Posts Tagged ‘stages st louis’

“Beautiful” Lives Up to Its Title at STAGES With Heartfelt Celebration of Music, Creativity, and Friendship

Posted in St Louis Theatre, tagged , , , , , , , , , on September 29, 2025| Leave a Comment »

Beautiful: The Carole King Musical
Book by Douglas McGrath
Words & Music by Gerry Goffin & Carole King, Barry Mann & Cynthia Weil
Directed and Choreographed by Jennifer Werner
STAGES St. Louis
September 24, 2025

David Socolar, Kailey Boyle, Brianna Kothari Barnes, Jeff Cummings
Photo by Phillip Hamer
STAGES St. Louis

Seeing different productions of the same show can bring out different aspects of the show, also while highlighting the reasons why certain shows succeed so well at telling their stories on multiple levels. STAGES St. Louis’s latest offering, Beautiful: The Carole King Musical, is the third and “smallest” production I’ve seen of this show, after the touring show at the Fox a few years ago and the lavish Muny production in 2023. While all three productions have been excellent, each one seems to have its own “personality”, and this one at STAGES, under the direction of Jennifer Werner and featuring a fantastic cast, comes across as perhaps the most personal of all.

The smartly-scripted musical focuses on legendary singer-songwriter Carole King (Brianna Kothari Barnes), who started out as a Brooklyn teenager with a gift for composing music and a mother, Genie Klein (Amy Loui), who encourages her daughter to pursue a more “stable” career as a music teacher. But the talented and ambitious Carole is determined to make it as a songwriter, soon meeting publisher/producer Don Kirshner (Jeff Cummings), and selling her first song. She also meets Gerry Goffin (Sean McGee), who soon becomes her partner in both songwriting and life, as the two marry, have a baby, and eventually find success with a series of hit songs performed by popular artists like the Drifters (Ian Coulter-Buford, Trey McCoy, Devin Price, Justin Reynolds),the Shirelles (Tatiana Bahoque, Tiffany Francés, Sydney Quildon, Alexandrea Reynolds), and Little Eva (also Quildon). Carole and Gerry also become close friends and professional rivals with another couple, the songwriting team of Barry Mann (David Socolar) and Cynthia Weil (Kailey Boyle). The story follows Carole through the pop music scene of the 1960s as well as challenges in her marriage as Gerry begins to feel restless and deals with mental health and substance abuse issues, finally leading up to her emergence as a solo artist and the debut of her Grammy-winning album Tapestry and a celebrated concert at Carnegie Hall. 

It’s an insightful look at the American pop music scene from the late 1950s to the early 1970s, as well as a celebration of King’s talent, personality, and artistic development. It’s also a compelling look at friendships among creative artists, and the triumphs and temptations of show business. With the more intimate staging of this production and the smaller ensemble, the personal aspects of King’s life seem to stand out more, as do the personal interaction among artists and writers. The staging is well-paced, and the cast is well-chosen, led by a charismatic and relatable Barnes, who sings in King’s style with ease and displays strong stage presence and chemistry with her co-stars, especially McGee’s charming but erratic Gerry, and the memorable standouts Boyle as Cynthia and Socolar as Barry. Cummings is also a highlight as the commercially-focused but supportive Kirshner. There’s also a first-rate ensemble playing all those superstars of yesteryear also including the Righteous Brothers (Hugh Entrekin, RJ Woessner), Neil Sedaka (Woessner), and Janelle Woods (Bahoque). 

The look, sound, and vibe of the eras portrayed are marvelously well-realized, with a kinetic, eye-catching set by Peter Barbieri, dazzling lighting design by Sean M. Savoie, and excellent sound by Breanna Fais. The colorful, detailed period costumes by Cat Lovejoy also add to the overall mood and atmosphere, and there’s a great band led by music director David Nehls, bringing to life all those well-known hits including “Will You Love Me Tomorrow”, “You’ve Got a Friend”, “One Fine Day”, and many more. Werner’s choreography is also a highlight, and the staging on production numbers like the especially memorable “The Locomotion” is stellar.

Ultimately, what comes across here in an especially powerful way is the real sense of connection and friendship, with the “You’ve Got a Friend” sequence featuring Carole along with Weil, Mann, and Kirschner being a particularly  heartwarming moment. Beautiful is a show that celebrates the life and work of Carole King, but also the music and eras in which she got her start. At STAGES, the show lives up to its title, highlighting the beauty of music, friendship, and creativity. 

Brianna Kothari Barnes and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Beautiful: The Carole King Musical at the Kirkwood Performing Arts Center until October 19, 2025

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“Austen’s Pride” is An Entertaining, Promising Look at a Famous Author and Story

Posted in St Louis Theatre, tagged , , , , , , , , , on August 5, 2025| Leave a Comment »

Austen’s Pride: A New Musical of Pride and Prejudice
Book, Music, and Lyrics by Lindsay Warren Baker and Amanda Jacobs
Directed by Igor Goldin
Choreographed by Lisa Shriver
STAGES St. Louis
July 30, 2025

Dan Hoy, Olivia Hernandez, Delphi Borich
Photo by Phillip Hamer
STAGES St. Louis

The latest offering from STAGES St. Louis is a pre-Broadway showcase performance, the second they’ve done after The Karate Kid three years ago, and at least for me, this effort is even more promising than the last one. I’m admittedly a big Jane Austen fan, having read her novels and seen many of the film, television, and stage adaptations. This latest new musical, though, is more than just an adaptation. Austen’s Pride: A New Musical of Pride and Prejudice, is about Austen herself as much as it is about her most well-known novel. And while there are some aspects that could use a little bit of work, for the most part it’s an intriguing, entertaining showcase for a great cast and excellent melodic score. 

With book, music, and lyrics by Lindsay Warren Baker and Amanda Jacobs, Austen’s Pride starts out on a mostly dark stage, with Jane Austen (Olivia Hernandez) trying to figure out what to write next after the success of her novel Sense and Sensibility. Her devoted sister Cassandra (Dianica Phelan) suggests Jane revisit an old draft of hers, a novel called First Impressions, but Austen isn’t sure she wants to write another love story. Then she starts reading through the story and the characters appear, with Austen making changes as it goes along and reflecting on incidents from her own life which influence the story in various ways. She also interacts directly with the characters at times, especially heroine Elizabeth Bennet (Delphi Borich), as Elizabeth’s story becomes influenced by Austen’s own experiences, and Austen herself becomes affected by the story that seems to have a life of its own.

The Pride and Prejudice story is familiar to many, and all the well-known characters are here, from the lead character Elizabeth to her suitor Mr. Darcy (Dan Hoy), and her whole family, including parents Mr. Bennet (Kevyn Morrow) and Mrs. Bennet (Sally Wilfert), and sisters Jane (Addie Morales), Mary (Sarah Ellis), Kitty (Cali Noack), and Lydia (Kate Fahey). We also meet the various suitors, including the kindly, effusive Mr. Bingley (Cole Thompson), the oafish Mr. Collins (Paul Castree), and the charming but rakish Mr. Wickham (Michael Burrell). Several of the cast members also play other characters as needed, with notable examples being that Wickham’s actor also plays Austen’s former suitor Tom Lefroy, and Mrs. Bennet’s performer also plays the imperious Lady Catherine DeBourgh.

Of course there’s a lot of condensing here, and the blending of Austen’s personal life with the story is easier to follow if you know more about the author’s history. Also, some of the character cuts affect the tone of the story in ways I’m not sure work as well as they should–especially in terms of Lady Catherine, who comes across as even more unreasonable than in the book, since all reference to her daughter Anne has been removed (without even one mention), which makes Lady Catherine’s objections to Darcy’s interest in Elizabeth even more ridiculous than they are in the novel. Also, some characters seem like the writers didn’t always know what to do with them, like Cassandra, who has some excellent moments but also disappears for long stretches to the point where it’s easy to forget she was there in the first place. There’s also little suspense in whether the story will actually be finished, because we know that it was in “real life”, and some of the efforts to add conflict come across as clumsy (especially at the end of Act 1). 

Still, those are issues that can be worked on, and for the most part, Austen’s Pride is an intriguing, thoroughly entertaining show, with a broadly witty sense of humor and a believable connection between Austen and her story, as well as an excellent treatment of the growing relationship between Elizabeth and Darcy. The casting is first-rate, as well, with Hernandez showing excellent presence as Austen, with a bit of a Mary Poppins vibe and marvelous vocals. Borich is also fantastic as Elizabeth, working especially well with Hernandez’s Austen and Hoy’s note-and-book perfect Mr. Darcy. The rest of the cast is also strong, with Phelan making the most of the underwritten role of Cassandra, Morrow and Wilfert memorable as Mr. and Mrs. Bennet, and all the Bennet sisters being especially well-cast. Special note goes to Ellis, who makes the most of three roles–the stuffy, socially awkward Mary Bennet, the priggish Caroline Bingley, and Elizabeth’s kindly aunt Mrs. Gardiner. Cole Thompson as Mr. Bingley, Castree as both Mr. Collins and Mr. Gardiner, and Burrell as Wickham and Tom Lefroy all give strong turns as well. It’s a strong ensemble all around, with a good deal of energy and enthusiasm in the production numbers and dances choreographed by Lisa Shriver with a fun blend of Regency styles and modern Broadway flair. 

The set and technical aspects of the show are deceptively simple, with little in the way of actual set pieces and a lot being done with lighting and projections. Josh Zangen’s set is notable for its economy, with a few furniture pieces that move on and off as needed, and excellent projected backdrops. Jason Lyons’s lighting adds much to the atmosphere and whimsical quality of much of the story, and Phillip Peglow’s sound is crisp and clear. There’s also excellent work from Emily Rebholz on the marvelously detailed costumes, and by Tommy Kurzman on wig and hair design. The orchestra, led by music director Sheela Ramesh, is in fine form, as well, lending a lush sound to the sweeping new score by Baker and Jacobs. 

Ultimately, there’s much to love about Austen’s Pride, even if aspects of it could stand some revision. Especially for Jane Austen fans, this is a fun, fascinating story. It also works as a great showcase for it’s talented cast, and especially its leads, Hernandez and Borach. It’s a promising show given a memorable staging at STAGES St. Louis.

Cast of Austen’s Pride
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Austen’s Pride at the Kirkwood Performing Arts Center until August 24, 2025

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Funny, Frantic “Murder For Two” Is Violently Hilarious at STAGES

Posted in St Louis Theatre, tagged , , , , , , on June 16, 2025| Leave a Comment »

Murder For Two
Book & Music by Joe Kinosian, Book & Lyrics by Kellen Blair
Directed by Michael Kostroff
STAGES St. Louis
June 12, 2025

Ian Fairlee, Jeremiah Ginn
Photo by Phillip Hamer
STAGES St. Louis

Murder mysteries are popular fodder for comedies, it seems, with hits like Clue, The 39 Steps, the musical A Gentleman’s Guide to Love and Murder, and many more. I guess there’s something in the heightened characterization and melodrama inherent especially in old fashioned Agatha Christie-style mysteries that makes a great basis for laughs. The latest show from STAGES St. Louis, Murder for Two, is in this vein, with a tagline that says it “puts the laughter in manslaughter”. And there are lots of laughs here, with clever staging, great casting and characterization, frantic piano playing, and fun production values that add to the riotous, slapstick atmosphere of this violently entertaining show. 

As the title suggests, there are only two performers in this show, who play all the characters and also provide musical accompaniment taking turns at the piano,  sometimes jockeying for position, and sometimes playing together. One actor plays police officer Marcus Moscowicz (Quinn Corcoran, standing in for principal Ian Fairlee)  along with a few extra voices, while the other performer (Jeremiah Ginn) plays all the other characters, who become suspects in the murder of mystery novelist Arthur Whitney, who appears as a dummy “body” on the stage throughout most of the show. The suspects include Whitney’s theatrically ambitious wife Dahlia and his persistent grad student niece Steph, along with famous ballerina Barrette Lewis, psychiatrist Dr. Griff, three streetwise young boys’ choir members, and a firefighter. There’s also an invisible character, another police officer named Lou, who accompanies Marcus on the investigation and serves as something of a confidant for characters’ emotional stories. When the lead detective is late to arrive, Marcus is assumed to be a detective and tries his best to solve the case before the real one arrives. 

That’s the setup, and once the story gets going, the characters and situations quickly become wackier and wackier, with a backstory for everyone–including Marcus, who is still reeling from a previous relationship that ended in disaster. There are hidden secrets, surprise relationships and revelations, and lots of frenzied singing and piano playing from the two energetic leads, with both excelling in their roles. Ginn, in the somewhat showier role, is truly fantastic, making quick changes between characters with mannerisms and minimal prop changes, from the insistently theatrical Dahlia to the amorous Barrette, to the clever and persistent Steph, and more. Corcoran is also a treat as the eager, protocol-obsessed, lovelorn Marcus, and the two work together especially well, with their dueling piano skills impressing all the more. The staging is crisp and fast-paced, with lots of surprises. The script can get a bit too silly at times, but I suppose that’s the point of a show like this, although I thought some plot points (particularly Marcus’s obsession with impressing Barrette) were dragged out a little too much. Still, the energy is remarkable, and the laughs are nonstop, with the audience being especially appreciated in the performance I saw. I plan on going back to catch Fairlee’s performance at some point in the run*, but I had no regrets about seeing the marvelously talented Corcoran in the role.

The overall stylized, frantic tone of the production is aided by the excellent production values, including the marvelous, versatile set by Ann Beyersorfer. The evocative mood lighting by Sean M. Savoie and excellent sound design by Hankyu Lee also add much to the overall atmosphere of the show. Erica Jo Lloyd’s costumes suit the characters well and work well in facilitating the relatively minor changes when Ginn changes characters. Ginn also gets kudos for his music direction, as the piano playing is a key element (pun intended) to the overall frantic atmosphere of this show.

In short, I’ll say that Murder for Two slays ’em in the aisles. If comic murder, intrigue, delightfully over-the-top characters and non-stop laughs are what you’re looking for, you’ll find it at the Kirkwood Performing Arts Center under the expert direction of Michael Kostroff. It’s a fun start to a new summer season for STAGES. 

Jeremiah Ginn
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Murder For Two at the Kirkwood Performing Arts Center until June 29, 2025

*ADDENDUM–I managed to see the show again on June 18th, which featured both Ginn and Fairlee, and I can say now that Fairlee is also impressive as Marcus, with a clear, strong voice and terrific piano skills. I also thought there was a bit more of a spark of energy between these two performers, possibly because they will have rehearsed together more. Fairlee comes across as a little sharper with the comic timing as well, but I will reiterate that Corcoran is also excellent, and that no matter who you see in this production, you’re in for a hilarious, entertaining show. I also want to add that I love the audience participation element that’s included late in the show, and that it worked well for both performances I saw.

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“Million Dollar Quartet Christmas” is a Well-Cast, Tuneful Celebration from the Rep and STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , on December 10, 2024| Leave a Comment »

Million Dollar Quartet Christmas
Book by Colin Escott
Directed by Keith Andrews
Repertory Theatre of St. Louis and STAGES St. Louis
December 6 ,2024

Cast of Million Dollar Quartet Christmas
Photo by Jon Gitchoff
Repertory Theatre of St. Louis, STAGES St. Louis

Both the Rep and STAGES St. Louis have presented the musical Million Dollar Quartet before, with STAGES’ version occurring just last season. Now, the two prominent local companies are teaming up for the first time to present the holiday-themed sequel, Million Dollar Quartet Christmas, with most of the cast from last year’s STAGES show on the Rep’s main stage at  the Loretto-Hilton center for a well-cast evening of music, reflection, and yuletide cheer as the cast of (mostly) well-known characters continue their jam session with a series of popular songs and holiday favorites.

Since the “Million Dollar Quartet” of Elvis Presley (Sean Buckley), Johnny Casy (Scott Moreau), Carl Perkins (Jeremy Sevelovitz), and Jerry Lee Lewis (Brady Wease) were only brought together by producer Sam Phillips (Jeff Cummings) at the Sun Records studio in Memphis on one occasion, I wondered how a sequel would work. What book writer Colin Escott has done, however, is just to extend that “jam session” on the same night, taking place after the four posed for the famous photo. It’s December, and Christmas is approaching, so I guess it makes sense that the group would add some carols and other holiday tunes to their repertoire such as “Rockin’ Around the Christmas Tree”, “Go Tell It on the Mountain” and “Blue Christmas”, along with a few other hits of the day including Elvis’s “Don’t Be Cruel” and well known songs by other artists including “Que Sera, Sera”, “Hot Diggity Dog” and more. It isn’t purely a concert, though, and there is a bit of  a plot, if you can call it that, as Phillips continues to express his disappointment at the artists leaving Sun Records for more glamorous contracts elsewhere, the artists stress over family commitments and other developments,  and the role of Elvis’s fictional girlfriend, Dyanne (Shelby Ringdahl) has been expanded in a way that works surprisingly well, as she serves as more a catalyst for some of the events this time as well as having some memorable vocal moments with songs like “Santa Baby” and the aforementioned “Que Sera, Sera”. 

It’s a fun musical experience, with a great cast returning and turning in stellar performances all around, joined by newcomer Buckley as an appropriately charismatic, vocally strong Elvis who also moves well. Sevelovitz and Zayas, as Carl and Jay Perkins, are standouts again as they were last year at STAGES, and Wease has all the electric energy that the role of Lewis requires, along with great piano skills. Moreau is solid as Cash, as well, and Ringdahl gets an impressive showcase in the slightly expanded role of Dyanne. Cummings as Phillips is also strong, although the script can make him occasionally come across as overly whiny, and there’s also strong support again from musical director Dave Sonneborn as percussionist W.S. “Fluke” Holland. This is a fun little story, but mostly it’s a jam session, and it’s all about the music, which is played very, very well, and with an additional dose of holiday spirit this time.

The set by Adam Koch is appropriately authentic-seeming, and there’s also excellent lighting by Sean M. Savoie and sound by Beef Gratz. The costumes by Brad Musgrove are suitably colorful and authentic to the characters who wear them. The late 1950’s atmosphere is well-maintained, along with the extra Christmasy elements that make this a holiday show.

Overall, Million Dollar Quartet Christmas is just about as entertaining as the first addition, coming across as something of an extended, holiday-themed encore. It’s great to see the impressive cast returning, with an excellent new addition in Buckley. What’s especially encouraging, though, is the collaborative effort of the Rep and STAGES, and I hope this won’t be the last time we see these excellent companies working together.

Brady Wease, Scott Moreau, Jeremy Sevelovitz, Shelby Ringdahl, Sean Buckley, Chuck Zayas
Photo by Jon Gitchoff
Repertory of St. Louis, STAGES St. Louis

The Repertory Theatre of St. Louis and STAGES St. Louis are presenting Million Dollar Quartet Christmas  at the Loretto-Hilton Center until December 22, 2024

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Impeccably Staged “Ragtime” Impresses at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on October 1, 2024| Leave a Comment »

Ragtime
Book by Terrence McNally, Music by Stephen Flaherty, Lyrics by Lynn Ahrens
Directed by Deidre Goodwin
Choreographed by Michelle Potterf
STAGES St. Louis
September 25, 2024

Cast of Ragtime
Photo by Phillip Hamer Photography
STAGES St. Louis

Ragtime is a big, intense show, with historical significance and a profound, timeless message. I’ve seen three productions of the show now, all in St. Louis, with the latest being the truly superb production currently running at STAGES St. Louis. It’s a show that’s sweeping in scope, with thoughtful staging and strong performances that lend a personal element to the story, and the production values are simply stunning.

Based on a novel by E. L. Doctorow that was previously adapted for film in 1981, Ragtime has a lot of characters and a complex, interwoven plot involving three groups in Turn-of-the-2oth-Century New York and beyond. First, there are the affluent white residents of New Rochelle, represented by Mother (Marissa McGowan), Father (Dan Fenaughty), Mother’s Younger Brother (Matthew Cox), Grandfather (Whit Reichart), and the Little Boy (Kyle Holmes), who live a privileged existence outside the hustle and bustle of New York City, where the Black residents of Harlem live and work, including ragtime musician Coalhouse Walker, Jr. (Tamar Greene); and where immigrants from Eastern Europe and elsewhere arrive daily, including Tateh (Brian Golub) and his daughter, the Little Girl (Zoe Klevorn). These characters’ lives start out separately but soon become entangled, as Coalhouse’s estranged girlfriend Sarah (Shereen Pimentel) and their infant son are taken in by Mother while Father is away on an expedition, and Tateh and the Little Girl briefly meet Mother and the Little Boy while heading to Boston from New York in search of a better life. Also, Coalhouse, who has been looking for Sarah, makes frequent trips to New Rochelle in his brand new Model T Ford car to woo her back, riling up racist fire chief Willie Conklin and his cronies (Scott Moreau) in the process, which eventually leads to tragedy and life-changing situations for all involved.

In the midst of the fictional stories, real historic figures such as Harry Houdini (Jonathan Cobrda), Evelyn Nesbit (Sarah Ellis), Emma Goldman (Elora Von Rosch), Booker T. Washington (Omega Jones), Henry Ford (Steve Isom), J.P. Morgan (John Flack) and others figure into the story, interacting with the main characters while also serving as representatives of the ideals and values of the times. It’s a sweeping, heavily plotted story but all the threads are fit together well, and the score by Stephen Flaherty and Lynn Ahrens is powerful, influenced by the sounds of the times including vaudeville and, obviously, ragtime. The band here, led by music director E. Reneé Gamez, is excellent, filling the stage with that marvelous score and supporting the actors’ excellent vocals well.

The cast is remarkable, and the most well-rounded I’ve seen in a production of this show, even though both previous productions I have seen were excellent. STAGES has taken this show to the next level, with a well-measured staging that emphasizes the emotion and scope while especially highlighting character and personal connection, and the stellar cast is a large part of why this staging works so well. From what I’ve seen before, the stories of Coalhouse and Sarah, and Mother’s journey of discovery have tended to overshadow Tateh’s story to a degree. Here, all three main stories seem to be given equal weight, with dynamic turns from Greene in a powerful portrayal of the increasingly determined Coalhouse, McGowan in a thoughtful and vocally impressive performance as Mother, and Golub shining as the enterprising and charming Tateh, who displays credible chemistry with McGowan. in his developing friendship with Mother. Pimentel is also remarkable as Sarah, making the most of her moments with Greene’s Coalhouse. Other standouts include Cox as the initially aimless Younger Brother, Von Rosch as the activist firebrand Goldman, Ellis as the perky starlet Nesbit, and Reichert in a fun, mostly comic turn as the curmudgeonly Grandfather. The child performers, Holmes and Klevorn, are also impressive, more than holding their own with the adult members of the cast. It’s a strong ensemble all around, with strong voices and vivid characterization, contributing much credibility and weight to this story.

This is a fantastic looking show, as well, with a vivid, dynamic set by Robert Mark Morgan that utilizes moving set pieces to excellent effect. There are also exquisitely designed costumes by Brad Musgrove that add to the visual interest of the story as well as the period setting and tone. Sean M. Savoie’s lighting is also dazzling, in keeping with the broad scope and epic tone of the story that’s being told. The sound mixing was a little uneven on the night I saw the show, with some characters being difficult to hear at times, but this did improve in the second act, and I hope it continues to improve as the show’s run continues.

This is, to put it simply, the best production of Ragtime I have seen. If you love this show, you won’t want to miss this, and if you haven’t seen it before, this is an excellent introduction to this stirring, thought-provoking show. It exceeded my lofty expectations, and it’s a powerful way to close out this already excellent season at STAGES. 

Shereen Pimentel, Tamar Greene
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting Ragtime at the Kirkwood Performing Arts Center until October 20, 2024

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Energetic “Newsies” Take the Stage by Storm at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on August 2, 2024| Leave a Comment »

Disney’s Newsies
Music by Alan Menken, Lyrics by Jack Feldman, Book by Harvey Fierstein
Directed by Steve Bebout
Choreographed by Lindsay Joy Lancaster
STAGES St. Louis
August 1, 2024

Daniel Marconi (center) and Cast
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is continuing its 2024 season with a vibrant, energetic production of a popular modern musical inspired by a real historical event. Disney’s Newsies began as a movie in 1992, but the stage version that opened on Broadway in 2012 has become a big international hit, and this is the fourth production of the show I have seen. At STAGES, the familiar characters, music, and high-energy dancing are all here, but slightly scaled down for the smaller space, and it works especially well, bringing new attention to aspects of the story and characters, and presenting the story in an approachable and thoroughly entertaining manner. 

The now-familiar story is highly fictionalized from actual events, though it is based on an actual strike of newspaper carriers in New York City in 1899. Here, the hero is Jack Kelly (Daniel Marconi), an orphan and “newsie” who escaped from “the Refuge”, a  rough and abusive home for “troubled” youth.  He tells his friend Crutchie (Matthew Cox) about his dreams of moving out west, but before that can happen, the two and their fellow paper carriers find themselves in the midst of a conflict with Joseph Pulitzer (Christopher Gurr), who suddenly raises the price that the newsies pay for the papers they deliver, making it hard for them to earn enough money to live on. New Newsie Davey (Richard Spitaletta) and his kid brother Les (Davin Wade) help inject some energy into the group as the idea for a strike is brought up, and Davey becomes the “brains” of the operation while Jack is the charismatic “face”. Meanwhile, the newsies’ cause is boosted by aspiring young reporter Katherine (Taylor Quick), who hopes to become a more serious journalist and not be stuck in the “girl reporter” role of writing for the Society page. Jack and Katherine develop an attraction, but Katherine has a secret she’s not sharing that could threaten their relationship. As the newsies fight the establishment, led by Pulitzer and his allies, they are aided by local entertainer Medda Larkin (Anita Michelle Jackson), for whom the talented artist Jack paints backdrops and who lets the newsies use her theatre for a union rally. As the conflict heats up and the tensions rise, the newsies band together for their cause and there’s a lot of energetic singing, athletic dancing, and a persistent quest for hope against difficult odds. 

This show usually features a large cast, and the group here at STAGES is enough to fill their smaller stage, but noticeably not as numerous as other casts I’ve seen. Still, what they lack in numbers, they make up for in sheer enthusiasm, presence, and energy. Marconi is excellent as the charismatic dreamer Jack, who has to fight his own sense of inadequacy and embrace his potential and his found family. Marconi’s got a strong voice and plenty of charisma, and he works well with the also excellent Cox as the mistreated but hopeful Crutchie and Spitaletta as the clever, enterprising Davey. He also has strong chemistry with Quick’s gutsy, strong-voiced Katherine.  The rest of the newsies are also strong, with impressive dance skills for some truly thrilling production numbers featuring Lindsay Joy Lancaster’s spirited choreography. There are also memorable performances from young Wade as the plucky, outspoken Les, Jackson as the sympathetic, kind Medda, John Flack as the creepy Snyder, who runs the Refuge; and especially Gurr ,who manages to provide some depth and ferocity to the role of Pulitzer, who can often come across as something of a cardboard villain. 

The production looks great, as well, with a dynamic set by Anne Beyersdorfer that features many moving pieces including scaffolding, beams, pillars and rails reflecting the late 19th Century city vibe, backed by Saki Kawamura’s memorable projections. There are also colorful, detailed costumes by Brad Musgrove that fit the characters and atmosphere well. There’s also vibrant lighting by Sean M. Savoie and sound design by Mike Tracey that works well for the most part, despite some mixing issues in the first part of Act One that can make the singing harder to hear.

This staging of Disney’s Newsies is a lot of fun! It’s the same story you might already know, but scaled to its space with thoughtful staging a a great deal of energy. It’s a story that can resonate with several generations. STAGES is continuing its season with style, talent, and infectious enthusiasm. 

Cast of Disney’s Newsies
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Disney’s Newsies at the Kirkwood Performing Arts Center until August 25, 2024

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STAGES Brings Another Successful Play with Memorable “Steel Magnolias”

Posted in St Louis Theatre, tagged , , , , , on June 10, 2024| Leave a Comment »

Steel Magnolias
by Robert Harling
Directed by Paige Price
STAGES St. Louis
June 5, 2024

Kari Ely, Taylor Quick, Jilanne Marie Klaus, Amy Loui, Abigail Isom
Photo by Phillip Hamer
STAGES St. Louis

After last year’s resounding success staging a non-musical play, the multi-award-winning Clue, STAGES St. Louis is at it again. This time, they’re opening their season with Robert Harling’s Steel Magnolias, which is perhaps best known from its 1989 film adaptation starring Sally Field, Julia Roberts, and Dolly Parton. Here, director Paige Price has put together a funny, heartfelt production that’s an excellent showcase for a talented cast. 

The stage version of this story has a smaller cast–only six characters–and a fixed setting, the small-town Louisiana beauty parlor owned and operated by Truvy (Jilanne Marie Klaus), who at the start of the play is hiring a new stylist, the skilled but timid Annelle (Abigail Isom). In four scenes stretched out over two acts, the play tells its story as we meet the customers–mother and daughter M’Lynn (Amy Loui) and Shelby (Taylor Quick); along with the personable Clairee (Kari Ely)–the widow of the town’s longtime mayor–and the curmudgeonly Ouiser (Zoe Vonder Haar), who lives next door to M’Lynn and her family. Although we get to know all of the characters, the main focus is on Shelby and M’Lynn, who have a close relationship but clash over various issues, from quibbles over Shelby’s wedding plans to more serious concerns about her health, as the diabetic Shelby yearns for a child, getting pregnant against her doctor’s advice and to the consternation of her mother. It’s a characterful story, with a good deal of humor along with moments of poignancy and sadness, as the characters laugh together, share town gossip, share aspirations and regrets, and cry together as the seasons change and life moves on in their small Southern town.

One of the most striking aspects of this particular production of this oft-performed play is the magnificent set by Kate Rance, which is notable for its detail and 1980s atmosphere. The costumes by Brad Musgrove and the wig and hair design by Daniel Paller also contribute much to the characterization and era of the story. There’s also excellent lighting design by Sean M. Savoie and sound by Nevin Steinberg, with fun use of classic pop songs to fit the mood of the show. 

The casting is especially strong, with all the performers playing their roles well, despite occasional uneven accents. Loui and Quick make a believable mother-daughter pair as the protective M’Lynn and determined Shelby. They are supported by excellent performances from the always great Vonder Haar as the snarky but likable Ouiser and Ely as the more cosmopolitan Clairee. Klaus is also strong as the encouraging, bubbly Truvy, and Isom impresses as the character who changes the most in this show–the initially timid, then outgoing, then devout Annelle.  The sense of friendship among these six characters is essentially what makes this play work, and the cast does a commendable job conveying that believable bond. They also work well with the play’s shifting moods from comedy to drama, and from hope to heartbreak. 

Ultimately, this production succeeds by the strength of its cast, and the well-measured pacing by its director, Paige Price. This is a well-known story, and it’s a lively, emotional, well-told tale. The two plays and a musical format for the STAGES season is working out well, and I find myself hoping they continue this formula in the future.

Amy Loui, Zoe Vonder Haar, Taylor Quick, Abigail Isom Photo by Phillip Hamer STAGES St. Louis

STAGES St. Louis is presenting Steel Magnolias at the Kirkwood Performing Arts Center until June 30, 2024

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STAGES Celebrates Classic Rock ‘n Roll with Ideally Cast “Quartet”

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

Million Dollar Quartet
Book by Colin Escott and Floyd Mutrux
Original Concept and Direction by Floyd Mutrux
Directed and Choreographed by Keith Andrews
STAGES St. Louis
September 13, 2023

Jeremy Sevelovitz, Brady Wease, Edward La Cardo, Scott Moreau
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is closing out their season with a rousing tribute to good old fashioned Rock ‘n Roll, and some of the iconic musicians who helped popularize it in the 1950’s. Using a true event as the basis for a fictionalized story, Million Dollar Quartet–directed by Keith Andrews–also provides an excellent showcase for its cast and a collection of memorable songs. It’s the musicality and presence of the cast, as well as the simple but effective production values, that make this show a delightful, energetic, crowd-pleasing production that celebrates not only the celebrities represented, but the music itself. 

The story is based on a gathering at Sun Records in Memphis, Tennessee in December, 1956, in which Carl Perkins, Jerry Lee Lewis, Johnny Cash, and Elvis Presley all met at the now-legendary studio and recorded some songs together for studio owner and producer Sam Phillips. The iconic “jam session” has become the stuff of legend, but book writers Colin Escott and Floyd Mutrux have played up the “legendary” aspect of the story even more, taking the opportunity to add some biographical details on the performers and Phillips, as well as including many of the performers’ most recognizable hits. The setup involves Philips trying to surprise Cash with a contract renewal, and RCA trying to court Phillips to sell Sun Records and move to New York to work with Elvis again. Also, Elvis did apparently have a girlfriend with him that day, but she wasn’t a singer, so the writers have created the character of Dyanne, an aspiring chanteuse who joins in on the jam session singing lead on some popular hits and harmonizing with the guys on other songs.

The performances are nothing short of stellar, and the casting of the singers and musicians is ideal, with Jeremy Sevelovitz as Carl Perkins on vocals and guitar, and Chuck Zayas as Carl’s brother Jay Perkins on bass being the standouts in terms of pure musicianship. Everyone is in excellent voice, with Scott Moreau as Johnny Cash managing to capture Cash’s deep vocal sound with impressive accuracy, and Edward La Cardo as Elvis has the necessary moves, vocals, and sheer charisma of the young King of Rock ‘n Roll. Brady Wease is a scene-stealer as the showboating Lewis, as well, with great vocals and impressive piano playing. Shelby Ringdahl as Dyanne also adds a likable personality and strong vocals to the mix, and music director David Sonneborn accompanies the group with style as drummer W.S. “Fluke” Holland. The production’s emotional anchor is the excellent, personable Jeff Cummings as Phillips, who provides much of the dramatic weight of the production and makes the somewhat thin plot work smoothly. 

Ultimately, though, it’s the music that makes this show work, and the sheer musicianship and atmosphere, which is ably supported by means Adam Koch’s detailed set, Brad Musgrove’s excellent period costumes, Sean M. Savoie’s vibrant lighting, and the cohesive sound design by Beef Gratz. 

Million Dollar Quartet is both a history lesson and a celebration of the true joy of music, especially old-school rock ‘n roll and pop, traditional country, and some old-time gospel hymns. It’s a marvelous tribute to these iconic performers, as well as their seemingly boundless talent and musicality. 

Cast of Million Dollar Quartet
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Million Dollar Quartet at the Kirkwood Performing Arts Center until October 8, 2023

This review was originally published at kdhx.org

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Fast-Paced, Hilarious “Clue”is a Killer Comedy at STAGES

Posted in St Louis Theatre, tagged , , , , , , , , , on July 29, 2023| Leave a Comment »

Clue
Adapted from the Screenplay by Jonathan Lynn
Written by Sandy Rustin
Additional Material by Hunter Foster and Eric Price
Based on Original Direction by Casey Hushion
Directed by Steve Bebout
STAGES St. Louis
July 27, 2023

Cast of Clue
Photo by Phillip Hamer
STAGES St. Louis

Clue is a lot of things. It’s a game, it’s a movie, and now it’s a play. It’s the first non-musical play STAGES has produced in a long time, but the way this show plays out, it’s not that much of a departure. In fact, even though it’s not a musical, with its pacing, original musical score by Michael Holland, energetic performances, and cast full of musical theatre veterans, it almost seems like one. It’s also a frantic, well-choreographed, hilarious good time at the theatre. 

If you know the board game, you know most of the characters here, and if you’ve seen the film, you know more of the characters, and the basic plot. It generally follows the plot of the film, as far as I remember, but there are some additions, and it’s all staged in an especially theatrical way, with a great deal of energy by the cast, and some impressive production values. The mansion, the weapons, the rooms, and the familiar board game characters are all here–Colonel Mustard (David Hess), Mrs. White (Tari Kelly), Mrs. Peacock (Zoe Vonder Haar), Mr. Green (Charlie Franklin), Professor Plum (Graham Stevens), and Miss Scarlet (Diana DeGarmo)–welcomed to Boddy Manor by butler Wadsworth (Mark Price) and the shady Mr. Boddy (Jeff Cummings, who plays a variety of roles). All the characters have their secrets, and a sudden murder sends them all into “mystery solving” mode while more mayhem ensues. It would spoil too much to go into too much detail, but I will say it involves a lot of well-orchestrated chaos.

It’s a good thing many of the cast members are experienced in musical theatre, because while this isn’t a musical, exactly, it’s a highly stylized staging that features lots of heavily choreographed movement, as well as some dancing and an affected “sing-song” way of speaking for some of the characters. The cast is excellent across the board, with everyone getting their moments to shine, and Price a notable standout as the fastidious, energetic Wadsworth. The ensemble chemistry is excellent, as well, with all the players previously mentioned–along with Cameron Jamarr Davis in several roles–working together with seamless efficiency and wacky comic energy. This isn’t a long play, with its one act running at roughly 80 minutes, but the cast makes the most of every minute, milking the laughs for all they are worth.

The breakneck pace of the staging is also highly dependent on the technical aspects of the production, most notably the mansion, which is essentially a character in itself. The marvelous set by Lee Savage is highly versatile and strikingly detailed, with quick set-changes and movement essential to the action of the play. The costumes by Brad Musgrove are also terrific, bringing the characters from the game to life with vivid detail. There’s also stellar lighting by Sean M. Savoie and sound by Beef Gratz. 

Clue is, ultimately, a whole lot of fun. If you’re a fan of game and/or the film, it will probably be even more fun, but even if you don’t know much about either, this is simply a laugh fest from start to finish. Its almost dizzying pace adds to the laughs, as does the high-energy enthusiasm of the cast and the impressive production values. It’s a very musical “non-musical”, especially, and a hilarious success for STAGES St. Louis. 

Cast of Clue
Photo by Phillip Hamer
STAGES St. Louis

STAGES St. Louis is presenting Clue at the Kirkwood Performing Arts Center until August 20, 2023

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STAGES Dazzles with Poignant, Powerful “Aida”

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

Aida
Music by Elton John, Lyrics by Tim Rice
Book by Linda Woolverton, Robert Falls, and David Henry Hwang
Directed and Choreographed by Luis Salgado
STAGES St. Louis
June 7, 2023

Wonu Ogunfowora (center) and Cast of Aida
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is back for another season, and their first production is spectacular. With a stellar cast and truly spellbinding production values, Elton John and Tim Rice’s Aida has made an indelible impression on audiences. Its a poignant, compelling story, as well as showcase for a great deal of astonishing talent, including some very welcome returning artists and some excellent STAGES newcomers.

With the exception of a framing device at the beginning and end, the story is set in ancient Egypt, during a war between Egypt and the country of Nubia. The Nubian princess Aida (Wonu Ogunfowora) is captured early in the story along with some of her countrywomen, and is brought into slavery in Egypt. The strong-willed Aida stands up to the military leader who captures her, Captain Radames (Ace Young), and both feel drawn to one another, with initial reluctance especially on Aida’s part. As for Radames, he’s engaged–for nine years–to the Pharaoh’s daughter, the initially flighty Princess Amneris (Diana DeGarmo), who loves Radames but increasingly doubts that he feels the same way about her. Meanwhile, Radames’ scheming father, chief minister Zoser (Ryan Williams) schemes to get his son on the throne as soon as possible, and the enslaved Nubians spurred on by the determined Mereb (Albert Jennings) hope to someday return to freedom in their home country. As the attraction between Aida and Radames grows, she keeps her identity as a princess secret, but forces are conspiring against them and threaten their hope of a future together, as well as the hopes of the Nubians and anyone who desires peace and freedom. The memorable score by Elton John and lyrics by Tim Rice help to drive the story that features timeless themes of striving for love, hope, freedom, and the terrors of greed and injustice. 

The cast here is wonderful, with standout performances from all three main leads, as well as the rest of the cast. The anchors, though, include the stellar Ogunfowara as the strong-minded Aida, with a powerful voice on songs like “Easy as Life” and her memorable duets with the also excellent Young, who has a pleasant tenor voice and brings a sense of warmth to Radames that rises to the surface as his relationship with Aida grows. DeGarmo as Amneris is another significant standout, with her sheer stage presence and remarkable vocals, as well as her ability to portray her character’s progression from flighty and sheltered to more self-aware and determined, as demonstrated remarkably in her two big songs–the energetic “My Strongest Suit” in the first act, and the more emotional, expertly sung “I Know the Truth” in the second. Other notable performances include Jennings, who is thoroughly convincing as the idealistic Mereb; and Williams, who revels in every oily moment as the nefarious, scheming Zoser. There’s a strong supporting cast with no weak links, as well as excellent vocals all around, with memorable group numbers like “The Gods Love Nubia” showcasing their talents, as well as the stunning choreography by director/choreographer Luis Salgado, who makes a triumphant return this year after last year’s excellent In the Heights. 

Technically, this show also dazzles, with all the elements blending together to tell this compelling story. The versatile set, by Kate Rance, features neon pyramids that go along with the bright “glow stick” like rods that are used to great effect in the choreography. Herrick Goldman’s lighting is also superb, contributing to some truly spectacular effects as the story unfolds, and Brad Musgrove’s meticulously detailed costumes are equally impressive, lending a bit of edgy modern twist to the ancient Egyptian setting and motifs. The orchestra, led by music director Erika R. Gamez, sounds great, bringing power to the already excellent score. 

It was great to see Executive Producer Andrew Kuhlman onstage after the curtain call, bringing many of the backstage crew and creatives to the stage for a well-deserved ovation. There’s a lot of talent involved in this production of a timeless story poignantly and memorably told.  Simply speaking, Aida at STAGES is a production that’s not to be missed. 

Diana DeGarmo, Ace Young, and Cast of Aida
Photo by Phillip Hamer Photography
STAGES St. Louis

STAGES St. Louis is presenting Aida at the Kirkwood Performing Arts Center until July 2, 2023

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