Feeds:
Posts
Comments

Posts Tagged ‘stages st louis’

9 to 5
Music and Lyrics by Dolly Parton, Book by Patricia Resnick
Direction and Musical Staging by Michael Hamilton
Choreography by Dana Lewis
STAGES St. Louis
July 26, 2017

Summerisa Bell Stevens, Corinne Melançon, Laura E. Taylor
Photo by Peter Wochniak
STAGES St. Louis

9 to 5 was a hit movie as well as a hit song for Dolly Parton in 1980. The musical based on the film wasn’t exactly a smash hit on Broadway, but it won a few awards and afforded Parton the opportunity to write a whole musical score. Now STAGES St. Louis has brought it here, and it’s definitely a crowd-pleaser. With a strong cast, especially in the three leading roles, and excellent production values, the show serves as an homage to the film as as well as a look back at office culture in the early 198os, as well as featuring some issues that continue to be relevant in 2017.

It’s been a while since I saw the film, but from what I can remember, this musical seems to be a fairly faithful representation, with the addition of a love interest for one character who I didn’t think had one in the movie. Still, the main story is the same, with secretaries at a company called Consolidated being terrorized by their sexist, arrogant boss, Franklin Hart (Joe Cassidy). Veteran secretary and aspiring manager Violet Newstead (Corinne Melançon), self-professed “Backwoods Barbie” Doralee Rhodes (Summerisa Bell Stevens), and the timid, recently divorced newcomer Judy Bernly (Laura E. Taylor) form a bond over their mutual frustration with Hart’s mistreatment.  There are some interesting supporting characters and small subplots, but the main focus, as in the film, is primarily on the central trio, and on the experiences of women in the corporate environment in the early 1980s. Incorporating elements of broad comedy and fantasy, the musical provides a showcase for Parton’s score as well as the talented cast.

Star casting isn’t the draw at STAGES at it was for the film and, to a degree, the musical in its Broadway run. In fact, the roles of Violet and Judy aren’t as inextricably tied to their film portrayals, although the role of Doralee (Parton’s role in the film) is, for the most part. Still, it’s a funny show that requires three memorable leading players, as well as a host of quirky supporting roles.  Melançon is appropriately authoritive and sympathetic as Violet; Taylor brings warmth and energy to the role of the naive Judy, along with an excellent singing voice; and Stevens, in the “Dolly” role as Doralee, displays particularly strong vocals and good comic timing. All three display strong friendship chemistry as well. There are also some memorable “villain” roles, with Cassidy as a suitably self-absorbed Hart and Kari Ely as his devoted and love-struck assistant Roz. There’s a great ensemble, as well, and the production numbers from the famous title song to the fantasy sequences to the upbeat “Change It” are performed with verve and style.

Visually, this production has done a good job of bringing the early 1980s to the stage. James Wolk’s set is evocative and colorful, as are Brad Musgrove’s costumes. There’s also impressive lighting work by Sean M. Savoie that provides atmosphere for the fantasy sequences in particular.

Overall, while I’m not entirely convinced the film needed to be turned into a musical, 9 to 5 at STAGES is an entertaining production. It’s also a story that’s still timely in many ways. Overall, it’s a fun show, and for the most part, as an office comedy, it works.

“Kari Ely, Joe Cassidy
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis is presenting 9 to 5 at the Robert G. Reim Theatre in Kirkwood until August 20, 2017.

Read Full Post »

Joseph and the Amazing Technicolor Dreamcoat
Book and Lyrics by Tim Rice, Music by Andrew Lloyd Webber
Directed and Choreographed by Stephen Bourneuf
STAGES St. Louis
June 7, 2017

Jeff Sears (Center), Kirsten Scott (Center Right) and Cast
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

Joseph and the Amazing Technicolor Dreamcoat is an intriguing show, simply in terms of how versatile it is. It’s one of those shows that can be done on almost any scale or budget and still work. It’s not the deepest or most profound of shows. It’s really just a lot of fun, but what has become most interesting to me is the range of ways that a theatre company can produce this show. It can be big and flashy or more toned-down. Its look can change drastically depending on the production values and directors’ vision. It’s a show I’ve seen several times now, but I think this latest version from STAGES St. Louis is my favorite yet because of the cohesiveness of design, the sheer personality and energy of the cast, and the emphasis on a more human scale for this story rather than over-the-top flashiness, although it’s certainly a great looking production as well.

The story of this show is fairly straightforward–it’s a retelling of the Bible story of Joseph (Jeff Sears), son of Jacob (Steve Isom), and of Joseph’s journey from shepherd’s son to essentially prime minister of Egypt. It follows Joseph from his early days tending sheep with his eleven brothers, and boasting of his dreams that predict that he will someday rule over the rest of his family.  The story is presented by the Narrator (Kirsten Scott), who interacts with the characters at various times in the process of telling the story. As the story unfolds, a variety of different song styles is employed in whimsical fashion, from the country-western “One More Angel in Heaven” to the 1920’s styled “Potiphar” as Joseph, sold into slavery by his brothers, serves in the house of Potiphar (Brent Michael DiRoma) and is tempted and accused by Mrs. Potiphar (Molly Tynes), and then sent to jail. Joseph’s skill at interpreting dreams eventually brings him to the attention of Pharoah, who is–as in all productions of this show–presented as an Elvis-like figure (also played by DiRoma). It’s a fun show that blends the Bible story with various modern elements and and the variety of musical styles that also includes pop and rock influences.

While I’ve seen bigger and flashier productions of this show, I’m especially impressed by this production’s emphasis more on character and a stylish but not cartoonish look to the production. It’s a very human Joseph, with a strong cast led by the excellent Sears as a Joseph whose emotional journey is given more resonance here than in some other productions I’ve seen, bringing depth to songs like “Close Every Door” and “Any Dream Will Do”. Scott is also superb as the Narrator–a role I’ve generally considered to be the best part in the show–and her vocal range is impressive on numbers like the “Prologue”, “Poor, Poor Joseph”, and “Pharaoh Story”.  Scott brings a good deal of humor to the role of the Narrator as well, and her rapport with Sears as Joseph is a highlight. In fact, this is the first production I’ve seen in which there seems to be a hint of attraction between Joseph and the Narrator. There are also memorable performances from Isom as the proud and then sad patriarch, Jacob, by Tynes as the would-be seductress Mrs. Potiphar, and by all of the actors playing the brothers, and particularly Brad Frenette as Levi, Jeremiah Ginn as Reuben, Jason Eno as Judah, and Kyle Ivey as Benjamin. DiRoma is also a stand-out in two roles, as the rich but lonely Potiphar and especially as Pharaoh, where he exudes a lot of charm and comes across as more of the “young Elvis” as opposed to the older “Las Vegas Elvis”, even though he does get to wear the glittery, sequined jumpsuit. There’s also a strong ensemble to back up the leading performers, displaying a lot of vocal and physical energy on various production numbers that have been dynamically choreographed by director/choreographer Stephen Bourneuf.

Visually, the show is colorful and whimsical without being overly flashy or cartoonish. It’s a great look for this show, in keeping with the overall tone of this production. James Wolk’s versatile set frames the action well, and Brad Musgrove’s costumes are vivid, detailed, and fun. The excellent lighting effects by Sean M. Savoie also adjusts well to the various scene and tone changes throughout the production.

This is a fun show, and the cast and creative team obviously enjoy presenting it. From the starry opening to the bright, energetic “Megamix” conclusion, this is a Joseph with heart and humanity. It’s an excellent, highly entertaining production, and a great start to STAGES’ 2017 season.

Joseph and the Amazing Technicolor Dreamcoat presented by STAGES St. Louis at Robert G. Reim Theatre in Kirkwood, Missouri on June 1, 2017.

STAGES St. Louis is presenting Joseph and the Amazing Technicolor Dreamcoat at the Robert G. Reim Theatre in Kirkwood until July 2, 2017

Read Full Post »

Sister Act
Music by Alan Menken, Lyrics by Glenn Slater
Book by Cheri Steinkellner and Bill Steinkellner
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
September 14, 2016

The Cast of Sister Act Photo by Peter Wochniak, ProPhotoSTL.com STAGES St. Louis

The Cast of Sister Act
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

I think everyone immediately thinks of Whoopi Goldberg when they hear the title Sister Act.  The 1992 film was a big hit, followed by a 1993 sequel and a subsequent musical adaptation in London and on Broadway, co-produced by Goldberg. The musical, however, has been substantially re-tooled to have a different setting and musical style than the film, and as the final production of STAGES St. Louis’s 2016 season, it’s not quite as memorable as the movie, but it’s still an entertaining show.

The writers were wise to re-tool the show, in sense. The story is so associated with Goldberg and her unique talents that adapting the show basically required making the central character Deloris Van Cartier (played here by Dan’yelle Williamson) more distinct from Goldberg’s characterization. The show has also been re-imagined and re-set so it now takes place in late 1970’s Philadelphia, casting Deloris as an aspiring disco diva instead of a Motown-inspired Reno lounge performer as in the film. The classic hits used in the film aren’t here either, replaced with new songs by Alan Menken (of Disney fame) and Glenn Slater. The style is a blend of disco and traditional musical theatre songs, with occasional elements of Gospel. The story is also made a little more personal, giving Deloris a backstory of having gone to high school with police officer Eddie Souther (Curtis Wiley), who arranges for Deloris to go into hiding at Queen of Angels convent after having witnessed her nightclub-promoter/crime boss boyfriend Curtis Jackson (Kent Overshown) committing a murder.  The story then follows a similar pattern to the movie, as the newly christened “Sister Mary Clarence” struggles to adapt to her new environment at the convent, much to the consternation of the strict but caring Mother Superior (Corinne Melançon), and to the fascination of the other nuns who just want to make friends, including the ever-cheerful Sister Mary Patrick (Sarah Michelle Cuc), the shy novice Sister Mary Robert (Leah Berry), and the feisty Sister Mary Lazarus (Michele Burdette Elmore).  Together, Deloris and the sisters embark on a journey that takes them, their choir, and the convent, to new levels of understanding and notoriety. The basic story of the film is followed, with some changes in the tone and a slightly modified conclusion.

The 1970’s setting works reasonably well, and the disco songs are catchy, particularly the group songs with the nuns such as “Raise Your Voice”, the reprise of Deloris’s original disco anthem “Take Me to Heaven”, and especially the joyous “Sunday Morning Fever”.  For the most part, however, I preferred the songs in the film.  The comedy elements of the show work well enough, with some of the jokes falling flat but most of them working. Curtis Jackson’s three henchmen, T.J. (Kevin Curtis), Pablo (Keith Boyer), and Joey (Myles McHale) are funny but a little overly silly, and Curtis is more of a one-dimensional villain, although Overshown makes the most of the role. Still, it’s a fun show, and Wiley’s Eddie is believably sympathetic and has good chemistry with Williamson’s Deloris. The real stars of the show, though, are of course Deloris and the nuns, and this production has cast them all extremely well.

Williamson brings a convincing mixture of toughness and vulnerability to the role of Deloris, and she has a great voice and strong stage presence. She carries off the songs very well, and her developing rapport with the sisters is affectingly believable. Melançon, as the Mother Superior, has just the right blend of authority and compassion, as well, and she has some excellent musical moments with “Here Within These Walls” and “I Haven’t Got a Prayer”. The main supporting nuns are all standouts, as well, with Cuc’s bubbly enthusiasm,  Berry’s earnest sincerity, and Elmore’s snarky energy all contributing to the overall sense of camaraderie of the nuns, and the infectious energy of the show.  Steve Isom is also memorable as the benevolent Monsignor O’Hara, who becomes an enthusiastic supporter of the Deloris and her “new” choir. The lead performers are also backed by a strong ensemble, filling out the bigger musical numbers with appropriate style and attitude.

The staging is strong, as well, with vibrant choreography by Stephen Bourneuf. James Wolk’s set is colorful and versatile, and Brad Musgrove’s costumes appropriately evoke the disco era, with just the right over-the-top glitter and glitz when it’s needed. Sean M. Savoie’s lighting also contributes to the overall disco mood of the piece, and the sense of fun is well achieved and maintained.

Ultimately, there really isn’t a whole lot of depth to this Sister Act. The story is a little contrived, but what’s there is a lot of fun.  A show like this is more about the characters than the story, and the characters are cast well, led by the excellent Williamson and Melançon. It’s a big, bold, glittery disco tale of sisterhood in various forms, and it’s a fine conclusion to the season at STAGES.

Steve Isom, Corinne Melançon , Dan'yelle Williamson Photo by Peter Wochniak, ProPhotoSTL.com STAGES St. Louis

Steve Isom, Corinne Melançon , Dan’yelle Williamson
Photo by Peter Wochniak, ProPhotoSTL.com
STAGES St. Louis

STAGES St. Louis’s production of Sister Act is running at the Robert G. Reim Theatre in Kirkwood until October 9, 2016.

Read Full Post »

The Drowsy Chaperone
Music and Lyrics by Lisa Lambert and Greg Morrison
Book by Bob Martin and Don McKellar
Directed by Michael Hamilton
Choreographed by Dana Lewis
STAGES St. Louis
July 27, 2016

David Schmittou Photo by Peter Wochniak STAGES St. Louis

David Schmittou
Photo by Peter Wochniak
STAGES St. Louis

The Drowsy Chaperone is apparently one of the most popular shows that STAGES St. Louis has produced. I didn’t see their last production, in 2009, nor had I seen any production of the show prior to this latest staging, although now I certainly can see the appeal. This is a tribute not only to “classic” 1920’s musicals, but to the whole concept of musical theatre in general. At STAGES, it’s a well-cast, richly produced, energetic and fun production that’s sure to entertain.

The show is a twist on the concept of the “play within a play”, as a protagonist and musical theatre aficionado identified only as Man in Chair (David Schmittou) introduces the audience to one of his favorite (fictional) musicals from 1928, called The Drowsy Chaperone. Man in Chair is a veritable fountain of information about this show, including anecdotes about the production and biographical information about the original cast members. As he plays the record, the show comes to life in his apartment, and what we see is broad, satirized representation of a typical 1920’s musical, complete with broad humor, a relatively thin plot, stereotyped characterizations, and lots of big, glitzy production numbers. The story follows the wedding plans of Broadway starlet Janet Van De Graaff (Laura E. Taylor) to a man she only recently met, Robert Martin (Andrew Fitch). Her boss, Feldzieg (Steve Isom) wants to keep her from getting married so she won’t leave his show, and ditzy chorus girl Kitty (Dana Winkle) hopes he will consider her as a replacement. There’s also the title character, the Chaperone (Corinne Melancthon), who is “drowsy” because she is constantly drinking, although she tries her best to offer sage advice to Janet. Other characters include would-be Latin lover Aldopho (Edward Juvier), who’s hired by Feldzeig to seduce Janet; the enthusiastic and slightly silly party host Mrs. Tottendale (Kari Ely) and her faithful butler and assistant known only as Underling (John Flack); and the optimistic Best Man, George (Con O’Shea-Creal), for whom tap dancing is the best solution to any problem.  It’s a big cast and a convoluted, extremely self-aware plot, as Man in Chair gets involved in the proceedings and expounds on his own philosophy of life and the purpose and importance of musical theatre.

This is an extremely clever show that both criticizes and celebrates old-style musical theatre, as well as presenting a sympathetic narrator in the person of Man in Chair, who is expertly and wittily portrayed by the superb David Schmittou. His winning performance is the centerpiece of this show as he becomes the point of interaction between the audience and the characters in the play-within-a-play. The rest of the cast is extremely strong as well, with standouts being Melancon as the hilariously “drowsy” Chaperone, Taylor as the glamorously goofy Janet, and Ely and Flack as the hilarious team of Mrs. Tottendale and Underling. Ryan Alexander Jacobs and Austin Glen Jacobs are also a lot of fun as a pair of comically overplayed gangsters. Juvier as Aldopho gives a winning comic performance as well, and Fitch and O’Shea-Creal show off their impressive tap dancing skills as Robert and George. The entire cast is excellent and full of energy as well, highlighting stand-out production numbers like “Fancy Dress”, “Show Off”, “Toledo Surprise”, and “I Do I Do In the Sky”, which also features a strong vocal performance by Kendra Lynn Lucas as Trix the Aviatrix.

The technical aspects of this production are stunning, as well. James Wolk’s set is marvelously versatile, transforming from Man in Chair’s modest apartment to various locations in the play-within-a-play with seamless precision. Sean M. Savoie’s lighting also helps to maintain the whimsical tone of the show, and Brad Musgrove’s costumes are sensational. From Man in Chair’s comfy sweater vest to the more colorful period dresses and suits, and the glitzy glamour of the ensemble in the production numbers, the costumes are a real highlight of the show. The whole tone of 1920’s-meets-present-day is wonderfully achieved in this expertly crafted production.

I’m glad this production at STAGES has served as my introduction to The Drowsy Chaperone. Such a cleverly written, funny and heartwarming musical deserves a first-rate production like this one. It’s truly spectacular, with a fantastic finale. It’s a highlight of the summer theatre season in St. Louis.

Cast of The Drowsy Chaperone Photo by Peter Wochniak STAGES St. Louis

Cast of The Drowsy Chaperone
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis’s production of The Drowsy Chaperone is running at the Robert G. Reim Theatre in Kirkwood until August 21, 2016.

Read Full Post »

It Shoulda Been You
Book and Lyrics by Brian Hargrove, Music and Lyrics by Barbara Anselmi
Directed and Choreographed by Stephen Bourneuf
STAGES St. Louis
April 8, 2016

Claire Manship Photo by Peter Wochniak STAGES St. Louis

Claire Manship
Photo by Peter Wochniak
STAGES St. Louis

STAGES has invited its audience to a wedding. In the first regional production of the recent Broadway musical It Shoulda Been You, theatregoers will witness a happy event that’s filled with music, humor, drama, and plenty of surprises. At STAGES, it’s an entertaining, energetic production highlighted by an extremely strong cast, and particularly in the leading role.

Set at an upscale New York hotel, It Shoulda Been You introduces us first of all to Jenny Steinberg (Claire Manship), who is preparing to serve as co-Maid of Honor in the wedding of her sister Rebecca (Stacie Bono) to Brian Howard (Jeff Sears). Jenny is the “dependable daughter”, always supportive and helpful but being constantly compared to the younger, slimmer, more popular Rebecca, especially by their mother Judy (Zoe Vonder Haar), who frequently expresses her concern that Jenny will never marry. Jenny is also caught in the middle of the drama that ensues when Rebecca’s ex-boyfriend Marty (Zal Owen) arrives presumably to stop the wedding. There are also parental objections concerning the Jewish Rebecca’s marrying Brian, who is Catholic, and tensions between Judy and husband Murray (Michael Marotta) and Brian’s somewhat stuffy parents George (David Schmittou) and Georgette (Kari Ely). Add the Best Man Greg (Eric Keiser), the other co-Maid of Honor Annie (Jessie Hooker), the crazy relatives including the man-hunting Aunt Sheila (Morgan Amiel Faulkner) and confused Uncle Morty (John Flack) to the mix, and much humor and drama will ensue. The proceedings are presided over by an extremely organized, near-psychic wedding planner, Albert (Edward Junger) and his assistants Walt (Steve Isom) and Mimsy (Michele Burdette Elmore), as the wedding day’s events just get more and more convoluted.

There’s not much I can say in detail about the plot without spoiling too much, since much of the drama depends on the element of surprise.  A general theme, however, is one of identity and self-acceptance, as Jenny wrestles with family expectations and body image issues, and other characters deal with their own secrets and concerns about acceptance from those around them. Several of the plots do become fairly predictable as the story goes on, but the entertainment value is still there even if you can guess where the story is going. The music is pleasant, with a few memorable songs, especially the hilarious “Albert’s Turn”, the show-stopping “Jenny’s Blues” (which is a tour-de-force for Manship), and the sweet “Whatever”.

The cast is ideally chosen, led by Manship in a winning performance as the kind but underappreciated Jenny. She and Vonder Haar’s loving but critical Judy are the stand-outs in this strong ensemble, along with Juvier in a masterful comic performance as the hyper-competent Albert. There are also strong performances from Owen as the charming Marty, Ely and Schmittou as the Howards, Marotta as the loving father Murray, and Bono as the conflicted Rebecca, Keiser as the talkative Greg, and Faulkner as the gleefully gosssipy Aunt Sheila. Everyone makes the most of their roles, as well, in this cast with no weak links and excellent ensemble staging.

The staging and choreography by Stephen Boureuf are lively and energetic, and James Wolk’s set is sumptuously well-appointed. The hotel setting is well-realized, with occasional set pieces brought in when needed as the story takes its cast to the hotel’s hair salon, ladies room, and more. Gareth Dunbar’s costumes are richly detailed and colorful, suitably suggesting the festive upscale wedding style. There’s also excellent lighting by Sean M. Savoie to set and maintain the mood of the show.

Overall, though, It Shoulda Been You is an outstanding showcase for Manship. She makes the most of her starring role, bringing lots of energy and a great voice, and it’s Jenny’s story that is the most convincing even when there are some unbelievable elements. Overall, this is a sweet, funny and heartwarming show about love and acceptance, with a somewhat predicable script but with a great cast. It’s a memorable opening production for STAGES’ new season.

Cast of It Shoulda Been You Photo by Peter Wochniak STAGES St. Louis

Cast of It Shoulda Been You
Photo by Peter Wochniak
STAGES St. Louis

STAGES St. Louis’s production of It Shoulda Been You is running at the Robert G. Reim Theatre in Kirkwood until July 3, 2016.

Read Full Post »

The Full Monty
Book by Terrence McNally, Music and Lyrics by David Yazbek
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
September 9, 2015

Cast of The Full Monty Photo by Peter Wochniak STAGES St. Louis

Cast of The Full Monty
Photo by Peter Wochniak
STAGES St. Louis

The Full Monty is the closing production of STAGES St. Louis’s 2015 season. I had never seen this show before, or the film on which it is based. For the most part, I find it a pleasant surprise.  Everyone knows it as that show about male strippers, but even more than that it’s a celebration of friendship, family, and determination. With a strong, likable cast and the impressive production values that STAGES is known for, this proves to be an entertaining, worthwhile production.

Adapted from the popular British film, the musical version of The Full Monty moves the setting from Sheffield, England to Buffalo, New York in the late 1990’s. The story follows Jerry Lukowski (Brent Michael Diroma) and his best friend Dave Bukatinsky (Todd A. Horman), who have lost their jobs when a local steel mill shut down. Jerry, a divorced father of 14-year-old Nathan (Cole Hoefferle), needs a job so he can keep up child support payments and maintain joint custody of his son. Dave has self-image issues based on being out of a job and being overweight, causing him to neglect his loving wife Georgie (Lindsie Vanwinkle). After noticing the popularity of a local “women only” strip club, Jerry gets the idea to form a group to perform a one-night-only act in order to make the money he needs. Along the way, they meet other down-on-their-luck guys, like the fastidious Harold (James Ludwig), who takes dance classes with his materialistic but loving wife Vicki (Julie Cardia) and agrees to become their choreographer. There’s also Noah “Horse” Simmons (Milton Craig Neal), who is older and has a bad hip, but is a great dancer, although he struggles with public perceptions demonstrated in his song “Big Black Man.” Rounding out the group are the shy young Malcolm (Erik Keiser), who lives with his elderly mother and struggles to find a purpose in life, and the amiable and charming but not too bright Ethan (Adam Shonkwiler), who forms a close bond with Malcolm. A lot happens through the course of this show, with the grand finale strip performance being the ultimate goal, although what’s really important is the relationships–friendships and romances–that are formed and rebuilt.

For the most part, this is a highly entertaining show. I’m not 100% sold on the idea of “empowerment through stripping”, but that’s not all this show is about. It’s about friends and family, and honesty and integrity. It’s populated with likable characters, although there are some stereotypes that can be uncomfortable, and most of the songs are not particularly memorable, with some truly clunky lyrics. The closing number “Let It Go” (no, not that one) is catchy enough, though, and there’s a memorable moment for Keiser and Shonkwiler in “You Walk With Me”, although none of these songs is likely to become a classic. Still, there’s great dancing, choreographed by Stephen Bourneuf, and some truly poignant moments as well some excellent comedy.

The heart of this show is its characters, and the actors are well-cast.  Diroma makes a convincing down-on-his-luck Jerry, although at times he seems a little too clean-cut for the role. He’s got a strong voice and good stage presence, though, and great chemistry with the rest of the group of guys, especially Horman’s glum but sweet Dave.  The real standouts in the cast for me, though, are Ludwig and Cardia as Harold and Vicki, a loving couple who have to deal with a secret that threatens their relationship. The energy and affection between these two is heartwarming. There’s also local favorite Zoe Vonder Haar as the group’s feisty, no-nonsense self-appointed pianist, Jeanette. Neal as Horse shows off great dance and comic ability, and Keiser is particularly winning as the initially depressed Malcolm. Shonkwiler as Ethan gives a strong performance as well, particularly in his scenes with Keiser.

In terms of production values, this show delivers what STAGES is known for–excellence and professionalism. The set, by James Wolk, is appropriately evocative of a working class Buffalo environment. The costumes, by Garth Dunbar, are suitably late 90’s styled, colorful, and character-appropriate. There’s also outstanding lighting, designed by Matthew McCarthy, that lends gritty realism to some scenes and showbiz glitz to the strip club scenes.

Although I have some issues with the writing of this show, for the most part it does what it intends to do: entertain. With a very strong cast of characters and top-notch production values, The Full Monty is a crowd pleasing closer to STAGES’ season. It’s a fun show with a lot of heart.

Cast of The Full Monty Photo by Peter Wochniak STAGES St. Louis

Cast of The Full Monty
Photo by Peter Wochniak
STAGES St. Louis

The Full Monty from STAGES St. Louis runs at the Robert G. Reim Theatre in Kirkwood until October 4, 2015

Read Full Post »

Anything Goes
Music and Lyrics by Cole Porter
Original Book by P.G. Wodehouse & Guy Bolton, and Howard Lindsay & Russel Crouse
New Book by Timothy Crouse and John Weidman
Directed by Michael Hamilton
Choreographed by Stephen Bourneuf
STAGES St. Louis
July 22, 2015

Cast of Anything Goes Photo by Peter Wochniak STAGES St. Louis

Cast of Anything Goes
Photo by Peter Wochniak
STAGES St. Louis

In a way, Anything Goes could well be called one of the orginal “jukebox musicals”. It’s been performed in various versions for decades, with many lyric, song, and book changes, and the plot, while entertaining, is fairly slight. The show exists, essentially, to be a showcase for the songs of celebrated 20th Century composer and lyricist Cole Porter. It’s a lively show with lots of silly comedy and spectacular dancing, and it’s currently being performed in top-notch fashion at STAGES St. Louis.

The story is somewhat silly, but entertaining nonetheless. It follows nightclub singer Reno Sweeney (Julie Cardia) and friends on an ocean liner traveling between New York and London in the 1930s. Reno’s got something of a crush on her old friend, the handsome stockbroker Billy Crocker (Brent Michael DiRoma), but Billy’s newly smitten with young debutante Hope Harcourt (Heidi Giberson), who is sailing on the cruise with her mother (Kari Ely) with the aim of marrying rich English nobleman Lord Evelyn Oakleigh (Dan Fenaughty). Meanwhile, gangster Moonface Martin (Bob Amaral), “Public Enemy #13”, is on the run from the law, and boards the ship in preacher’s disguise, bringing his friend Erma (Laura E. Taylor) along.  What ensues is a comedy of love triangles and quadrangles, as well as mistaken identity, gambling, singing and a whole lot of dancing.

The plot isn’t really one that bears a lot of scrutiny. It’s really just a platform for the songs and some some hilariously goofy comedy. Despite the various script updates over the years, the show does still come across as slightly dated, and there are some unfortunate stereotypes that are played for laughs. Still, for the most part it’s a fun show, and the real focus is on those lovely Cole Porter songs and Stephen Bourneuf’s spectacular choreography and excellent ensemble dancing.

This is a very ensemble-dependent show, considering all the stylish dance-numbers and intricately performed choreography. The ensemble sparkles on on numbers like the tap-dance heavy “Anything Goes” and the truly showstopping “Blow, Gabriel, Blow” led by the big-voiced Cardia as Reno.  Cardia also displays a strong sense of comedy, working well opposite both the charming DiRoma as Billy, the hilariously shady Amaral as Mooonface, and the delightfully goofy and thoroughly winning Fenaughty as Lord Evelyn.  All of these performers show great comedy skills and excellent voices, especially DiRoma, who also shares delightful chemistry with Giberson, who is also in excellent voice as Hope.  There are also fun comic performances from the always excellent Reichert as Billy’s nearsighted boss Elisha Whitney, and Kari Ely as Hope’s mother, socialite Evangeline Harcourt.  Flack as the Captain, Brennan Caldwell as the Ship’s Purser, and Taylor as Erma also give memorable performances. It’s a very strong cast, from the leads to the ensemble, working together to bring life to the classic Porter score and a great deal of laughs to the audience.

The set, designed by James Wolk, is striking, colorful and versatile, creating a vibrant 1930’s atmosphere. There are also some marvelously detailed and stylish costumes by Brad Musgrove. Sean M. Savoie’s lighting is effective and atmospheric, as well.

Ultimately, the point of Anything Goes is to entertain, and the production at STAGES does that well.  It’s a big, bold, stylish and energetic production that splendidly showcases the marvelous score and choreography. It’s also hilariously funny, with a decidedly silly sense of humor.  Despite a few drawbacks in the script, this is about as ideal a production of this show as I can imagine.

Brent Michael DiRoma, Heidi Giberson , and Ensemble Photo by Peter Wochniak STAGES St. Lousi

Brent Michael DiRoma, Heidi Giberson , and Ensemble
Photo by Peter Wochniak
STAGES St. Lousi

STAGES St. Louis’s production of Anything Goes is running at the Robert G. Reim Theatre in Kirkwood until August 16th, 2015.

Read Full Post »

Older Posts »