Posts Tagged ‘st. louis’

“Tina” Rocks the Fox with Well-Cast Biographical Tribute

Posted in St Louis Theatre, tagged , , , , , , , , , on November 17, 2023| Leave a Comment »

Tina: The Tina Turner Musical
Book by Katori Hall, with Frank Ketelaar and Kees Prins
Directed by Phyllida Lloyd
Choreographed by Anthony Van Laast
The Fox Theatre
November 14, 2023

Parris Lewis and Band
Photo by Matthew Murphy
Tina: The Tina Turner Musical North American Tour

St. Louis loves Tina Turner. Lots of people around the world love her, but St. Louis has a special connection. The legendary icon of rock n’ roll, pop, soul, and R & B spent several formative years here, and got her start playing in clubs on both sides of the river. Those early years, along with the rest of her celebrated career are highlighted in Tina: The Tina Turner Musical, currently onstage of the Fox and featuring a strong cast, especially in the title role, along with many hits from the singer’s career. 

Actually, “singer” is a bit simplistic in describing Tina Turner’s talents. She was a multi-talented entertainer who could sing, dance, and make an audience take notice. As with other “jukebox” bio-musicals, this show uses the artist’s musical catalogue to tell the story of her life, but even more than other shows in this vein, this one seems to depend much more on its star as the central focus. The title of this show mentions Tina twice, and that emphasis is evident in the structure of the show, which uses songs by Tina and occasional other artists to tell her story through the years, from young Anna Mae Bullock’s childhood in Tennessee to her career as an international superstar, with all the trials, tribulations, and triumphs along the way. Considering the colossal talent it’s portraying, the musical essentially demands great casting in the title role, and this touring production has that. The role of Tina is shared by two performers who alternate performances–Ari Groover and Parris Lewis. On opening night at the Fox, Lewis took the stage with energy, stage presence, convincing emotional range, and most of all, the towering vocals that Tina Turner was known for on classic songs like “Proud Mary”, “River Deep, Mountain High”, “What’s Love Got to Do With It” and more. 

There is a strong supporting cast, as well, led by Roz White as Tina’s mother, Zelma, Wydetta Carter as Gran Georgeanna, and especially young Brianna Cameron as the young Anna Mae, who shows off great presence and powerful vocals as the girl who will eventually become known to the world as Tina Turner. There’s also a fine performance from Deon Releford-Lee, making the most of the difficult role of Ike Turner, who discovers the teenage Anna Mae, gives her her stage name and eventually marries her, also revealing himself to be controlling, philandering, and abusive. The drama in their relationship is difficult to watch at times, and the story gains more momentum once Tina is on her own. There’s a strong ensemble as well, with the production numbers being especially strong in re-creating live performances from Tina’s career, both with Ike and without.

The staging is dynamic and energetic, with a versatile set and eye-catching costumes by Mark Thompson, and excellent projections by Jeff Sugg that help maintain the sense of movement throughout the story. There’s also strong lighting by Bruno Poet and sound by Nevin Steinberg, as well as a great band led by music director Anne Shuttlesworth. 

Tina: The Tina Turner Musical is a fitting tribute to its celebrated subject. If you’re a fan, there’s a lot to like here. The proclamation of Tina Turner Month in St. Louis by the mayor’s office after the curtain call on opening night was a great bonus, as well. This is a show that fits especially well at the Fox, in a city and metro area where this musical icon got her start. It’s an entertaining show, with a memorable leading performance.

Brianna Cameron and Cast
Photo by Matthew Murphy
Tina: The Tina Turner Musical North American Tour

The North American Tour of Tina: The Tina Turner Musical is running at the Fox Theatre until November 26, 2023

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Tesseract’s Engaging “Mad Ones” Features Strong Cast, Great Singing

Posted in St Louis Theatre, tagged , , , , , , , on November 7, 2023| Leave a Comment »

The Mad Ones
by Kait Kerrigan and Bree Lowdermilk
Based on an Idea by Zach Altman and Bree Lowdermilk
Directed and Choreographed by Kevin Corpuz
Tesseract Theatre Company
November 3, 2023

Melissa Felps, Grace Langford
Photo by Florence Flick
Tesseract Theatre Company

Tesseract Theatre Company’s foray into musical theatre continues to be a resounding success. Having produced a few impressive musicals so far, the company’s new focus is continuing with an excellent production of a smaller show with a big heart. The Mad Ones–written by Kait Kerrigan and Bree Lowdermilk–isn’t one I had heard of before, but after seeing the first-rate production at the Marcelle, directed and choreographed by Kevin Corpuz, I’m sure I’ll remember it for some time to come.

The plot isn’t particularly unique, featuring the reasonably familiar formula of the young, rule-following protagonist trying to figure out the direction of her life, influenced by the more carefree attitude of her more outgoing, rebellious best friend. There’s also a caring but sometimes overprotective parent and a sweet but unadventurous boyfriend, who the best friend thinks is boring. There’s even a twist that’s fairly easy to figure out early on in the show. Still, while in some ways seems like a story that’s been told before, what makes it work is the sheer believability and likability of the characters, and the relatability of the situations. Recent high school graduate Samantha, her friend Kelly, her mom Beverly, and boyfriend Adam have a story to tell that’s thought-provoking and well-constructed. There’s also a  good balance of humor and drama, as well as a memorable score of songs that fit the story well and express the characters’ motivations and emotions with clarity.

The show is staged in an eye-catching way with an abstract set by Todd Schaefer that consists of series of platforms and performance areas, and a minimalist approximation of a car that features prominently in the story. There’s also vibrant lighting by Brittanie Gunn that adds to the atmosphere and tone of the story. The sound by Jacob Baxley is well-balanced, and there’s a great band led by music director and keyboardist Joe Schoen, doing justice to the score and supporting the performers well without overpowering the singers. The staging and choreography by director Corpuz are also well-paced and engaging.

What’s most engaging of all here is the wonderful cast. Led by the eminently likable Melissa Felps as Samantha, the story is given just the right degree of emotional resonance, and the singing is excellent from all. Felps has a strong, emotive voice, and the rest of the cast is just as good, with Grace Langford as the impulsive, party-loving Kelly working especially well with Felps in their many scenes together. There are also pitch-perfect performances–both acting-wise and vocally–from Sarah Gene Dowling as the statistics-minded Beverly and Cody Cole as the kindhearted Adam. It’s a strong ensemble all around, with cohesive chemistry and exquisite vocal harmonies. 

Overall, The Mad Ones may not be the most well-known of shows and its premise might not seem entirely original, but it’s well worth checking out for its emotional resonance, well-drawn characters, and relatable message. At Tesseract, it’s also a showcase for a marvelous cast and some truly magnificent singing. It’s more evidence for Tesseract that the decision to focus more on musicals was the right one.

Grace Langford, Cody Cole, Melissa Felps, Sarah Gene Dowling
Photo by Florence Flick
Tesseract Theatre Company

The Tesseract Theatre Company is presenting The Mad Ones at the Marcelle Theatre until November 12, 2023

This review was originally published at kdhx.org

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Albion’s Well-Cast “Mindgame” is a Twisty Psychological Thriller

Posted in St Louis Theatre, tagged , , , , , on October 24, 2023| Leave a Comment »

Mindgame
by Anthony Horowitz
Directed by Robert Ashton
Albion Theatre
October 20, 2023

Nick Freed, Chuck Winning
Photo by John Lamb
Albion Theatre

The latest production from  Albion Theatre, Mindgame has an appropriate title. Anthony Horowitz’s intense psychodrama–directed by Robert Ashton–is twisty, intense, and visceral, presenting quite a challenge for actors and directors. Albion meets that challenge in a strong, highly provocative production that’s sure to keep audiences thinking.

The story begins in the office at a hospital for the criminally insane. Styler is there making notes on his tape recorder. He’s hoping to meet with the director of the asylum, Dr. Farquhar–pronounced like “Far-ar” here, as the doctor insists when he arrives. Farquhar is mysterious and suspicious, seemingly not remembering a letter Styler sent requesting the meeting, and eventually being evasive and challenging when Styler reveals his desire to meet with one of the hospital’s infamous patients, a known serial killer. Soon, one of the hospital’s employees, Nurse Paisley, is brought into the story, seeming to be a reluctant participant in whatever Farquhar has planned. There isn’t much else I can say about this story without spoiling, but it involves a series of revelations, machinations, and psychological manipulations that threaten to–and sometimes do–veer into violence.

It’s a clever script, with well-drawn characters who have secrets of their own, and reveal themselves to be more than what they may seem at first, while offering a thought-provoking examination of various concepts including the treatment of mentally ill criminals, the public’s fascination with true crime–and particularly serial killers–and more. This frequently twisting plot and characters present a challenge for actors and directors. Director Ashton has paced the action well, and the excellent cast brings out all the rancor, occasional wry humor, and elevating sense of sheer terror that the script provides. Nick Freed as Styler is an effective protagonist, revealing a range of emotions, and motives over the course of the story, working well with Chuck Winning, who is also superb as the cunning, manipulating, and increasingly hostile Farquhar. Nicole Angeli rounds out the cast in a convincing turn as the mysterious Paisley, offering a convincing portrayal as the characters, and the story, continue to shift and evolve.

The look and atmosphere of this production are also well-done, with an effective, detailed set by technical director Erik Kuhn, who also serves as fight choreographer. There’s also excellent work from costume designer Tracey Newcomb, lighting designer Eric Wennlund, and sound designer Jacob Baxley. The technical aspects work together to help set and maintain the overall tense, confrontational drama that ensues.

Mindgame is certainly a disturbing story, no question. There’s some difficult subject matter here, and it’s not for all audiences, so anyone squeamish about depictions and descriptions of violence, torture, and murder probably will not want to see this show. Still, what is presented here is an exquisitely crafted thriller that is ideally cast and energetically staged. It’s a memorable, provocative production from Albion Theatre.

Chuck Winning, Nicole Angeli, Nick Freed
Photo by John Lamb
Albion Theatre

Albion Theatre is presenting Mindgame at the Kranzberg Arts Center until November 5, 2023

This review was originally published at kdhx.org

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Insightful, Cleverly Constructed “See You In a Minute” Makes a Profound Impression for Contraband Theatre

Posted in St Louis Theatre, tagged , , , , , on October 19, 2023| Leave a Comment »

See You In a Minute
by Jacob Juntunen
Directed by Ellie Schwetye
Contraband Theatre
October 14, 2023

Joseph Garner, Ricki Franklin
Photo by Phillip Hamer
Contraband Theater

It was inevitable that plays about the COVID-19 pandemic would happen. There have already been online plays and stories concerning this world-changing event, and with live theatre back in full swing, it only stands to reason that plays about the pandemic would start to appear more often. The only problem is, the relatively new (to St. Louis) Contraband Theatre has now set the bar so high with its latest new play that I’m not sure how anyone else will be able to measure up. I welcome the efforts, but Jacob Juntunen’s See You In a Minute is at once a reflection, a character study, a mildly science fiction-y exploration, and a portrayal of various levels of grief that I’m not sure can be matched. It’s that good, and as produced at The Chapel arts venue by an excellent cast under the direction of the always-excellent Ellie Schwetye, this show has made such an impression on me that I’m sure I will be thinking about it for some time. 

This play isn’t just about one pandemic, though. It’s about the next pandemic as well–in 2041. Kathryn (Ricki Franklin) is the educational director for an off-Broadway theatre company in New York, but she’s come home to St. Louis to help her parents during the new health crisis. Her dad, Joseph (Joseph Garner), is a playful, encouraging guy who offers his daughter sandwiches and plays childhood games with her involving stuffed animals used as puppets. Her mother, Deb (Kelly Howe), is a more practically-minded engineer who wants to focus on the immediate situation and not dwell in the past. There’s obviously something about the last pandemic, and the family’s experience at that time, that Kathryn isn’t able to get straight answers about, but there are other, more pressing situations in her life, as well. Her director in New York, Kris (Joshua Mayfield) is concerned that Kathryn hasn’t finished her presentation/sales pitch for high schools about the company’s upcoming production of the classic play Our Town by Thornton Wilder. Kathryn, for her part, is struggling to find the century-old play’s relevance in modern times, and she keeps finding convenient ways to procrastinate while Kris, under increasing pressure from the theatre company’s board, grows ever more anxious. 

There are a lot of issues being dealt with here, but nothing seems rushed or cluttered. Issues of artistic integrity vs. financial struggles in theatre, generational differences, pandemics, grief, and family responsibilities, among other issues, are dealt with with focus and clarity, as well as a degree of poetic elegance. There’s also an impressive balance between humor and drama, as well as some “twist” moments that are given just the right level of timing and weight to make their utmost impact. It’s a sensitive, insightful, theatrically literate, exquisitely emotional play that works especially well under Schwetye’s well-measured direction and with the superb efforts of the first-rate creative team, including set designer Caleb D. Long, Costume Designer Carly Uding, and especially lighting designer Morgan Brennan and sound designer Schwetye.

The staging is simple and efficient, with just the right level of emotional resonance, and the script is well-crafted, with a few surprises as well as some elements that are somewhat predictable to a point, but don’t play out exactly as they might. There are also some sci-fi elements since it’s set in the future–including scientific advances that make sense for the times–that are treated more as a simple matter-of-fact rather than major points of the story. 

As for the acting, it’s excellent. Franklin is engaging and relatable as Kathryn, making her various struggles and dilemmas believable and immediate, and her relationships–with both parents and with Kris–are especially credible. Garner is full of warmth and energy as the creative, encouraging Joseph–bringing a great deal of enthusiasm to the puppet shows in particular–and Howe is just as excellent as the more reserved but just as caring Deb. As Kris, Mayfield is thoroughly believable as a conflicted theatre director whose loyalties are challenged by circumstance. It’s a strong, cohesive ensemble that lends much emotional weight to the story.

See You In a Minute is at once timely, challenging, and ultimately hopeful. It’s a profoundly affecting theatrical experience, and an excellent introduction to the work of playwright Jacob Juntunen and Contraband Theatre. There’s so much else I could write, but I won’t because its best to experience it yourself. So far, it’s my favorite new play in St. Louis this decade. 

 

Joshua Mayfield, Kelly Howe, Joseph Garner, Ricki Franklin
Photo by Phillip Hamer
Contraband Theatre

Contraband Theatre is presenting See You in a Minute at The Chapel until October 28, 2023

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Upstream’s “Bitter Fruit” is Mysterious, Compelling

Posted in St Louis Theatre, tagged , , , , , on October 18, 2023| Leave a Comment »

Bitter Fruit
by Héctor Levy-Daniel
Directed by Philip Boehm
Upstream Theater
October 13, 2023

Jane Paradise, Jennifer Theby-Quinn
Photo by ProPhotoSTL.com
Upstream Theater

The latest production from Upstream Theater is a small-cast, one act, emotional drama of intrigue and mystery. Bitter Fruit, by Argentinian playwright Héctor Levy-Daniel, is a well-staged, provocative production that will keep audiences thinking. It’s also a showcase for some excellent local performers.

The story isn’t entirely linear, and it’s not always clear what the relationships are, but a lot of that seems to be intentional. There’s an unfolding mystery here, beginning as the wealthy María (Jennifer Theby-Quinn) comes home to the mansion she shares with her mother Teresa (Michele Burdette Elmore) to find a new housemaid, Luisa (Jane Paradise), who María instantly dislikes and distrusts. Luisa is somewhat evasive about her background and why she came to work there, but María is especially unsettled because the new maid seems to be constantly watching her. María is also involved in a dispute with local factory workers who are protesting their working conditions, and some have died under mysterious circumstances. She meets with a representative of the workers, Pedro (Isaiah Di Lorenzo), who is shown through flashbacks to be no stranger to María, although their relationship is much altered from what it had been. While local authorities investigate the suspicious deaths, María has her own secrets to keep, all while she grows ever more suspicious of Luisa. 

It’s a fascinating play, and the performances are especially strong, with Theby-Quinn convincing in the difficult role of the haughty María, who is a compelling character even if she isn’t especially likable. Paradise also makes a strong impressive as the evasive but determined Luisa, and Di Lorenzo has some excellent scenes with Theby-Quinn that both add to the mysteries of the story and add depth to their situations. There’s also a strong performance from Elmore as the seemingly well-meaning Teresa, who has her own secrets and may know more than she lets on. There are a lot of unanswered questions here, but the drama is intense, the plot unfolds with precisely paced timing, and the cohesive ensemble plays the palpable tension well.

The set by Patrick Huber and lighting by Steve Carmichael, along with Michele Siler’s costumes, add to the overall mood and atmosphere of the production. There’s also an excellent, evocative musical score, performed live on guitar by Lliam Christy, who plays with skill and energy, adding to the emotional vibe of the story.

Overall, this is an intriguing St. Louis premiere production, looking at a time in relatively recent Argentinian history that might not be familiar to American audiences. There’s a useful note in the program from the University of Pennylvania’s Dr. Jennifer Joan Thompson, explaining some of the context. Bitter Fruit is another thought-provoking work of theatre from Upstream. 

Jennifer Theby-Quinn, Michele Burdette Elmore
Photo by ProPhotoSTL.com
Upstream Theater

Upstream Theater is presenting Bitter Fruit at the Marcelle Theatre until October 29, 2023

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NJT’s “Immigrant” is Emotional, Engaging, Impressively Cast

Posted in St Louis Theatre, tagged , , , , , on October 18, 2023| Leave a Comment »

The Immigrant
by Mark Harelik
Conceived by Mark Harelik and Randal Myler
Directed by Rebekah Scallet
New Jewish Theatre
October 12, 2023

Mindy Shaw, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The latest production from New Jewish Theatre is one they’ve done before, twice. I hadn’t seen either of their previous productions of The Immigrant, but seeing the third version makes a strong enough impression that it’s easy to see why this would be revived more than once. It’s a highly personal show, with memorable characters and an especially strong cast.

Written by playwright and actor Mark Harelik and based on the true story of his Russian Jewish immigrant grandfather, Haskell Harelik (Dustin Lane Petrillo), the story is compelling and, for the most part, well-constructed. It follows Haskell from shortly after arriving in the small town of Hamilton, TX, where he barely makes a living pushing a cart around in the summer heat and selling bananas for a penny each. His work leads him to the doorstep of local couple Milton (David Wassilak) and Ima Perry (Mindy Shaw), who are suspicious of the young man at first, but soon befriend him, letting him rent a room in their house, as Haskell continues to work hard, getting business assistance and advice from banker Milton, and writing letters home to his wife, Leah (Bryn McLaughlin), who eventually joins him in Texas, where she experiences the culture shock more acutely than her husband. Over the years, as Haskell’s business grows, the two couples form a close friendship despite their cultural and religious differences, although there are certainly some obstacles that come up in the relationship between Haskell and Milton, especially later in the play as World War II happens. It’s a compelling portrait of determination, friendship, family, and persistence through hardship, although it does seem to peter out somewhat at the end, leaving a few loose ends and stopping the dramatic action by changing the structure of the play with a late-arriving narrator. 

The cast is small, but stellar, making the most of the drama and making the relationships especially believable. As Haskell, Petrillo is engaging and determined, doing an excellent job of portraying his growth from struggling new arrival to established businessman and family man. The developing friendship between Haskell and the Perrys is also made especially poignant through the impressive performances of Shaw and Wassilak. McLaughlin is also strong as Leah, who has excellent chemistry with Petrillo and has some particularly memorable scenes with Shaw, as well.

The production values are strong, as well, with an effective set by Rob Lippert, and well-crafted costumes by Michele Friedman Siler. There’s also striking lighting by Michael Sullivan, excellent sound design and projections by Kareem Deanes, and good use of evocative music as the story unfolds. 

Overall, The Immigrant is a show that strikes many emotional chords, with a story that’s historical, but surprisingly timely as well. What’s especially impressive here, though, is the cast, along with the well-paced staging that holds interest from the first moment.  I’m glad NJT brought it back, so that I could have the opportunity to see it. 

Bryn McLaughlin, Dustin Lane Petrillo
Photo by Jon Gitchoff
New Jewish Theatre

The New Jewish Theatre is presenting The Immigrant at the J’s Wool Studio Theatre until October 29

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“Beetlejuice” is Scarily Entertaining Fun at the Fox

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , on October 12, 2023| Leave a Comment »

Beetlejuice
Music and Lyrics by Eddie Perfect, Book by Scott Brown and Anthony King
Directed by Alex Timbers
Choreographed by Connor Gallagher
The Fox Theatre
October 11, 2023

Isabella Esler, Justin Collette
Photo by Matthew Murphy
Beetlejuice North American Tour

I’ve seen the movie Beetlejuice in its entirety once, and that was when was first released in 1988. I had seen very few clips of the musical adaptation, as well (mostly the Tony Awards performance). Still, even though my Beetlejuice knowledge was rusty, that doesn’t take away from my enjoyment of the energetic, technically impressive tour that’s currently running at the Fox. With a great cast, a catchy score, and some eye-catching visuals, this is a crowd-pleaser with a surprising amount of heart.

There are a few changes from the movie plot, apparently, and the focus here is more on Beetlejuice himself (Justin Collette), and the sad teenager Lydia Deetz (Isabella Esler) than movie leads Barbara (Megan McGinnis) and Adam Maitland (Ryan Breslin, subbing for principal Will Burton), and the tone is possibly even darker than Tim Burton’s original film. Still, the overall vibe is dark comedy, with some heartwarming moments thrown into the mix, and an ultimately hopeful message of family, belonging, and living life to the fullest. As the grieving Lydia tries to deal with the recent death of her mother, and her father Charles (Jesse Sharp) tries to forget his grief by ignoring it and moving on with aggressively perky life coach Delia (Kate Marilley), and trying to fix up the recently-deceased Maitlands’ house, the impossibly nice Barbara and Adam try to learn how to be ghosts, and Beetlejuice desperately wants to be able to be seen by living people in hopes that he won’t be oppressively lonely anymore. Of course, Beetlejuice being as creepy and mischievous as he is, much hijinks ensue, with some broad comedy, crass jokes, and lively musical numbers punctuating the story along the way. 

Even though there’s a lot happening here, the story moves along well, and is fairly easy to follow, with the performances adding energy and enthusiasm to the already wacky plot and characters. Collette and Esler are the obvious stars here, with Collette great with comic timing and physical comedy, and Esler impressing with memorable stage presence and powerful vocals. McGunnis and Bresler are also strong as the almost-too-nice Barbara and Adam, who have many fun moments together and with Lydia and Beetlejuice, especially. There are also memorable turns from Sharp as the initially clueless but ultimately well-meaning Charles, and Marilley as the impossibly wacky but also well-meaning Delia. There’s an excellent ensemble to back up the leads, as well, who especially excel in the production numbers and energetic choreography by Connor Gallagher.

Technically, the show dazzles, especially for a touring show, with an impressively elaborate set by David Korins and marvelous projections by Peter Negrini. William Ivey Long’s costumes are clever and delightfully whimsical, as well, with some impressive hair and wig design by Charles G. LaPointe. The excellent lighting by Kenneth Posner, puppet design by Michael Curry, Makeup by Joe Dulude II, and sound by Peter Hylenski also contribute a lot to the overall comically creepy atmosphere. 

Beetlejuice is a whole lot of fun, and it seems especially appropriate this time of year in the run-up to Halloween. There is some crass humor and language, so it may not be best for young children, but it seems most appealing for teens and up. Even if you haven’t seen the film, or don’t remember it well, this show should make a strong impression. It’s a big, crass, creepily hilarious show that looks and sounds great. It’s a fun show to start off the new season of touring shows at the Fox.

Justin Collette (center) and Cast of Beetlejuice
Photo by Matthew Murphy
Beetlejuice North American Tour

The North American tour of Beetlejuice is running at the Fox Theatre until October 22, 2023

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Superbly Cast “Lion” Roars to Vibrant Life at Midnight Company

Posted in St Louis Theatre, tagged , , , , , on October 12, 2023| Leave a Comment »

The Lion in Winter
by James Goldman
Directed by Tom Kopp
The Midnight Company
October 7, 2023

Lavonne Byers, Shannon Campbell, Michael Pierce, Joe Hanrahan, John Wolbers, Ryan Lawson-Maeske, Joel Moses
Photo by Joey Rumpell
The Midnight Company

The Lion in Winter is a show that’s often associated with its two leading roles–and they are great ones. Still, as The Midnight Company is showing in its current production at the .ZACK Theatre, as directed by Tom Kopp, this is an ensemble piece with great roles for all of its players. With its mixture of drama, suspense, intrigue, and humor, this show provides an ideal showcase for a strong collection of first-rate local performers, who are all at the top of their game. 

This play is also one that’s often more associated with the screen than the stage, considering the high-profile, award-winning 1968 film and 2003 television adaptation. It’s a fascinating play, however, and one that has strong roles for its ensemble. It’s essentially a fictionalization of history–an imagination of real historical characters in situations that make for an intriguing study of character, as well as an exploration of the scheming machinations that can come with royalty and royal ambition. The story centers on English King Henry II and his estranged, imprisoned wife Eleanor of Aquitaine–who has been temporarily let out of prison for Christmas–along with their sons Richard, Geoffrey, and John. The well-crafted script by James Goldman explores the various ways Henry and Eleanor use to manipulate one another to get what they want, as well as the schemes, ambitions, and disappointments of the sons. There’s also the new, young King of France, Philip, who also figures into the various schemes to attain and maintain power, land, and influence; as well as Philip’s sister Alais, who was brought up by Eleanor and now, as a young woman, is Henry’s mistress as well as a promised fiancée for whichever son becomes King, as Henry favors the young, immature John and Eleanor favors the soldierly Richard, with the shrewd Geoffrey often treated as an afterthought. Through the course of the story, schemes are made, secrets are revealed, and much emotional manipulation ensues, as the characters jockey for position and struggle to secure their ambitions, future security, and in the case of Henry and Eleanor, their legacies.

While the story is fascinating and the dialogue is incisive, the biggest attraction of this show is the sheer strength of its characters. For The Midnight Company, the casting is ideal, with excellent ensemble chemistry, exquisite performances, and no weak links. Byers and Hanrahan are superb in the leads, with Byers especially shining as the determined, often disappointed Eleanor. The scenes these two share crackle with energy and a mix of conflicting emotions, serving as the centerpiece of the plot. The sons are also ideally cast, with Joel Moses as the warlike Richard showing an inner vulnerability, John Wolbers as the scheming Geoffrey displaying a scheming intelligence, and Ryan Lawson-Maeske excellent as the petulant, entitled John. Shannon Campbell as Alais develops the character with believable strength as the story unfolds, and Michael Pierce plays Philip with credible regal bearing and assertiveness. 

Technically, the production impresses with a suitably Medieval look and atmosphere, aided by Brad Slavik’s well-appointed unit set and Liz Henning’s impeccably detailed costumes. There’s also good use of period-styled Christmas music in the scene transitions and original music by Susan Kopp, and appropriate atmospheric lighting by Tony Anselmo. The production utilizes the sometimes difficult space at the .ZACK Theatre especially well.

The Lion in Winter has proved to be an excellent choice for The Midnight Company. With its well-chosen cast and effective staging, this is a show that plays all the intrigue with just the right pitch, not overdoing it but not underplaying it either. It’s a marvelous showcase for a great cast. 

Joe Hanrahan, Lavonne Byers
Photo by Joey Rumpell
The Midnight Company

The Midnight Company is presenting The Lion in Winter at the .ZACK Theatre until October 21, 2023

The review was orginally published at kdhx.org

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The Rep’s Stunning “Twisted Melodies” Features Outstanding Performance, Production Values

Posted in St Louis Theatre, tagged , , , , , , on October 9, 2023| Leave a Comment »

Twisted Melodies
Created and Performed by Kelvin Roston, Jr.
Directed by Reggie D. White
Repertory Theatre of St. Louis
October 6, 2023

Kelvin Roston, Jr.
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The latest production from the Repertory Theatre of St. Louis is one St. Louis audiences may have seen before, but not in the same way. Kelvin Roston, Jr.’s Twisted Melodies–a one-man show about famed singer and musician Donny Hathaway–played at the Black Rep in 2016, and Roston has appeared in multiple productions of the show in various places since then. Now, at the Rep under the direction of Reggie D. White, the show gets a new look with some truly astounding production values, and still serving as an ideal showcase for the supremely talented Roston in the lead. 

It seems like Roston could not have chosen a better subject for his one-man show, as Roston’s musical talents and acting prowess shine in their portrayal of the legendary but troubled Hathaway. The construction of the show itself also provides a unique look into the life, music, and mind of Hathaway, who was a celebrated performer and artist, but who also struggled with paranoid schizophrenia. The story allows the audience into Hathaway’s creative mind as he works on a new project from his hotel room in New York in 1979. The audience is treated by Hathaway as apparently another hallucination, but a good one–supportive, instead of the menacing visual and auditory ones he experiences throughout the show, represented through the truly astounding technical effects of lighting designer Xavier Pierce, sound designer G Clausen, and projections designer Mike Tutaj. The richly appointed set by Tim Mackabee is transformed from a neutral space to a hostile one with chilling immediacy, as Hathaway tells his personal story and struggles to finish his latest composition. There’s also excellent work from costume designer Dede Ayite, outfitting Roston in a stylish, period-appropriate outfit that aids in his portrayal.

As for Roston himself, his performance is a tour-de-force, as I was expecting since I’d seen it before, and it has all the power and sheer vocal prowess I had remembered, along with excellent musical ability on the keyboard. He does a great job of sounding like Hathaway, telling the story through music and song as well as through his vivid acting. His vocal range is impressive, and his portrayal is one of astonishing depth and veracity. 

Even if you saw it before, Twisted Melodies from the Rep is a show that needs to be seen. Whether you are familiar with the music of Donny Hathaway or not, this is an essential performance to witness, with technical effects that are simply stunning. It’s an education for those who may be unfamiliar with Hathaway and his place in the history of American popular music, as well as vivid look at the devastating effects of mental illness. Most of all, though, it’s a profoundly excellent showcase for a superb performer and performance. 

Kelvin Roston, Jr. and Set
Photo by Jon Gitchoff
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Twisted Melodies at COCA’s Catherine B. Berges Theatre until October 22

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A Nostalgic, Somewhat Lukewarm “Fever” From Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , , , , , on October 9, 2023| Leave a Comment »

Saturday Night Fever
Based on the Paramount/RSO Film, and the story by Nik Cohn
Adapted for the Stage by Robert Stigwood, in Collaboration with Bill Oaks
North American Version Written by Sean Cercone and David Abbinanti
Featuring the Songs of the Bee Gees
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
October 5, 2023

Drew Mizell, Sara Rae Womack
Photo by John Lamb
Stray Dog Theatre

Saturday Night Fever, the film and the soundtrack, have become cultural icons over the years, synonymous with the 1970’s for many people, whether or not they were around at the time or even saw the film. The image of John Travolta in his crisp white suit, and the celebrated songs of the Bee Gees are ingrained in the minds of many, to the point where a lot of people don’t even remember the actual story. It’s about the music, the dancing, the vibe of the late 70’s disco craze. The story was turned into a stage musical in the 1990’s, first for the London stage and later on Broadway, and now Stray Dog Theatre is bringing that show to St. Louis, with a fairly large cast, engaging leads, a light-up dance floor, and a vibe that approximates, but doesn’t quite capture, that authentic “Disco Fever” feel.

I’ve personally had a longtime love-hate relationship with Saturday Night Fever. I was in elementary school when the movie came out, and I saw the re-edited PG version, but for me, the movie was about the music, and the dancing, and putting the record on at home and dancing with my siblings and friends from the neighborhood. The story didn’t make a strong impression on me then, but when I saw the original version years later in college, the story kind of left me underwhelmed, and I found I disliked most of the characters, so I decided I didn’t need to see it again, but I still loved the music. When Stray Dog announced this production, I was curious, wondering if the story would be adapted to make it more interesting, and there have been some changes, including removing my least favorite aspect of the film plot and softening some of the characters to make them more likable, but on stage, the story comes across as choppy and disjointed, and an unwelcome distraction from the real reason to see this show–the music, the dancing, and the 1970’s nostalgic vibe that comes from the scenes set in the disco. The home scenes with lead character Tony Manero (Drew Mizell) and his immature, selfish friends and bickering family don’t hold attention nearly as well. 

The show is mostly carried by the leads–Mizell as the disco-obsessed, otherwise directionless Tony, and Sara Rae Womack as Stephanie, an upwardly mobile young woman who aspires to a better life in Manhattan and is a talented dancer. Mizell has the charm, presence, and moves to make Tony compelling, and he and Womack make a strong impression especially in their scenes together. The rest of the cast is hit-or-miss, but I don’t think the structure of the script does them any favors. Standouts include Lindsey Grojean as the lovesick (for Tony) Annette, who has a memorable solo on “If I Can’t Have You”, along with Justin Bouckaert as Tony’s conflicted friend Bobby, Chris Moore as club MC Monty, and especially Jade Anaiis Hillery as singer Candy, who belts out the disco hits with gusto and a powerful voice. As for the rest of the ensemble, they do their best, but it’s hard to find much energy in a script that hops around so much that it isn’t able to find much focus or weight, losing the dramatic moments only coming alive during the club scenes, although the actual dancing could use a little more “flow” and energy as well.

As for the production values, this show tries, but seems oddly muted a lot of the time. There’s an excellent band led by music director Leah Schultz, but it’s hard to hear them much of the time, and the multilevel set by Josh Smith is serviceable, but not spectacular. Colleen Michelson’s costumes sometimes evoke the disco era, but are also oddly muted at times. As for lighting by Tylor Duenow, it works especially well in the disco scenes, but could use a bit more dazzle as well. The scene changes are also kind of choppy.

Overall, Saturday Night Fever has its moments–especially in the dance club scenes–but doesn’t hold up in comparison to many of the other excellent musicals SDT has produced. I think this is largely the fault of the material, since I don’t think even the flashiest, most dazzling production values could do much for the clunky script, but I have to admit I’m disappointed. If you love the film, and the story, you might enjoy it more, and the leads are excellent, so there is entertainment to be had here, especially if you like the music. Still, I’m not sure this was the best movie to turn into a stage show.

Cast of Saturday Night Fever
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Saturday Night Fever at Tower Grove Abbey until October 28, 2023

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