a society that’s not particularly pretty, which forces viewers to reflect not only on the reality of this situation, but on the aspects of our own society that need to be confronted. Even with a few rough edges staging-wise, it’s a truly memorable production.

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The Women of Lockerbie
by Deborah Brevoort
Directed by Pamela Reckamp
SATE Ensemble Theatre
November 7, 2019

David Wassilak, Margeau Baue Steinau, Sarajane Alverson, Leslie Wobbe, Kim Furlow, Jennifer Theby-Quinn
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is continuing its tradition of thoughtful, thought-provoking and inventive theatrical productions with a soul-wrenching, poetic presentation of Deborah Brevoort’s play, The Women of Lockerbie. Told in the style of a Greek tragedy, this show looks at grief–both personal and corporate–from many angles, infusing a musical sensibility throughout. At SATE, the production is characterized by powerful performances and a strong sense of time, place, and mood. It’s at once something you might expect and something entirely new, and it’s riveting from start to finish.

The story is fairly simple, although the way it is told explores many of the complexities involved. Lockerbie, Scotland is the setting, seven years after the terrible tragedy that made the previously obscure town a household name–the explosion of Pan Am Flight 103. Here, the action begins at night in December 1995, on the anniversary of the crash. After an evening memorial service, we meet an American couple, Madeline (Margeau Baue Steinau) and Bill Livingston (David Wassilak), who lost their 20-year-old son, Adam, in the disaster. Adam’s remains haven’t been recovered, so Madeleine is roaming the hills in a futile search for some tangible sign of her son, while Bill urges her to give up the search and move on with her life. Soon, they are followed by a contingent of women from the town, led by Olive Allison (Leslie Wobbe), who has been leading an effort to get the clothes of the crash victims released to the women of the town, so they can wash them and return them to the victims’ families. They have pleaded their case to American official George Jones (Michael Cassidy Flynn), who has already declared his intention to have the clothes destroyed, but the women, including Olive, warehouse cleaning woman Hattie (Teresa Doggett), and others represented by a “Greek Chorus” symbolizing Intellect (Sarajne Alverson), Emotion (Kim Furlow), and Memory (Jennifer Theby-Quinn), will not give up their mission. This is the basic premise, but there’s a lot going on here, as the various aspects of grief are explored through the stories of each of the characters, and the Livingstons deal with how the whole situation has effected their relationship. It’s a highly personal, poetic tale that carries a heavy emotional weight, although not without rays of hope, even literally at times due to Bess Moynihan’s richly evocative lighting. There are some songs here, too, well sung by the cast, but even in the spoken moments the show takes the tone of a song of lament, deeply emotional and profound.

In addition to the excellent lighting, the physical presentation of the production is also excellent, starting with Moynihan’s highly symbolic set in which the landscape appears to be made mostly of clothes.  The costumes by Liz Henning, sound design by Ellie Schwetye, and props by Rachel Tibbetts also contribute well to overall atmosphere and tone of the production. Director Pamela Reckamp has paced the production with the right balance of energy and stillness, as well, lending an urgency at times and a sense of clear, emotional reflection when needed.

The cast of eight performers is uniformly superb. The haunting “Greek Chorus” of Alverson, Furlow, and Theby-Quinn provides a lot of the reflective, emotive sensibility of the piece, and Flynn communicates a sense of humanity in his portrayal of Jones, who is essentially the “villain” of the piece. Doggett as Hattie provides some of the needed lighter moments of the show, as well as a strong sense of determination. The emotional center of the show, however, belongs to the brilliant Wobbe as Olive, who is more complex than she first appears, as well as the excellent Steinau and Wassilak as the Livingstons, who each have their own journey of grief to navigate, separately and together. There’s strong chemistry throughout the ensemble, and a real sense of community and corporate grief and the constant drive for healing. It’s a remarkable ensemble, without a single weak link.

What else can I say in conclusion, other than that SATE has done it again. This company consistently produces the highest quality of theatre, and The Women of Lockerbie is the latest example. Bearing in mind that the subject matter is heavy and deals with the loss of loved ones and personal stories of grief, this is a highly emotional, thoughtful production featuring a first-rate cast, and a must-see theatrical experience.

Teresa Doggett, Leslie Wobbe, Sarajane Alverson, Kim Furlow, Jennifer Theby-Quinn, David Wassilak, Michael Cassidy Flynn
Photo by Joey Rumpell
SATE Ensemble Theatre

SATE Ensemble Theatre is presenting The Women of Lockerbie at The Chapel until 23, 2019

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Muny Magic at the Sheldon
November 5, 2019

Muny 2020 Season Schedule
Photo: The Muny

It’s back! The Muny has brought some of its leading performers to the stage again in the latest iteration of their Muny Magic at the Sheldon concert series, held at the beautiful Sheldon Concert Hall in Grand Center. This year’s concert features Mikaela Bennett who played the title role in Cinderella this past season, and St. Louis native Alex Prakken, who has appeared in several Muny shows including Les Miserables (as Marius) and 1776 (as the Courier). The opening night performance was also the occasion for Executive Producer Mike Isaacson to take the stage and announce the lineup of shows for the Muny’s upcoming 102nd Season, which opens with Chicago on June 15, 2020.

The show schedule is a mixed bag to my mind, although it features several crowd-pleasing shows. Still, it seems like some of these shows have been done too often at the Muny, or too recently. I’m sure the Muny will produce big, dazzling productions of all these shows, but sometimes I wish they would try a few shows they haven’t done in a while, or even more newer shows. I am looking forward to seeing what the Muny can do with these shows with their new stage. There are three brand new shows for the Muny, as well, the most exciting of which to me being Sweeney Todd, which seems a little dark for the Muny, but that can be a good thing. It’s a great show from a legendary composer whose shows are underrepresented on the Muny stage, and I’m eager to see what the Muny does with it. Also, although I wasn’t much of a fan of Smokey Joe’s Cafe when I saw it before, Isaacson’s description of how the Muny plans to stage it, set in St. Louis’s legendary Gaslight Square district, makes me especially curious to see it now. Also among the Muny debut shows is the Emilio and Gloria Estefan bio-musical On Your Feet!  That was a crowd-pleaser on tour at the Fox, and it seems a good fit for the Muny stage. I’m optimistic about the new season. I love classic musicals, but I also think newer and less-performed shows can bring excitement to the 102 year old St. Louis institution. I’m looking forward to seeing how season 102 plays out.

As for the concert, it’s a delight. Bennett and Prakken bring a lot of presence, energy, and excellent voices to the Sheldon stage, starting out with a lively rendition of “Ten Minutes Ago” from Cinderella. The evening continues with a selection of solos and duets, with both singing songs they’ve sung at the Muny like the lovely “In My Own Little Corner” from Cinderella for Bennett, and the emotional “Empty Chairs at Empty Tables” from Les Miserables for Prakken. They also shine together on duets from West Side Story, Carousel, The Secret Garden, and more, as well as solos from She Loves Me, Grand Hotel, and more. Both performers also took moments to share some Muny memories of their own. It’s an excellent concert highlighting musical theatre from the Muny stage and beyond, accompanied ably by music director Charlie Alterman on piano, Vince Clark on bass, and Nick Savage on percussion. It’s a fond look back at the Muny’s past as well as an intriguing look at its future with some hints at what it could be, with some of the shows that were represented that haven’t been seen at the Muny, or haven’t been for many years, featuring two impressively talented young performers.

Muny Executive Producer Mike Isaacson and Musicians

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Feeding Beatrice
by Kirsten Greenidge
Directed by Daniel Bryant
Repertory Theatre of St. Louis, Studio
November 1, 2019

Lorene Chesley, Nathan James
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Rep is launching its Steve Woolf Studio Series for 2019-2020 with a World Premiere production that provides a new, semi-immersive experience to go along with a thought-provoking, thoroughly chilling play. Kirsten Greenidge’s Feeding Beatrice takes its characters, and its audience, on a mysterious, increasingly terrifying journey into a crumbling old Gothic house, and into a highly metaphorical exploration of several important topics in American life. As is usual for the Rep, the casting and production values are impressive, as well, with the house as very much a character in the show, and a particularly strong set of performances at its heart.

As I’ve written before, I’ll be the first person to say that horror shows aren’t generally my cup of tea. Especially around Halloween season, though, these kinds of shows are not uncommon in the St. Louis theatre scene. This year, the Rep’s offering is essentially the only one, and it’s more of the “psychological thriller” type than the “blood and guts” type, which makes it initially easier to take at least for me. Still, even though this isn’t a gory show for the most part, it’s still thoroughly creepy and insidious, as the horror kind of sneaks in slowly and then moves in to stay. Or, in the case of one particular ghost, never really left in the first place. The premise starts out simple enough, as new residents Lurie (Nathan James) and June (Lorene Chesley) spend some romantic time in the upstairs bathroom and share their hopes and dreams for the house. Soon, however, we learn more about the couple and the house itself, as June plans for a dinner party to impress the new neighbors, and as they make an unsettling discovery in that same upstairs bathroom. Another important aspect of the show is that while Lurie and June are African-American, their new neighborhood is essentially all-white, and has been for generations. So at first, when a teenage white girl, Beatrice (Allison Winn), shows up at their door to introduce herself, it doesn’t seem that unusual to them. Soon, however, they find that Beatrice is not just another neighbor. She uses a lot of outdated–and even offensive–terminology, and drops pop culture references that are decades old. She also likes June’s homemade jam, quite a lot, and is frequently asking for glasses of milk and dance lessons. She also talks about her parents, and how strong an influence they have been on her even though she declares herself to be different. She’s also very attached to the house, and especially concerned about who lives there, even though she claims to like June and Lurie. What ensues is a struggle of sorts between the couple and Beatrice, and also between June and Lurie in their different attitudes toward the house, the neighborhood, events in their past, and initially Beatrice as well. Also figuring into the story is Lurie’s younger brother, Leroy (Ronald Emile), a plumber and family man who has a lot of things June says she wants, but not in the way that she has imagined or that she perceived society to expect. There’s a lot going on here, and a whole lot of it is metaphorical, in terms of what the house means, what Beatrice herself stands for, as well as Leroy’s standing in opposition to that, and the struggle that Lurie and to a larger degree June face in dealing with their own disappointments, hopes, and dreams. It all plays out in a highly personal, increasingly creepy tale that’s dominated by a dark, insidious atmosphere and the developing power struggle between Beatrice and June.

The themes, as noted in the supplemental materials in the program from playwright Greenidge, director Daniel Bryant, and the Rep’s Artistic Director Hana Sharif, deal very much with the insidiousness and pervasiveness of racism in American culture, and how it affects generations of people, black and white, in different ways. It’s all played out in a classic horror style, with acknowledged echoes of Hitchcock, as well as elements of several classic ghost stories and other familiar horror tropes. It’s all metaphor, but highly personal as well, with thought-provoking situations and characters that can–and should–provoke much thought, discussion, and awareness that can–and should–contribute to real, lasting change.

The structure is inventive, and the characters impressively portrayed, with the two performances of Chesley as the determined, grieving, increasingly focused June and Winn as the initially cheerful, but damaged and increasingly controlling Beatrice at the center of the production. These two performances are the highlight here, as the struggle between these two characters is the center of the drama. There are also impressive performances from James as the well-meaning but increasingly baffled Lurie, and Emile as the level-headed Leroy. The metaphors are evident everywhere, but the relationships are what drive the story as a story, and the top-notch performances make that drama accessible and real.

Technically, the show is remarkably impressive, pushing the established boundaries of what has been done in this space before. The thoroughly detailed set by Lawrence E. Moten III brings the antique house to life vividly, and the set-up, in which audiences enter the “house” through a long hallway and sit in creaky old kitchen chairs, adds to the overall atmosphere and chilling effect of the show. Jason Lynch’s evocative lighting adds to this effect as well, as does David Kelepha Samba’s sound design, the dance choreography by Heather Beal and fight choreography by Erik Kuhn, along with the well-suited costumes by Mika Eubanks.

Feeding Beatrice is in some ways what you might expect, but in a lot of other ways, it’s inventive and new. It’s also a striking exercise in how to make a thoroughly engaging character drama from a largely metaphorical basis. From its ominous first moment to its chilling final moments, this is a show that’s going to make you think, as it should. Although it does call to mind some similarly themed movies in recent years–such as Get Out and Us–this story’s origins are older than those films, and the recurring of such themes emphasizes their importance. It’s at timely, thoroughly well crafted play that makes a memorable impression at the Rep Studio. It’s definitely worth seeing, thinking about, and talking about.


Lorene Chesley, Allison Winn
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Feeding Beatrice in the Studio Theatre until November 17, 2019

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Dear Evan Hansen
Book by Steven Levenson, Music and Lyrics by Benj Pasek & Justin Paul
Directed by Michael Greif
Choreographed by Danny Mefford
The Fox Theatre
October 23, 2019

Cast of Dear Evan Hansen
Photo by Matthew Murphy
Dear Evan Hansen National Tour

I was especially looking forward to the latest touring production at the Fox, having heard a great deal about it before, although I hadn’t managed to see it yet. Dear Evan Hansen has had a lot of hype, and won a lot of awards, and inspired quite a bit of debate along the way, and now it’s here in St. Louis in an engaging, thought-provoking, visually stunning production that’s timely and inventive, and sure to spark discussion about the various issues it raises. With striking technical qualities and an especially strong cast, it’s a show that, at least for me, has lived up to its hype.

This show is as striking for its format as it is for its story. While I’m sometimes skeptical of “teen” because they often seem to be using the same tropes over and over again, Dear Evan Hansen has something a little different to say along with some of the usual territory but with an inventive structure that makes it seem more fresh. The story focuses on various issues including mental health, teen suicide, parent-child relationships, communication in the social media age, and more. It centers on Evan Hansen (Stephen Michael Anthony), a socially awkward teenager who writes letters to himself as an assignment from his therapist. Evan lives with his constantly busy single mother, Heidi (Jessica E. Sherman), who works a full-time job as a nurse and also takes classes to become a paralegal, so she doesn’t have as much time as she would like to spend with Evan. Starting his senior year of high school, Evan isn’t particularly looking forward to school. He doesn’t have any friends to speak of, except for the snarky Jared (Alessandro Costantini), who seems to only talk to Evan because their families know each other. Evan also has a crush on schoolmate Zoe Murphy (Stephanie La Rochelle), who has a difficult life of her own, with a troubled older brother Connor (Noah Kieserman) and parents, Larry (John Hemphill) and Cynthia (Claire Rankin) who seem so preoccupied with Connor that they don’t pay as much attention to Zoe. When Connor and Evan briefly cross paths before an unexpected tragic event, Evan finds himself caught in a web of untruths that start as a misunderstanding and then spiral into more, until before Evan knows it, he’s all over social media and getting more attention than he ever could have dreamed. With the assistance of Jared–who knows the truth–and another classmate, Alana (Ciara Alyse Harris)–who doesn’t know–Evan becomes leader of a movement, as he also grows closer to Zoe and her family, and his relationship with his own mother grows increasingly strained. As events go spiraling out of Evan’s control, and as his new-found popularity begins to affect his personality, Evan is faced with a difficult choice. What will he do, and how will these events effect everyone around him?

This is a dynamically staged show, with a look and feel unlike other musicals I’ve seen. David Korins’s scenic design features movable set pieces representing Evan’s bedroom, the Murphys’ house, and more, and everything is surrounded by screens with projections designed by Peter Negrini, representing social media posts, e-mails, and more, in a constant flow of information that coincides with the plot as it unfolds. There’s also striking lighting  by Japhy Weideman that enhances the overall look and feel of the production, and detailed character-specific costumes by Emily Rebholz. The band, led by music director Garret Healey, delivers the driving, emotional, contemporary sounding score with flair.

The cast for this show is deceptively small. There are eight characters, but the staging and big sound make it seem like there are more. There is some support from various voices representing the social media posts, but onstage there are only the eight cast members, led by a truly remarkable performance from Anthony as the fast-talking, nervous, initially lonely, conflicted Evan. Anthony has a great tenor voice for songs like “Waving Through a Window”, “For Forever”, “You Will Be Found”, and “Words Fail”. Evan is very much the center of this show, and Anthony’s performance drives the story well. Also excellent is La Rochelle in a relatable and well-sung performance as Zoe, as well as Hemphill and Harris as her struggling parents, and Sherman who is especially strong as the loving but overworked Heidi. There’s excellent support from Kieserman whose Connor becomes something of a voice of conscience for Evan; from Costantini as the sarcastic Jared; and Harris as the ambitious, somewhat bossy Alana. It’s a superb ensemble, surrounding Anthony’s tour-de-force performance with strong characterizations, vocals, and energy.

Dear Evan Hansen is a show that strikes me as a good basis for an ethics discussion, as it raises so many issues of what can happen when one small untruth spirals into something much, much bigger. It’s easy to think about something when you’re not in the middle of it, but what happens when things get out of control? Also, what is the role of peer pressure and viral social media culture in all this? This is a show that leaves a lot to think about, and to talk about. It’s also a showcase for a dynamic, remarkable lead performance and a stellar supporting cast. This Evan Hansen is definitely worth hearing from.

Steven Christopher Anthony, John Hemphill, Claire Rankin, Stephanie La Rochelle
Photo by Matthew Murphy
Dear Evan Hansen National Tour


The National Tour of Dear Evan Hansen is playing at the Fox Theatre until November 3, 2019

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Mary Poppins
Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman
Book by Julian Fellowes
New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe
Co-Created by Cameron Mackintosh
Directed and Choreographed by Lara Teeter
Variety Theatre
October 19, 2019

Variety Theatre is currently revisiting one of its successful more recent productions, Mary Poppins, last staged in 2015. It’s a popular show for a reason, with larger-than-life characters, familiar songs and a story that many people remember from the iconic 1964 film, even though the stage version differs from the film in several notable ways. With this Variety staging, the focus is on inventive staging and choreography as is usual, and that’s a highlight, along with some fun technical features and an engaging cast.

If you’ve only seen the film of Mary Poppins, this version will seem familiar and new all at the same time. The story is mostly the same, as the “practically perfect” nanny of the title (Erica Stephan) swoops in to help the struggling Banks family, led by officious father George (Michael James Reed) and conflicted mother Winifred (Heather Matthews), along with their precocious and neglected children Jane (Taylor Gilbert) and Michael (Gabe Cytron) in early 20th-Century London. Also helping out is cheerful Cockney Jack-of-all-trades Bert (Drew Humphrey), who joins Mary and the children on various adventures and, in this version, narrates the story. While the gist of the story is the same as the film, some of the details have been changed up, leading up to a similar but somewhat different conclusion. For instance, more of George Banks’s backstory is included here, along with his imperious, terrorizing childhood nanny Miss Andrew (Debby Lennon). Also, some of the characters from the Mary Poppins books by P. L. Travers are included here that weren’t in the film, and some of the movie songs have been reset to different situations. It’s a fun story overall, although I have to admit I prefer the film. Still, there are some excellent moments here, and some memorable new songs such as “Practically Perfect” and “Anything Can Happen If You Let It”.

The casting here is, for the most part, excellent, and like all Variety shows it features an outstanding youth ensemble featuring the Variety Children’s Charity’s Variety kids and other talented young performers. In fact, the ensemble moments are the most memorable here, featuring Lara Teeter’s inventive choreography and some fun flying effects by Flying by Foy, involving various youth ensemble members in addition to Mary Poppins herself. Stephan is a fine Mary, with a strong voice and excellent chemistry with the especially energetic Humphrey and the kids, although she takes a while to find her energy and her first appearance doesn’t display quite the sense of presence that the role requires. Gilbert and Cytron give winning performances as Jane and Michael, and Reed and Matthews work well together as the parents. There are also standout performances from Zoe Vonder Haar as housekeeper Mrs. Brill and John Kinney as household servant Robertson Ay. Also worth noting is Lennon’s small but scene-stealing performance as the menacing Miss Andrew, showing off her excellent operatic voice and strong stage presence.

Technically, the show looks about as one would expect, putting the large stage at the Touhill Performing Arts Center to good use. Dunsi Dai’s set consists of a series of colorful backdrops that are, at times, reminiscent of the look of the film, as are the costumes by Kansas City Costume Co. There’s also excellent lighting design by Nathan Scheuer, sound design by Rusty Wandall, and a first-rate orchestra conducted by music director Dr. Marc Schapman.

Overall, I would say this Mary Poppins is what audiences would expect.  It’s big, colorful, and well-cast, with those memorable songs that will probably play in your head for the rest of the day. It’s especially strong in the ensemble elements, with Variety’s excellent inventive staging. It’s an entertaining production from Variety, sure to appeal to all ages.

Variety Theatre is presenting Mary Poppins at UMSL’s Touhill Performing Arts Center until October 27, 2019

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The Lifespan of a Fact
by Jeremy Kareken & David Murrell, and Gordon Farrell
Based on the Book by John D’Agata and Jim Fingal
Directed by Meredith McDonough
Repertory Theatre of St. Louis
October 18, 2019

Griffin Osborne, Brian Slaten
Photo by Phillip Hamer
Repertory Theatre of St. Louis

“What is truth?” That’s a question that’s been asked by many at various times and in various settings, from the Bible (John 18:38), to philosophical treatises, to journalism, to politics, and beyond. The latest production from the Rep, The Lifespan of a Fact, explores this question from a writer’s, and editor’s perspective, also parsing out the difference between “facts” and “truth” and whether or not there is (or should be) any difference. It’s also a fast-paced, well-constructed and frequently funny look at its characters and their conflicts, staged with the Rep’s usual excellence in casting and production values.

The Lifespan of a Fact starts on a fairly typical business day for a magazine, as editor Emily Penrose (Perri Gaffney) is preparing to publish a new essay by celebrated writer John D’Agata (Brian Slaten). She praises the essay for its beauty, intensity, and truth, but as part of the regular publishing process, she enlists an intern, Jim Fingal (Griffin Osborne) to fact-check the piece. That’s where things get complicated, because Fingal turns out to be more zealous in his efforts than Emily expected, and John isn’t particularly receptive to Jim’s questioning, especially at first. The subject matter of the essay is a serious one–a Las Vegas Teenager’s suicide, and John wants to give the topic the weight that it calls for, but Jim keeps finding problems with the details. The quirky, somewhat intense Jim makes charts, draws diagrams, and researches the tiniest details to make sure John hasn’t taken liberties with the facts, eventually finding all sorts of discrepancies, from the seemingly insignificant to more important issues. Eventually, all three characters end up at John’s house in Las Vegas, and the questions keep coming. How much fudging of the facts is allowed in pursuit of a “true” story? Is the writer’s quest for a dramatically told, well-crafted story foiled by facts? Is there such a thing as writing the “essence of truth” without sticking to all the minute details? And which details are minute and which aren’t? Those questions and more are explored in this fast-paced, character-driven piece. The tone is mostly comedic, although are dramatic and poignant moments as well. Mostly, it’s a clash of personalities and philosophies, and ethical standards. It’s a fascinating topic of discussion, and it’s personified well in this “inspired by a true story” tale.

I think most, if not all, writers will recognize the dilemma–the need to tell the well-crafted story while accurately representing the facts. Also, what’s the difference between a “non-fiction” essay and a news article? And is rigorous, down-to-the-last-detail fact-checking necessary, or does it hinder the author’s creative process? This is a compelling story in that it represents both positions–John’s vs. Jim’s–while also providing a “middle ground” in the form of Emily, who wants the best for her magazine and serves as something of a mediator between the two positions. The cast is especially well-chosen, with Osborne’s quirky, frenetic Jim and Slaten’s stubborn, occasionally arrogant John providing much of the show’s dramatic and comedic energy, with Gaffney’s initially more measured, gradually exasperated Emily providing an able foil to both.

The staging is fast-paced, and well-served by Arnel Sancianco’s remarkably versatile quick-changing set that utilizes the Rep’s stage and newer technical features well as the locations switch between the minimally decorated magazine office and John’s cluttered home. Kathleen Geldard’s costumes suit the characters well, and Paul Toben’s lighting adds to the overall atmosphere of the production and serves to isolate characters and their situations as needed. There’s also excellent sound design by Christian Frederickson.

Overall, this show doesn’t really answer any of the questions it raises, but that would be a much bigger task than a simple three-character play can tackle, and it’s one that humankind will continue to struggle with through the ages. The question of facts vs. truth is also an especially timely topic in today’s society, and it’s well-personified here. I don’t think the purpose is to answer the questions, though, as much as it is to keep the audience asking, and considering them. The Lifespan of a Fact is sure to provoke a great deal of thought and discussion, and I think that’s the point.

Brian Slaten, Perri Gaffney, Griffin Osborne
Photo by Phillip Hamer
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting The Lifespan of a Fact until November 10, 2019

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The Who’s Tommy
Music and Lyrics by Pete Townshend, Book by Pete Townshend and Des McAnuff
Additional Music and Lyrics by John Entwistle and Keith Moon
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
October 11, 2019

Cast of The Who’s Tommy
Photo by Dan Donovan
Stray Dog Theatre

For its latest production, Stray Dog Theatre is bringing back a show they first staged 8 years ago. Although I didn’t see that production, I’ve heard some glowing comments about it, so I’m not entirely surprised they would want to produce it again. Now, the company has restaged The Who’s Tommy with a new look and concept, and an excellent cast, particularly in terms of the three performers playing the title role at different ages.

Legendary British rock group The Who first produced their rock opera Tommy as a concept album in 1969. It has since been adapted into a trippy movie directed by Ken Russell in 1975, and later into a Tony-winning Broadway musical. Each version has been altered in various ways from the original album, and I hadn’t seen the stage show before this latest production from SDT, although I had seen the film roughly 30 years ago. What I remember most is the iconic rock score, featuring hits like “Pinball Wizard”, and much of that score is featured here. The story focuses on the life of Tommy Walker (played from young adulthood by Kevin Corpuz), who is born in England in the early years of World War II and suffers a traumatic incident involving his parents (Kelly Howe, Phil Leveling) and his mother’s lover (Jordan Wolk) when he is four years old (played by Alora Marguerite Walsby). As a result, Tommy loses the ability to see, speak, and hear, and grows up experiencing the world using his other senses and emotions. He’s further abused and bullied by other relatives, including his creepy, alcoholic Uncle Ernie (Cory Frank) and his opportunistic Cousin Kevin (Tristan Davis), and taken by his parents to various doctors and others offering “cures” for Tommy (played at age 10 by Leo Taghert). Eventually, Tommy is introduced to pinball by his cousin, and he displays a surprising and remarkable talent for the game, causing a sensation and attracting fans and followers. He then becomes something of a cult figure for a lot of his fans, and he has to figure out what to do about that and come to terms with his own past, present, and future.

The entire technical side of this production is stunning, especially in the visuals. This production is given a unique design that gives it more of a futuristic look rather than the 1940s–1960s time frame would suggest. This look goes especially well with the rock music score and overall mysterious tone of the piece. There’s a fluorescent neon look to Eileen Engel’s costumes that gives them a striking appearance and works well with Josh Smith’s concert-stage like multilevel set, Justin Been’s dazzling kaleidoscopic projections, and Tyler Duenow’s dynamic lighting. The driving score is played with style by the excellent band led by music director Jennifer Buchheit, with particular kudos going to guitar players Adam Rugo and John J. Reitano, who give the music much of its power. The only occasional drawback to the sheer volume of everything is that sometimes the words to the songs can be lost under the music, especially in the ensemble numbers, and with a show like this that is mostly sung-through with very little spoken dialogue, it’s especially essential to be able to hear the lyrics.

The casting is especially strong here, led by the three performers who play Tommy as he grows up. Corpuz, as the adult Tommy and “guiding voice” for his younger versions, gives a commanding performance, with strong stage presence and a powerful voice that fits the score well. The younger Tommys are just as good, too, from Walsby’s mostly silent performance and very credible reactions to Taghert’s journey as the youthful Tommy goes through a series of traumatic encounters and finally finds his talent. All three of these actors are the heart of this show, and much of the dramatic weight rests on them. There are also strong showings from Howe and Leveling as Tommy’s parents, Frank as the smarmy Uncle Ernie, Davis in a particularly well-sung turn as Cousin Kevin, Engel as a determined young fan of Tommy’s named Sally Simpson, and Jeffrey M. Wright in several roles. The ensemble is also strong all around, vocally and in demonstrating Mike Hodges’ energetic choreography.

The Who’s Tommy has something of a rock concert feel to it, as is fitting with the show’s origins. Still, there is a compelling story here, told by a bold, bright, futuristic-looking production led by a particularly strong trio of title performers. It’s another memorable musical from Stray Dog Theatre.

Cast of The Who’s Tommy
Photo by Dan Donovan
Stray Dog Theatre

Stray Dog Theatre is presenting The Who’s Tommy at Tower Grove Abbey until October 26, 2019

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