Posts Tagged ‘stages st louis’

STAGES’ Energetic “Chorus Line” Entertains, Enlightens

Posted in St Louis Theatre, tagged , , , , , , , , , , on September 15, 2022| Leave a Comment »

A Chorus Line
Conceived and Orginally Directed and Choreographed by Michael Bennett
Book by James Kirkwood & Nicholas Dante
Music by Marvin Hamlisch, Lyrics by Edward Kleban
Directed by Gayle Seay
Choreographed by Dena DiGiacinto
STAGES St. Louis
September 14, 2022

Cast of A Chorus Line
Photo by Phillip Hamer Photography
STAGES St. Louis

A Chorus Line is a classic musical that’s oddly very much of its time while also being, in another way, ageless. It’s a show that ran for many years on Broadway and has been performed by countless theatre companies at many levels around the world for over four decades, but while elements of it are very tied to 1975, a good production is still as fresh and engaging as if it were a brand new show. STAGES St. Louis is closing out their 2022 season with just such a lively, thoughtful, thoroughly entertaining production.

The last time I saw this show was in a somewhat “opened up” staging at the Muny, and while I enjoyed that production, I think the show fits better in the smaller, more intimate setting at the Kirkwood Performing Arts Center, where STAGES is based. The set, by James Wolk, is extremely simple. For most of the show, there’s just a bare stage backed by mirrors, with a prominent line taped on the floor in front. While there are some excellent technical aspects to this production–including dazzling lighting by Sean M. Savoie and excellent detailed period costumes by Brad Musgrove–the heart and soul is the performers. The show is about the cast, and the act of casting in itself, as a group of dancers of various ages and stages in their careers vie for eight roles in the chorus of an upcoming Broadway show. Based on a series of interview sessions with real performers, the various stories are relatable especially to anyone who has been involved in “show business” at essentially any level.

The audition is a framing device for a series of vignettes and songs, highlighting various aspects of these dancers’ lives, from their desire to get a job (“I Hope I Get It”) to how they discovered dancing (“I Can Do That”, “At the Ballet”, etc.), and more, leading up to the well-known, glitzy finale “One”. Some characters are more prominent than others–like Cassie (Lauralynn McClelland), a one-time featured performer whose career has stalled and is hoping to start over in the chorus, much to the consternation of her ex-boyfriend Zach (Danny McHugh), who also happens to be the director of the show. There’s also the determined Diana (Megan Elyse Fulmer), who leads two prominent songs, including the classic “What I Did For Love” as an ode to the life of a performer; the tough-talking veteran dancer Sheila (Dana Winkle), who is concerned about “aging out” of the chorus; and Paul (Omar Garibay), whose heartbreaking and intensely personal monologue mid-show is one of the dramatic highlights. While there is a story and a premise, with the end goal of finding out who ultimately gets those coveted chorus roles, the real center of the drama is on the characters and their very human stories of artistic and career ambition, personal triumph and tragedy, and more.

The show is also very much about dance, and Dena DiGiacinto’s vibrant choreography is well-danced by the entire ensemble, and it’s fun to watch the opening number without knowing the characters’ names yet and trying to guess who is going to make the cut based on how they dance.  Once the “line” of final contenders is chosen, as we get a chance to hear their stories, we also see them perform, and it’s an impressive cast all around. Standouts include McClelland as the down-on-her-luck but determined Cassie, who impresses with dazzling dance moves on her showcase number “The Music and the Mirror”. There are also memorable turns from Garibay as the sensitive Paul, Winkle as the bold Sheila, Caleb James Grochalaski as the eccentric Bobby, Ronan Ryan as the wide-eyed youngest dancer Mark, Sarah Chiu as the amiable Connie, and Fulmer as the devoted Diana. Everyone does an excellent job here, with fun comic moments particularly from Leah Hofmann as the somewhat flighty Judy and Ashley Klinger as the bubbly Kristine, whose main problem is that she can’t sing. McHugh also does a convincing job as the professionally demanding but personally conflicted director Zach. Every single member of the “line” deserves our time, and our attention, rewarding the audience with expertly crafted performances and strong dancing.

A Chorus Line is one of those “essential musicals” that’s important to see if you love musical theatre. It’s a well-deserved Pulitzer Prize winner that still speaks to the human condition nearly fifty years after its debut, even though it is also very much of its time in terms of the way its characters speak and articulate the influences on their lives. STAGES St. Louis has presented a production that lives up to the show’s reputation and conveys the spirit and energy of the piece with style and depth. It’s a crowd-pleaser as well, and a thrilling theatrical experience.

Cast of A Chorus Line
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting A Chorus Line at the Kirkwood Performing Arts Center until October 9, 2022

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STAGES Brings a Vibrant Neighborhood to Life in Memorable “In The Heights”

Posted in St Louis Theatre, tagged , , , , , , on July 27, 2022| Leave a Comment »

In the Heights
Book by Quiara Alegría Hudes, Music and Lyrics by Lin-Manuel Miranda
Directed and Choreographed by Luis Salgado
STAGES St. Louis
July 27, 2022

Cast of In the Heights
Photo by Phillip Hamer Photography
STAGES St. Louis

In the Heights was the first Lin-Manuel Miranda’s Tony-winning Best Musical before Hamilton. Even though it wasn’t quite the huge phenomenon that the latter show turned out to be, the first show is an entertaining, memorable, and character-filled hit in its own right. Now on stage at the Kirkwood Performing Arts center as produced by STAGES St. Louis, this is a dynamic, crowd-pleasing production with a strong cast and stellar production values.  It’s a compelling look at a distinctive New York City neighborhood and variety of people who live there, along with their hopes, dreams, triumphs and struggles.

Miranda’s blend of hip-hop, pop, Latin music, and traditional musical theatre influences work well to tell this story set in Washington Heights, a largely Latino neighborhood. The central character, Usnavi (Ryan Alvarado) owns a bodega, assisted by his young cousin, Sonny (Luis-Pablo Garcia). Usnavi essentially narrates the show from the beginning, telling his own story as well as introducing many of the other characters whose stories intertwine. There’s the Rosario family, who run a taxi business–Kevin (Edward Juvier) and Camila (Tauren Hagans), who are proud of their daughter Nina (Isabel Leoni), who has just finished her first year at Stanford. She’s hiding a secret, though, which she’s afraid to reveal to her parents. Nina also grows closer to Benny (Jahir Lawrence Hipps), who drives for the taxi company, but hopes to start his own someday. There’s also Vanessa (Amanda Robles), the object of Usnavi’s affections, who dreams of moving to an apartment downtown. Other local characters include Vanessa’s boss at the local hair salon, the gossip-loving Daniela (Ariana Valdes) and equally gossipy co-worker Carla (Marlene Fernandez), as well as Sonny’s pal Graffiti Pete (Cristian Rodriguez), a local frozen treat vendor known as Piragua Guy (Michael Schimmele), and the woman most people call Abuela Claudia (Tami Dahbura), who is especially close to Usnavi and the Rosarios. It’s a steamy summer in the neighborhood, and transition is in the air for many of the characters, whose aspirations vary and are affected by various plot events in different ways. A lottery drawing, romantic and family tensions, a heatwave and a blackout all contribute to the drama of this compelling, well-structured story.

The cast is terrific, simply stated. Alvarado has an amiable, awkward charm as Usnavi, and his performance is somewhat reminiscent of original Broadway lead Miranda. His chemistry with Robles’s determined Vanessa is sparkling, as are his scenes with the superb Dahbura as the “heart” of the show, Abuela Claudia. Garcia is also a strong standout as Sonny, showing strong physicality and comic timing. Also strong are Leoni as the conflicted Nina, who also has excellent chemistry with the equally impressive Hipps as Benny. There are some particularly strong voices here all around, and some great moments to shine especially for Dahbura on “Paciencia y Fe”, Schimmele as Piragua Guy, and Valdes as the big-voiced Daniela. Also worth mentioning are Juvier as Kevin Rosario, and Fernandez in a fun comic turn as Carla. There’s a great ensemble here, as well, with lots of energy, enthusiasm, and strong dance skills in the production numbers, dynamically choreographed by director Luis Salgado. It’s also great to see a live orchestra here again, which is becoming an especially welcome new tradition for STAGES now that they are in their current venue. The band here, led by music director Walter “Bobby” McCoy, is lively and in great form. 

With great music and vocals, this show is a treat for the ears, as well as for the eyes, since the production values are nothing short of dazzling. Broadway set designer Anna Louizos has brought Washington Heights to the stage here in vivid detail, with a richly appointed multi-level set. There’s also vibrant lighting design by Sean M. Savoie and colorful, detailed costumes by Brad Musgrove. In the setting and the staging, the neighborhood has come to life as essentially a character in its own right. 

With music, drama, dynamic energy, and lots of heart, In the Heights is a vivid portrayal of a community and a neighborhood, as well as a portrayal of the importance of family, friendships, dreams, and the definition of “home”. It’s also supremely entertaining. It’s a first-rate production at STAGES St. Louis.

Amanda Robles, Ryan Alvarado, Luis-Pablo Garcia
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting In the Heights at the Kirkwood Performing Arts Center until August 31, 2022

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STAGES Looks to the Future (and the Past) With Promising, Crowd-Pleasing KARATE KID

Posted in St Louis Theatre, USA Theatre, tagged , , , , , , , , , , on June 3, 2022| Leave a Comment »

The Karate Kid: The Musical
Book by Robert Mark Kamen, Music and Lyrics by Drew Gasparini
Directed by Amon Miyamoto
Choreographed by Keone & Mari Madrid
STAGES St. Louis
June 1, 2022

Jake Bentley Young, Alan H. Green (Center) and Cast of The Karate Kid: The Musical
Photo: STAGES St. Louis

STAGES St. Louis brought some big surprises with the announcement of its latest show. Yes, St. Louis is hosting a genuine pre-Broadway tryout of a new musical, and yes, that musical is a screen-to-stage adaptation of the hit 1984 movie that led to a whole series of sequels and spin-offs: The Karate Kid. That news was enough to spark a lot of anticipation and speculation. The current Broadway trend seems to be in favor of lots of movies-turned-musicals, some that are hits, and some that aren’t. Which would this be? The answer to that question is still undecided, but for me, I would say that while it’s not perfect, it has a lot of promise. 

It’s certainly a crowd-pleaser. The opening night audience was energetic and enthusiastic, providing lots of mid-show encouragement and a rapturous standing ovation at the end. For my part, I found it enjoyable, with some true moments of poignancy and heart, especially when focusing on the story’s title protagonist, Daniel LaRusso (John Cardoza)–newly moved from New Jersey to Southern California–and his newfound friend and Karate teacher, Okinawan-American Mr. Miyagi (Jiovanni Sy). These two are the heart and soul of this production, showing a strong, credible bond between the characters and excellent stage presence, and especially strong, emotive vocals from Cardoza especially. The story is essentially the same as the film, but with a few changes, most of which are welcome, such as the expanding of the role of Daniel’s new friend Freddie Fernandez (impressive newcomer Luis-Pablo Garcia), who is given a compelling story here. There’s also a bit of an extended role for Ali Mills (Jetta Juriansz), the girl from school that catches Daniel’s eye, much to the annoyance of her ex-boyfriend Johnny Lawrence (Jake Bentley Young), who leads a gang of bullies from Cobra Kai, Karate dojo run by the angry and vengeful John Kreese (Alan H. Green), a Vietnam vet who seems to have a grudge against the whole world. When Johnny and his cronies make it their mission to make Daniel’s life miserable, Miyagi suggests to Kreese that they take their fight to the local youth Karate tournament, and after a series of training sequences and conflicts, the match is on, just like in the movie, and there’s a lot of action and drama along the way.

What I especially liked about this production is the focus on Miyagi and Daniel’s relationship, as well as Miyagi’s backstory, with a poignant song an flashback scene focusing on his past with his young wife Kiyoko (Abby Matsusaka, in excellent voice). The scenes in the arcade with the kids from school are also fun, especially the ones involving Freddie, who gets to lead a fun, bouncy, 80’s-pop flavored number called “Dreams Come True” in Act 2. There are also memorable, and especially crowd-pleasing, scenes at the Cobra Kai dojo led by Green’s gleefully menacing Kreese, and some dynamic choreography by Keone and Mari Madrid. The choreography is strong throughout, with a compelling conceit of having backing dancers in many of the scenes to support the performers. There’s also believable chemistry between the immensely likable Cardoza as Daniel and the equally excellent Juriansz as Ali.  The only problem I have to do with the casting isn’t about a performance, but about an underwritten role for the always excellent Kate Baldwin, who plays Daniel’s mother, Lucille. Two-time Tony nominee Baldwin was one of my favorite performers back when she was doing shows at the Muny before I started this blog, and I was consistently impressed by how much substance she brought to her roles, but here, she isn’t given much of a chance. While Baldwin gives a strong performance as usual, and she does have some good moments with Cardoza and a few occasions to show off her impressive vocals, her character disappears for much of the show to the point of almost seeming irrelevant. Still, all the leads are strong, even when they aren’t given a lot to do, and Drew Gasparini’s  score is fun, for the most part, but some songs are more memorable than others. 

Staging-wise, the show is a little “smaller” than I was expecting for a musical that’s aiming for Broadway, but it fills the stage at the Kirkwood Performing Arts center well, and I assume they will scale some of the production values up when the time comes. Derek McLane’s set is colorful and 80’s inspired, and the scene transitions are smooth a fluid, aided by the ensemble members who largely drive the scene-changes. There are also excellent detailed costumes by Ayako Maeda, and stunning lighting design by Bradley King and eye-catching projections by Peter Nigrini. The overall look is retro, with the musical retaining the film’s mid-80’s setting, and the overall style and flair are especially well done. There are especially impressive technical moments in Miyagi’s training scenes and the Cobra Kai sequences, with all the elements working together to tell the story in an eye-catching and occasionally thrilling manner. It’s also great to see a live orchestra in the pit at STAGES, sounding great here as conducted by music director and keyboard player Andrew Resnick.

The past and the future are onstage at STAGES at the moment–the past being the 80’s setting of the show, and all the retro elements, and the future being the promise of more pre-Broadway tryouts of developing productions in St. Louis. The Karate Kid: The Musical is a promising show, and ultimately entertaining even if there are elements that can stand to be improved and tightened before this show makes its eventual bow in New York. Still, it’s a fun show, for the most part, with heartwarming moments, humor, drama, and action, and I look forward to seeing how it develops on it’s way to Broadway.

Cast of The Karate Kid: The Musical
Photo: STAGES St. Louis

STAGES St. Louis is presenting The Karate Kid: The Musical at the Kirkwood Performing Arts Center until June 26, 2022

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Crowd-Pleasing “Jersey Boys” Entertains at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , , on October 4, 2021| Leave a Comment »

Jersey Boys
Book by Marshall Brickman and Rick Elice
Music by Bob Gaudio, Lyrics by Bob Crewe
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
September 30, 2021

Jason Michael Evans, Brent Michael DiRoma, Christopher Kale Jones, Ryan Jesse
Photo by ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is closing out their 2021 season, and first at their shiny new venue, with their first production of the popular “jukebox” musical Jersey Boys. This is a show that never seems to fail to please an audience, with its story following the legendary Frankie Valli and the Four Season, and its score chock full of nostalgic hit songs. It’s also a great showcase for its titular quartet, providing they have the vocals and the personality for the roles–and at STAGES, they definitely do, supported by the first-rate production values for which this company is known.

This show has one of the stronger books for this type of show–the jukebox bio-musical. The story follows the original members of the Four Seasons, who take turns narrating as the show goes on, showing their trials and tribulations as the band rises from obscurity in their working class New Jersey neighborhood to worldwide fame and fortune. We also see the flaws and foibles of the individual members, as well as their strengths, starting with ambitious, bossy guitarist Tommy DeVito (Brent Michael DiRoma), then moving on to more business-minded but initially more personally sheltered keyboardist Bob Gaudio (Ryan Jesse), to quirky bassist Nick Massi (Jason Michael Evans), and finally to probably the most well-known of the group, the gifted vocalist Frankie Valli (Christopher Kale Jones). As the band evolves from a three-man act looking for a fourth, to a world-famous quartet, to renowned lead singer and his backing band, we see the early struggles, the personal conflicts, the battling egos, the personal triumphs and tragedies, and the more and less pleasant aspects of the characters’ personalities. All along the way we hear the memorable soundtrack of hit after hit after hit, from “Sherry” and “Walk Like a Man” to “Can’t Take My Eyes Off of You’ and “Working My Way Back to You”. For the most part, this is a look at four guys and their music, although some of the characters are more likable than others, but the music is legendary. 

The casting is essential in this show, especially in terms of the Four Seasons themselves, and STAGES gets it right, as all four roles are ideally cast. DiRoma, who has been in several shows at STAGES before, is in excellent form as the cocky, bossy DeVito, and Evans has some memorable moments as the more eccentric, more introverted Massi. Jesse is also a standout in an amiable performance as Gaudio, and Jones, who has played Franki Valli on tour, is simply fantastic, managing to sound a lot like the real Valli and also portray his maturing through the years in a convincing way. All four work well together, as well, with a strong vocal blend and superb ensemble chemistry. There’s also a strong ensemble to support them, led by STAGES regulars John Flack and Steve Isom, both playing various roles, as well as Edward Juvier as producer/songwriter Bob Crewe, and Jenna Coker-Jones, Sarah Ellis, and Donna Louden as various women in the Four Seasons’ lives. There’s a strong ensemble, providing support, vocals, and energetic dancing–choreographed by Dana Lewis–as well. 

The staging by director Michael Hamilton is well-paced, and the smaller venue of STAGES works especially well for the more intimate nature of the scenes in which we see the group’s “personality” developing, as well as moments in the studio and in concert. The new venue works well here, as well as providing a space for a terrific on-stage band led by musical director Jeremy Jacobs. I hope STAGES continues to feature live music in its shows now that its venue allows for it. James Wolk’s two level set, along with Brad Musgrove’s colorful period-specific costumes, and Sean M. Savoie’s striking lighting, provide just the right tone and mood for the show, as the times move forward from the 1950s to several decades following. 

Even if you’re not overly familiar with Frankie Valli and the Four Seasons, their story and especially their songs are memorable. In fact, the songs just might be playing in your head for a few days after seeing this crowd-pleasing production at STAGES. It’s an ideally cast, well-presented look at an important group in the history of Rock ‘n Roll. 

Cast of Jersey Boys
Photo by ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is presenting Jersey Boys at the Kirkwood Performing Arts Center until October 24, 2021

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STAGES Ushers in a New Era With a Well-Loved, Well-Cast Hit

Posted in St Louis Theatre, tagged , , , , , on August 11, 2021| Leave a Comment »

Always… Patsy Cline
by Ted Swindley
Directed by Michael Hamilton
STAGES St. Louis
August 11, 2021

Diana DeGarmo, Zoe Vonder Haar
Photo by ProPhotoSTL
STAGES St. Louis

Always… Patsy Cline was the first show I saw from STAGES St. Louis, back in 2014 at the Westport Playhouse. That was the second year STAGES had produced the show, which is now their all-time best seller. Now, as the company officially moves into their big, shiny new venue at the Kirkwood Performing Arts Center and after missing a summer last  year due to the pandemic, STAGES is back with a new staging of their biggest hit, with one of the original cast members and an excellent new addition, celebrating the power of friendship and the music of a legendary singer, Patsy Cline. As it was then, it’s a show full of great music, strong production values, and a lot of energy and heart.

The two biggest differences between this production and the last one I saw 7 years ago are the venue and the performer playing Patsy, while there is a welcome sense of continuity as well in the form of the general look and feel of the show and its other leading lady. Veteran local performer Zoe Vonder Haar returns as Houston, TX divorcee, mother, and country music fan Louise Seger, who becomes a big fan of Cline’s and then manages to form a friendship with the singer. This time, Patsy is played by Broadway and American Idol veteran Diana DeGarmo, and the venue is a lot bigger than the tiny, somewhat cramped quarters at Westport. As a result, the show has more of an “opened up” feel this time, although the fun moments of audience interaction and the leads’ interactions with the onstage band are still as vibrant as ever. 

This story is a simple one–Seger becomes a fan of Cline’s through her music, then goes to a concert and meets the singer in person, and the two quickly form a friendship. The main focus of the show is on the music, and many of Cline’s biggest hits are featured, like “I Fall to Pieces”, “Crazy”, “Sweet Dreams”, and a lot more. What’s especially on display here, along with the great songs, is the interaction between the excellent DeGarmo and Vonder Haar as Patsy and Louise. Vonder Haar, as she was before, is energetic, outgoing, and personable as Louise, and DeGarmo is an excellent addition to the cast as Patsy, singing the songs well, especially in her mid-range, belting style, although she does struggle a little with volume on some of the low notes at times. DeGarmo also brings a lot to the role acting-wise, shining in quieter moments as Vonder Haar narrates the story. There are also a few fun duets between the two, with Act 2’s “Blue Moon of Kentucky” a standout moment. 

Technically, the show looks great, with James Wolk’s set filling out the new venue’s stage especially well, with a detailed early 1960’s look. Sean M. Savoie’s lighting adds to the period feel, as do Brad Musgrove’s colorful costumes. There’s also an excellent band led by musical director and pianist Jeremy Jacobs.

If you’ve seen this show before at STAGES, you’ll know what to expect, although it’s worth checking out again. With a brand new venue and a great cast, and that great Patsy Cline music, this a show that’s sure to entertain. It’s not a surprise that this is STAGES’ best-selling show, with its sheer audience appeal. It’s at once a return to an old friend and a welcome to a new era for a familiar and celebrated local theatre company. 

Diana DeGarmo, Zoe Vonder Haar
Photo by ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is presenting Always… Patsy Cline in the Ross Family Theatre at the Kirkwood Performing Arts Center until September 5, 2021

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STAGES “Man of La Mancha” Explores Idealism With Intensity and Heart in Stirring Production

Posted in St Louis Theatre, tagged , , , , , , , , , , on September 23, 2019| Leave a Comment »

Man of La Mancha
Written by Dale Wasserman
Music by Mitch Leigh, Lyrics by Joe Darion
Direction and Musical Staging by Michael Hamilton
Choreography by Dana Lewis
STAGES St. Louis
September 17, 2019

James Patterson, Patrick John Moran (center) and cast of Man of La Mancha
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

With the closing production of its 2019 season, STAGES St. Louis has brought a classic to the stage with a great deal of energy and heart. Man of La Mancha may be a much-staged musical from the 1960s, but in this remarkable production, the energy and strength of the casting makes it seem brand new. That, and a particularly striking set.

Man of La Mancha, inspired by Miguel de Cervantes classic 17th Century novel Don Quixote, is one of those shows that I had heard the music to many times, but I had never actually seen it onstage before. I wore out my cassette tape of the cast album when I was a teenager, and I even read the script, but I never managed to catch a production, until now. I can’t think of a better full-scale introduction to the show than this one. It’s ideal, in many ways, considering the aspirational tone of it, encouraging the challenging of norms and pursuit of seemingly unattainable goals, and overall a sense of basic human dignity that is celebrated, while also showing the dehumanizing effects of forced conformity and rigid societal expectations. The story also has has a play-within-a-play structure that works especially well in introducing and reiterating its themes. It follows the story of writer/actor Cervantes (James Patterson), who is sent to a holding cell, joining many others, awaiting an audience with the infamous Spanish Inquisition. In the meantime, he is put on “trial” by his fellow inmates, led by the stern but fair “Governor” (Steve Isom) and the more cynical Duke (Ryan Jesse). In his own defense, Cervantes and his manservant (Patrick John Moran) begin a theatrical telling of the work-in-progress story of Don Quixote, employing theatrical makeup and props to help tell the story as Cervantes “becomes” Quixote and the manservant becomes Quixote’s devoted squire, Sancho Panza. The cellmates are then incorporated into the story, with the Governor becoming a kind but weary innkeeper, the Duke becoming the skeptical Dr Carrasco, who is engaged to Antonia (Julie Hanson), the niece of the ailing old man, Alonso Quijano, who sees himself as Quixote. The seemingly impossibly idealistic Quixote sees the world very differently than those around him–a small country inn is a castle, its Innkeeper is the Lord of the castle. Scullery wench Aldonza (Amanda Robles) is seen as a noble lady, Dulcinea, much to her own consternation and to the ridicule of a group of surly and eventually abusive Muleteers. A barber’s shaving basin, which the barber (Ryan Cooper) wears on his head as he travels, is seen as the coveted “Golden Helmet of Mambrino”, and Quixote is determined to prove himself worthy and attain a formal knighthood. He is seen as foolish and even dangerous by many around him, including his own family who try to bring him back to his senses, as well as the Muleteers who belittle him and, at first, Aldonza who finds herself gradually fascinated with this odd stranger who treats her like a lady when seemingly everyone else in her life has treated her as a commodity.  The overall message of the show seems to be mostly about dreams, and the effects of seeing people as who they can be versus what society expects and/or forces them to be. Quixote is an intriguing figure, who can be seen as either a hero or a fool, or as both at once. Also, there’s an overall theme of challenging convention that rings true with the show’s 60s origins, and the tone of the piece, while gritty at times, is ultimately about hope and potential, with the oft-recorded song “The Impossible Dream (The Quest)” as its theme. The score features many other memorable songs as well, from the stirring title song to the ballad “Dulcinea” to various comical songs to the blistering “Aldonza”. It’s a show that runs the gamut of emotions, with a tone that’s alternately comic and dark, with some harrowing depictions of violence, and abuse as well as stark representations of poverty and authoritarian oppression. It’s seen as a classic musical with an uplifting score, but there’s a lot more to it than that, and this production shows that with credible skill and a first-rate cast.

Patterson leads the cast with authority, charm, and a powerful voice in the dual role of Cervantes and Quixote, bringing the audience along on his idealistic journey as well the occasional sharp reminders of the reality in which he lives. He’s got a great rapport with the truly excellent Moran as the devoted, supportive Sancho, as well. Moran’s performance is a notable highlight, as well. Also strong is Robles as the mistreated, increasingly conflicted Aldonza, who struggles between wanting to believe what the world has always told her about herself vs. the enticing words of the kindly but seemingly foolish Quixote. Other standouts include Isom in contrasting roles as the authoritative Governor and the well-meaning Innkeeper; Jesse as the challenging Duke and determined Dr Carrasco; and Sean Jones as the brutal leader of the Muleteers, Pedro. It’s a strong cast all-around, with much energy and musical ability, along with some remarkable dancing expertly choreographed by Dana Lewis.

Technically, this is the most impressive production I’ve ever seen at STAGES, with its remarkably detailed, stunningly evocative set by James Wolk and fantastic lighting by Sean M. Savoie. There’s a strong sense of theatricality about this production, and Brad Musgrove’s detailed costumes lend to that atmosphere especially well, along with the well-paced staging, especially notable in the thrilling transition as Cervantes puts on his makeup and becomes Don Quixote before our eyes. The overall musicality is plainly evident as well, with musical direction by Lisa Campbell Albert and strong voices all around.

Man of La Mancha as a show is what I expected it to be, and more. This production at STAGES is so finely staged that I was able to get the 60s tone of it while also seeing it as enduringly timeless. There’s more darkness here than you may expect, but the overall theme is one of perseverance and hope. It’s an “Impossible Dream”, perhaps, but STAGES has brought out the possibilities of this show with clarity and emotion. This one is not to be missed.

Patrick John Moran, James Patterson, Amanda Robles, Steve Isom
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Man of La Mancha at the Robert G. Reim Theatre in Kirkwood until October 6, 2019

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50s Style, Dancing are the Highlights in STAGES’ “Grease”

Posted in St Louis Theatre, tagged , , , , , , , , , , , , on July 27, 2019| Leave a Comment »

Grease
Book, Music, and Lyrics Jim Jacobs and Warren Casey
Additonal Songs by Barry Alan Gibb, John Farrar, Louis St. Louis, Scott Simon
Direction and Musical Staging by Michael Hamilton
Choreography by Tony Gonzalez
STAGES St. Louis
July 24, 2019

Cast of Grease
Photo by ProPhotoSTL.com
STAGES St. Louis

Grease is an unusual show, especially for one so popular. A perennial crowd-pleaser, the show has been altered a lot since its Broadway debut in 1972 and subsequent mega-hit film version in 1978. In fact, it’s the film’s ubiquitous hit status that has affected this show the most, with most major productions and big-scale revivals including songs from the movie and sometimes even changing the plot and order of scenes/songs to more reflect the film. I’ve seen the show on stage several times, and it’s never been the same show. Now the show is featured as the second entry in the 2019 season at STAGES St. Louis, and as is usual for this musical, the crowd loves it. It’s an entertaining show, with an enthusiastic cast and the familiar songs that basically everyone recognizes now. Here, although the version being staged greater highlights the differences between the original play and the film, and how awkward blending them can be, the cast and creative team have worked together to present a show where the music, 50s style theme, and especially the dancing are at the forefront, making for a fun show overall.

Grease is so well-known that a detailed plot summary isn’t that necessary, except in terms of how the stage version differs from the film. It’s still the story of “bad boy” greaser Danny Zuko (Sam Harvey) and “good-girl” new girl in school Sandy Dumbrowski (Summerisa Bell Stevens), who have to deal with the pressures from various groups around them after they unexpectedly reunite at Rydell High School after an idyllic summer romance at the beach. The T-Birds, led by Danny and his best buddy Kenickie (Jesse Corbin) are here as an influence on Danny, and the Pink Ladies, led by tough-talking Betty Rizzo (Morgan Cowling) awkwardly bring Sandy into their group after she’s befriended by wanna-be beautician Pink Lady Frenchy (Lucy Moon).  Those basic plots are the same in the film and the original stage show, but the songlist is different and some of the scenes have been changed around, as well as the tone and message being generally harsher, grittier, and more crass in the stage show, although most revivals have “smoothed out” the grittiness. This one tries to keep it for the most part, although the mix is somewhat odd because the movie songs (especially “You’re The One That I Want” instead of “All Choked Up”) don’t exactly fit, and the context doesn’t always work as well. Also, whether you see the ultimate message as problematic or empowering (I’ve seen both arguments), it seems more abrupt and somewhat muddled in this version. Also, the sanitized versions of the songs (especially “Greased Lightning”) are used here, which doesn’t mix as well with the grittier tone of the stage script.

Still, this production entertains, even with the awkwardness of the mix between sources. The emphasis this time is on the styling, musical performances, and 50s-style choreography by Tony Gonzalez, with a lot of energy and enthusiasm from a strong ensemble. The leads are good, particularly Harvey’s charmingly goofy Danny, but the real standouts are the “supporting” T-Birds and Pink Ladies, especially Brooke Shapiro as Jan and Collin O’Connor as Roger, who make a fun couple and whose “Mooning” number is a highlight, as well as Julia Johanos as the more worldly Marty, and Patrick Mobley as Doody, who brings a youthful energy to his role as the rock-star wannabe T-Bird. The chemistry between the various cast members is also strong, bringing joyful style to songs like “We Go Together”, as well. Also excellent is Kenora Lynn Lucas in a dual role as a big-voiced Teen Angel in the show-stopping “Beauty School Dropout” number and as strict teacher/principal Miss Lynch, hilariously delivering the pre-show announcements in character to the start off the show on a fun note.

Technically, this production is excellent, with a fun, colorful set by James Wolk featuring a backdrop resembling an old-style jukebox, and vibrant lighting by Sean M. Savoie. The costumes by Brad Musgrove are also memorable, colorful and true to the period. This is a great looking show visually, and the energetic choreography gives it an upbeat tone overall.

While no two versions of Grease are the same in my experience, this is a show that can draw an audience on its name alone. At STAGES, the emphasis is on style, dancing, and ensemble energy. Even with some of the odd mixture between versions, this is a fun show, sure to entertain.

Cast of Grease
Photo by ProPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Grease at the Robert G. Reim Theatre in Kirkwood until August 18, 2019

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STAGES Introduces Its Audience to a Dynamic “Boy From Oz”

Posted in St Louis Theatre, tagged , , , , , , , , on June 9, 2019| Leave a Comment »

The Boy From Oz
Music and Lyrics by Peter Allen
Book by Martin Sherman and Nick Enright
Direction and Musical Staging by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
June 5, 2019

David Elder
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

If you didn’t know a lot about Peter Allen before, The Boy From Oz at STAGES St. Louis will educate you. A singer/songwriter and entertainer known for his songs, his flashy stage show, and his brief marriage to Liza Minnelli, Allen becomes the larger-than-life focus of this star-vehicle of a musical. It starred Hugh Jackman on Broadway, but the STAGES production has a dazzling star of its own who, along with an excellent supporting cast, makes this a lively, dazzling spectacular of a show.

The story, narrated by Allen (David Elder), follows the entertainer from his childhood days in Australia. Young Peter Woolnough (Ben Iken, alternating with Simon Desilets) takes up dancing at an early age, encouraged by his mother Marion (Corrine Melançon) and largely ignored by his violent, alcoholic father Dick (Steve Isom) who dies when Peter is still young. As Peter ages into his teens, he teams up with another singer and musician, Chris Bell (Erik Nelson) to form an act known as “The Allen Brothers”, gaining notoriety in their home country and, eventually, overseas. Peter is eventually noticed by the legendary Judy Garland (Michele Ragusa), and the “brothers” become her opening act for her concerts. He also meets and quickly forms a bond with Garland’s daughter, Liza Minnelli (Caitlyn Caughell). The two marry, but eventually separate when Peter comes out as gay. The second act follows Peter through the 1970s and 80s, as he finds new love with partner Greg Connell (Zach Trimmer) and a new manager in Dee Anthony (also Isom), and he develops the flashy, glittery performance style for which he became known. It also follows Peter’s relationship with his mother over the years, and features many of the well-known songs that he wrote or co-wrote, including “I Honestly Love You”, “Everything Old Is New Again”, and the bouncy “I Go To Rio”. It’s a tuneful, energetic show that follows Peter Allen’s life with all its highs, lows, triumphs, and tragedies.

Like the better “jukebox” musicals, The Boy From Oz has a solid book and a compelling story, but this one works especially well as a vehicle for whoever plays Peter. Here, that role is filled by Elder, who is absolutely the star of the show–no question. As Peter, Elder radiates charm, charisma, and energy as he sings and dances his way through the story, even taking some moments to interact with the audience along the way. This is a role for a showman, and Elder is definitely that. He has excellent chemistry with his co-stars, as well. The supporting cast is also strong, with the standouts being Melançon in one of her best roles at STAGES in a poignant turn as Peter’s mother, and Caughell as a vibrant Liza Minnelli. Keiser and Trimmer are also excellent in their small-ish roles as Peter’s first performing partner and his most enduring romantic partner, and Isom is good as usual in his dual role as Peter’s father and, later, as his manager. Ragusa gives a fine performance as Garland, as well, for the most part, although she does seem to be trying so hard to “act” like Garland that it comes across as more of an impression than an authentic performance. There’s a great ensemble of singers and dancers to back up Elder and the supporting cast, as well, with the big, flashy production numbers being a major highlight of the show.

Production-wise, the show looks as great as it sounds, with a colorful set by James Wolk, dazzling costumes by Brad Musgrove, and splashy lighting by Sean M. Savoie. The changing eras from the 1930s through the 1990s are vividly portrayed here, with the changing times reflected in the changing life of its central figure.  It’s dynamically staged, as well, with energetic choreography by Dana Lewis and musical staging by director Michael Hamilton.

The Boy From Oz is a show I didn’t know much about before seeing this production, aside from who starred in the Broadway production. STAGES has brought the show to St. Louis now, with a star who may not have the name recognition of Hugh Jackman, but who has all the presence and star quality that anyone could ask for in the leading role. David Elder is the star here, and he and the rest of the excellent cast are definitely worth seeing. This is a terrific way to start a new season for STAGES.

Corinne Melançon, David Elder
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is presenting The Boy From Oz at the Robert G. Reim Theatre in Kirkwood until June 30, 2019

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STAGES’ Vibrant “Oklahoma!” Is a Lot More Than Just OK

Posted in St Louis Theatre, tagged , , , , , , , on September 15, 2018| 1 Comment »

Oklahoma!
Music by Richard Rodgers, Book and Lyrics by Oscar Hammerstein II
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
September 12, 2018

Blake Price, Sarah Ellis, Zoe Vonder Haar
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

Oklahoma! is a classic musical. In fact, it’s often thought of as the one that really made “musical theatre” a thing, at least in its modern sense. It’s 75 years old this year, and to celebrate its anniversary, many theatre companies across the country are producing the show. Here in St. Louis, it’s on at STAGES to close out their 2018 season, and the production is all that could be hoped for in a staging of this show. It’s a tradititional staging, for the most part, but being on a smaller scale than most productions of this show I’ve seen, it brings an immediacy and clarity to the relationships that is refreshing, and the casting is about as ideal as I could imagine, especially in the two lead roles.

The story is well-known to essentially anyone who knows the history of musical theatre. Set in the Oklahoma territory at the turn of the 20th Century, it follows a collection of characters and their lives and loves as the world is in the midst of an era of change, both technological and social. The cowboy Curly (Blake Price) is sweet on Laurey (Sarah Ellis), and she’s sweet on him, but they’re both awkward about admitting that. Laurey, who lives on a farm with her Aunt Eller (Zoe Vonder Haar), also has another admirer–mysterious, somewhat menacing farmhand Jud Fry (David Sajewich), but Laurey accepts Jud’s invitation to a town social event to spite Curly, even though she soon regrets her decision. Meanwhile, Laurey’s romantically adventurous friend Ado Annie (Lucy Moon) has her own dilemma–having to choose between her cowboy sweetheart Will Parker (Con O’Shea Creal), who wants to marry Annie, and traveling peddler Ali Hakim (Matthew Curiano), who is being pressured by Annie’s father (John Flack) to marry her. Some of the situations are awkwardly stereotypical by today’s standards, but for the most part it’s an entertaining representation of a bygone era both in terms of history and musical theatre, although the casting especially for Curly and Laurey has brought out a sense of timeless immediacy to the story that I haven’t seen as much before.

I’ve seen this show several times before, and I’ve never seen a Curly and Laurey with better chemistry than Price and and Ellis in this production. Every time they are one stage together, it’s electric, and every scene they have together is believable, crackling with emotional energy and attraction, bringing real magic to moments like “The Surrey With the Fringe On Top” and “People Will Say We’re In Love”. Price is an affable, charming Curly and Ellis is a somewhat more deadpan sarcastic Laurey than I’ve seen before, and her more reflective moments are credible as well. In fact, the dream ballet, with Ellis dancing herself opposite a “Dream Curly” (Nicolas De La Vega) puts the focus on Laurey even more so than other dream ballets I’ve seen. It’s an especially memorable, expertly danced moment. The always excellent Vonder Haar is impressive here as the devoted, spunky Aunt Ellerl, and Moon, O’Shea, and Curiano give strong comic performances in their roles as well. Sajewich is an appropriately broody and menacing Jud, and there’s also an excellent, energetic singing and dancing ensemble to back up the leads, with some impressive choreography by Dana Lewis on big, memorable production numbers like “Kansas City”, “The Farmer and the Cowman” and the title song.

Visually, this production is simply stunning, with a set by James Wolk that brings the Oklahoma prairies to vibrant life on stage, with some truly impressive dimensional scene painting and striking, stylish lighting by Sean M. Savoie. There are also colorful period costumes by Brad Musgrove that serve to celebrate both the era in which the show takes place and the 1940s costume design of the orginal Broadway production. It’s a great looking show, in keeping with classic and timeless style.

This is, simply stated, a fantastic Oklahoma! I especially like the particular focus on Curly and Laurey here, since other productions I’ve seen seem to have them overshadowed by the comic subplot. Even though the comic plots are well-done, the real stars here are Price and Ellis, and their love story makes more sense with these two than it ever has before, at least in productions I’ve seen. It’s a remarkable, vibrant production, appropriate for a 75th anniversary of an important classic musical. Go see it. It’s a whole lot more than just “OK”.

Con O’Shea-Creal, Lucy Moon
Photo by Peter Wochniak, ProfPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Oklahoma! at the Robert G. Reim Theatre in Kirkwood until October 7, 2018.

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Crowd-Pleasing “Mamma Mia!” Entertains at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , , on July 28, 2018| Leave a Comment »

Mamma Mia!
Music and Lyrics by Benny Anderson and Björn Ulvaeus, and some songs with Stig Anderson
Book by Catherine Johnson, Originally conceived by Judy Craymer
Directed by Michael Hamilton
Choreographed by Tony Gonzalez
STAGES St. Louis
July 25, 2018

Dan’yelle Williamson, Corinne Melançon, Dana Winkle
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

When someone says the phrase “jukebox musical”, the first example that comes to mind for a lot of people is Mamma Mia! Featuring the songs of Swedish supergroup ABBA, a large cast of characters, and a sunny, summery setting, this isn’t a deep show but it’s still a lot of fun. Now STAGES St. Louis is staging a production that emhpasizes the “fun”, and the infectious score, with a light, summery atmosphere that works well in the middle of July in St. Louis.

The story of Mamma Mia! is only a small part of its appeal. It’s actually kind of a goofy story, but the show doesn’t claim to be anything deep or challenging. It’s just a celebration of family, friendship, and most of all, ABBA music. The classic hits are all here, from the energetic title tune to iconic disco-era hits like “Dancing Queen” and “Take a Chance on Me”, and many more. The story follows young Sophie Sheridan (Summerisa Bell Stevens) as she prepares for her wedding at a small Greek Island resort owned by her mother, former singer Donna (Corinne Melançon). Neither Donna nor Sophie’s fiance Sky (David Sajewich) know that Sophie has found Donna’s diary from years ago that reveals the identities of three men who could possibly be Sophie’s biological father. Now, Sophie has invited all three of them–American architect Sam (Gregg Goodbroad), British banker Harry (David Schmittou), and Australian writer Bill (Steve Isom)–to her wedding. Also in town for the festivities are Donna’s longtime friends and former bandmates Tanya (Dana Winkle) and Rosie (Dan’yelle Williamson), who reminisce about their days as Donna and the Dynamos and get involved in the pre-wedding shenanigans that ensue when all three men turn up to Donna’s surprise, and dismay.  The plot is kind of thin, but it provides a suitable backdrop for the obvious centerpiece of the show, which is the music and the big, cleverly and sometimes hilariously staged production numbers. It’s a sweet show with a message of love and family acceptance, with some amusing character moments, but the real star of the show is ABBA.

The casting here is strong, for the most part. Everyone is obviously having a great time, and the energy is fun and infectious. Melançon and Stevens display a strong, believable mother-daughter relationship as Donna and Sophie, and they sing well, although some of the songs don’t seem to naturally fit Melançon’s voice. She’s at her best in the slower songs, with the poignant “Slipping Through My Fingers” and the emotional “The Winner Takes It All” as highlights. Stevens also has strong chemistry with Sajewich’s devoted Sky and with all three potential “dads”, who are all strong as well. Other standouts include Winkle and Williamson, who display great stage presence, excellent comic timing, and powerful vocals. There’s also a strong ensemble that brings a lot of energy to the bigger musical numbers as well, performing Tony Gonzalez’s whimsical, inventive choreography with style.

Visually, the show looks great. James Wolk’s mult-level set adapts the island resort setting well for STAGES’s space. There are also excellent, colorful costumes by Brad Musgrove that help to capture the spirit of the show, including the glitzy disco-inspired jumpsuits and more. There’s also great atmospheric lighting by Sean M. Savoie.

Overall, this production of Mamma Mia! is a fun, spirited staging that definitely pleased the enthusiastic opening night audience. It’s one of those shows that’s essentially about enjoying the music and performances and not thinking too much about the plot. At STAGES, there’s a good cast, great production values, and above all, a whole lot of fun.

Corinne Melançon, Summerisa Bell Stevens
Photo by Peter Wochniak, ProPhotoSTL
STAGES St. Louis

STAGES St. Louis is presenting Mamma Mia! at the Robert G. Reim Theatre in Kirkwood until August 19, 2018

 

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