Posts Tagged ‘stephen sondheim’

The Muny Impresses Again with Riveting, Resonant “Story”

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

West Side Story
Book by Arthur Laurents, Music by Leonard Bernstein, Lyrics by Stephen Sondheim
Directed by Rob Ruggiero
Original Jerome Robbins Choreography Reproduced by Parker Esse
The Muny
July 16, 2023

Christian Douglas, Kanisha Feliciano
Photo by Phillip Hamer
The Muny

The last time I saw West Side Story onstage was at the Muny ten years ago. This classic show is unquestioningly a Muny favorite, with the  2023 production being the theatre’s ninth. I remember the previous production being particularly stellar, but I’m not going to spend time comparing, because this current production deserves to stand on its own merits. And fortunately it has a great many merits, indeed. Although it does take a little while to really get going, the end result is a powerful, heart-wrenching triumph of a production.

When I first was introduced to West Side Story as a child, in the form of the 1961 film as shown on TV, I hadn’t been aware that the story was based on Shakespeare’s Romeo and Juliet, but now it seems that the more I see of this story–on stage or on screen–I’m reminded even more of its origins. The “star-crossed lovers”, the warring gangs/families, the excitement of young love, as well as the hatred and violence that leads to tragedy is all here, set in late 1950’s New York and focusing on a gang rivalry between recently arrived Puerto Rican immigrants and the first-generation American-born descendants of European immigrants. Tony (Christian Douglas) and Maria (Kanisha Feliciano) meet and fall in love among the growing tensions between the Sharks–led by Maria’s brother Bernardo (Yurel Echezarreta), and the Jets, led by Tony’s best friend, Riff (Kyle Coffman), who won’t let former Jet Tony forget that they once led the gang together. As we get to know the characters, including Bernardo’s girlfriend Anita (Jerusha Cavazos) and the various gang members along with sympathetic drugstore owner Doc (Ken Page) and a collection of would-be authority figures, the tensions grow to a breaking point, leading to the inevitable tragedy for which this show and its source play are both well-known.

This show is also well-known for its timeless score by Leonard Bernstein with lyrics by Stephen Sondheim, and its dynamic dancing, originally choregraphed by Jerome Robbins, who also directed the original Broadway production. The director here is Muny veteran Rob Ruggiero, and the iconic Robbins choreography is re-created by Parker Esse. There’s a great ensemble and the dancing sparkles with energy in numbers like “The Dance at the Gym” and “Cool”. While the energy is good in the first act, though, the show especially comes alive in the second, with the players giving their all and the bringing out the raw emotion of the piece. Douglas and Felicano make an ideal pair as Tony and Maria, with “One Hand, One Heart” especially compelling. Feliciano also has memorable scenes with the also excellent Cavazos as the strong-willed Anita. Other standouts include Coffman, who shows off his “cool” moves as Riff; as well as Echezarreta as an especially memorable Bernardo, and Muny favorite Ken Page (repeating his role from the 2013 production) in a convincing and emotionally resonant turn as Doc. It’s a great cast all around, with Jets, Sharks, and everyone else filling the stage with intense energy, impressive vocals, and that great, athletic dancing as needed. 

The look, sound and overall setting and mood are achieved with superb detail by means of Ann Beyersdorfer’s New York neon-and-fire-escape inspired set, which also utilizes the Muny’s turntable in effective ways. There’s also dynamic lighting by John Lasiter, strong video design by Shawn Duan, and marvelous costumes by Gail Baldoni. The Muny Orchestra, led by music director James Moore, is in fine form, as well, filling the Forest Park air with that glorious Bernstein score and supporting the performers with style. 

There’s no doubting that West Side Story is a legendary show. It’s also a timeless classic that continues to resonate with audiences over 65 years after its Broadway debut. The Muny also obviously loves this show, and this latest production is another example of that tradition of excellence, as well as the sheer emotional impact of this story. As before in 2013, this year’s production is also notable for the rapt silence of the audience at the end of Act 1, and this year, especially at the end of the show, after a truly powerful finale. I have no doubt the Muny will stage this show again in a few years, but now, this production is one to see, experience, and remember. 

Cast of West Side Story
Photo by Phillip Hamer
The Muny

The Muny is presenting West Side Story in Forest Park until July 21, 2023

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New Line’s Fun “Forum” Highlights Humor, Excellent Singing

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

A Funny Thing Happened on the Way to the Forum
Music and Lyrics by Stephen Sondheim
Book by Burt Shevelove and Larry Gelbart
Based on the plays of Plautus
Directed by Scott Miller and Chris Kernan
Choreographed by Chris Kernan
New Line Theatre
June 3, 2023

Kent Coffel (center) and Cast of A Funny Thing Happened on the Way to the Forum
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre’s latest production is of a well-known show, featuring a score by a legendary composer and a book by two veteran comedy writers. A Funny Thing Happened on the Way to the Forum, based on the works of ancient Roman playwright Plautus, was a hit in the 1960s and has been performed in various venues since then. It does have its dated elements, but at New Line, as usual, there are some new perspectives that emerge. For the most part, this is a show that revels in its humor, and at New Line, the focus is on the strong singing of Stephen Sondheim’s memorable score.

The story is framed as a performance by a dramatic troupe that decides, for this day’s performance, they will be staging a comedy. What results is a slapstick farce set in Roman times, centering on Pseudolus (Kent Coffel), who is a slave in one of the three houses featured in the story. He serves Hero (Ian McCreary), the son of Senex (Robert Doyle), who is heading out of town with his controlling wife Domina (Ann Hier Brown) to visit her family. While they are away, Pseudolus works on a plan to gain his freedom after he notices that Hero has fallen for a young woman he’s seen in the window of the neighboring house, which is essentially a brothel operated by Marcus Lycus (Jason Blackburn). Soon, they find out that the object of Hero’s ardor, the virginal Philia (Sarah Wilkinson), has been purchased sight unseen by the narcissistic general Miles Gloriosus (Danny Brown), who is due to arrive soon to make her his bride. Pseudolus’s plan gets more complicated as the story goes on, much to the frustration of Senex’s chief slave Hysterium (Chris Moore), who reluctantly gets brought into the scheme. Meanwhile, the elderly Erroneus (Gary Cox), who lives in the other neighboring house, returns to town after a long absence, still looking for his long-lost children who were captured by pirates years previously. How all these stories fit together is the source of much of the comedy, which is portrayed here by an enthusiastic cast who are all in excellent voice. 

I had seen this show once before, at the Muny a few years ago. Obviously, a small company like New Line isn’t going to have the elaborate production values or huge stage of the Muny, but New Line has become adept at scaling shows down for its venue, as well as bringing out nuances in stories that bigger productions can gloss over. You could say that there isn’t much room for nuance in a show like Forum, with its broad, bawdy comedy and plot that relies on old standard devices like mistaken identity and mixed-up romance, but while it’s still a broad farce, I found myself looking differently at some of the characters here, such as Domina, who comes across here much better than her lecherous husband, Senex. The dated features of the story are here, with the women being the focus of the jokes much of the time, but the overall silliness here takes precedence, for the most part.

In terms of performances, the cast is especially strong vocally, as is usual for New Line. As for comic timing, some are better than others, and there are moments when the jokes don’t land as they should, but for the most part, it’s a very funny show. Coffel as Pseudolus is ideally cast, with a strong voice and great stage presence and comic ability. Moore as Hysterium also has some memorable comic moments, as do Danny Brown as the self-admiring Miles Gloriosus, and Ann Hier Brown as the domineering but lovesick Domina. McCreary and Wilkinson are well-matched as the wide-eyed lovers, Hero and Philia. There’s also a trio of “Proteans” for an ensemble (Nathan Hakenwerth, Brittany Kohl Hester, and Aarin Kamphoefner) who all play various roles and seem to be having a great time. 

The look of the production is lively and vibrant, with a brightly painted, cartoonish set by Dr. Rob Lippert, and well-styled, colorful costumes by Eileen Engel that help to set the whimsical Roman tone of the show. There’s also good work on lighting by Matt Stuckel and music direction from Joe Simpson, with a strong onstage band conducted by keyboardist Matt Kauzlarich. 

A Funny Thing Happened on the Way to the Forum is an unapologetic comedy that revels in its silliness. Although it’s based on plays from ancient Rome, the overall tone has a 1960s comedy vibe. New Line’s production is a lot of fun, with its small scale again working in its favor. It’s an enjoyable production especially for fans of Stephen Sondheim, goofy comedy, and great singing. 

Sarah Wilkinson, Ian McCreary
Photo by Jill Ritter Lindberg
New Line Theatre

New Line Theatre is presenting A Funny Thing Happened on the Way to the Forum at the Marcelle Theatre until June 24, 2023

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SDT Takes Audiences “Into The Woods” With Precisely Paced, Imaginative Production

Posted in St Louis Theatre, tagged , , , , , , on April 1, 2023| Leave a Comment »

Into the Woods
Music and Lyrics by Stephen Sondheim, Book by James Lapine
Directed by Justin Been
Stray Dog Theatre
March 30, 2023

Cast of Into the Woods
Photo by John Lamb
Stray Dog Theatre

Into the Woods is a popular show. Even among the works of legendary composer/lyricist Stephen Sondheim, this is probably his most well-known show among today’s theatregoers. It’s so oft-performed among school, community, and regional theatres that it’s become something of a mainstay, to the point where the current staging at Stray Dog Theatre is the first of two professional productions in St. Louis this year. This show, directed by SDT’s usual director of musicals, Justin Been, is precisely staged and highly imaginative, with an inventive concept and eye-catching production values, along with excellent performances and clever casting.

The story has become a well-known one, cobbling together a variety of familiar fairy tales along with a new connecting story involving a Baker (Tyler Luetkenhaus) and his Wife (Margaret Stall), who wish to have a child, and who are helped by their neighbor, the Witch (Jennelle Gilreath Owens), who has her own reasons for helping them. This story is woven into other stories involving well-known fairy tale characters Cinderella (Maggie Nold), Little Red Riding Hood (Grace Langford), Jack (Shannon Lampkin Campbell) of beanstalk fame; and Rapunzel (Dawn Schmid), who has been raised by the overprotective Witch. Most of the characters are involved in the Baker and Baker’s Wife’s quest in the first act, and all have their own wishes to pursue, but the second act explores the consequences that come from pursuing those wishes without thought of potential repercussions. There’s also a strong theme of parent-child relationships, and what younger generations can learn from their elders, for good or ill. It’s a well-structured, exquisitely timed story that features complex plotting and Sondheim’s memorable score and lyrics.

The story is briskly timed, driven by the score, played here by the excellent onstage band led by music director Leah Schultz. Once the Narrator (Jonathan Hey) intones the familiar “once upon a time”, the music begins and marks the time as the events proceed at a deliberate and relentless pace.  The world of the show is vividly imagined, with the conceit this time of its taking place in a kind of whimsical library, as the set by Been and Dominic Emery features shelves decorated by numerous books of various sizes and colors. The characters are outfitted in a striking manner, as Eileen Engel’s colorful costumes and Sarah Gene Dowling’s meticulously detailed, cartoonish wigs suit the characters ideally, aiding in their characterizations. There’s also memorable lighting by Tyler Duenow that further emphasizes the otherworldly, fairylike atmosphere.

As for the casting, it’s stellar, with excellent performances all around and some clever doubling for some performers, such as having Cinderella’s stepsisters, Florinda and Lucinda, played by the same performers playing Cinderella’s and Rapunzel’s Princes (Drew Mizell and Sarah Polizzi, respectively). The key players–Luetkenhaus as the insecure Baker, Stall as the determined Baker’s Wife, and Owens as the scheming Witch–are all terrific, with excellent chemistry between Luetkenhaus and Stall, and Owens having some memorable scenes with the also excellent Schmid as the sheltered Rapunzel. Other standouts include Campbell as the plucky Jack, along with Laura Lee Kyro as Jack’s Mother; Langford as the initially naïve Little Red Riding Hood; and Michael Wells as a ravenous Wolf, as well as the Prince’s Steward and Cinderella’s father. Hey makes a strong impression as both the Narrator and the Mysterious Man, who shows up from time to time to the confusion of those with whom he interacts. Mizell and Polizzi are particularly memorable as the stepsisters and, especially, the Princes, with Polizzi’s remarkable ability to sing in two distinctly different voices (and ranges) especially impressive. This is a show that requires excellent comic timing as well as strong dramatic ability from its cast, and this production certainly has all that, with especially poignant moments at various moments in the show such as the Baker’s “No More” and the finale “Children Will Listen” leaving a lasting impression.

Overall, this is a first-rate production of an oft-performed show. Into the Woods is so popular that it might be easy to think there’s not much new that can be done with it. This is a surprisingly versatile show, though–with so many excellent, imaginative productions coming out of this one familiar story and script. Stray Dog Theatre and director Justin Been have put together a clever, thoughtful, highly entertaining show that emphasizes the characters and themes with effective immediacy and timeless resonance. It’s a fantastic production.

Shannon Lampkin Campbell, Tyler Luetkenhaus, Maggie Nold
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Into the Woods at Tower Grove Abbey until April 22, 2023

 

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The Rep’s “Side by Side” Is a Hit-or-Miss Tribute to a Musical Theatre Legend

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

Side by Side by Sondheim
Directed by Reggie D. White
Choreographed by Heather Beal
Repertory Theatre of St. Louis
February 3, 2023

Phoenix Best, Paul HeeSang Miller, Saidu Singlah, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

Since Stephen Sondheim died in 2021, many performers and theatre companies have offered their various tributes, in the form of special performances, concerts, and productions of his shows. Now, the Rep is taking the opportunity to salute this legend of musical theatre with a somewhat understated production of the revue Side by Side by Sondheim, focusing mostly on his works up until the mid-1970s. Although this production has its moments, the performances are hit-or-miss, and it could use more energy and presence.

As narrator Alan Knoll points out early in the production, there isn’t much here in terms of a plot. Instead, the show is presented as an overview of Sondheim’s work up until about 1976, when this revue first debuted in London’s West End. in fact somewhat amusing to hear Knoll refer to 1976’s Pacific Overtures as one of Sondheim’s “later works”. Still, even with the somewhat dated elements and obvious exclusion of Sondheim’s work from the late 1970s and forward, the show as written is intriguing, and I imagine it could be a great success with more consistent performances. The cast includes late-addition Knoll, as well as performers Phoenix Best, Paul HeeSang Miller, Saidu Sinlah, and Amy Spanger, accompanied by Kris Pineda and Stephen A. Eros on Piano. 

The show covers Sondheim’s earlier works as a lyricist working with other composers on shows such as West Side Story and Gypsy, as well as his work as both composer and lyricist on shows like A Funny Thing Happened on the Way to the Forum, Company, and Follies. Also featured are some more obscure songs from lesser-known works, as well as television and film. 

The staging can be inventive on occasion, featuring Heather Beal’s energetic choreography, Tre’Von Griffith’s  music direction, and a simple set featuring a screen and eye-catching projections by Camilla Tassi, and flanked by the two pianists seated at grand pianos on either side. Xavier Pierce’s atmospheric lighting also adds flair to the staging, and Sharath Patel’s sound design is proficient, although there are occasional issues with the singers’ volume. 

As for those performers,  the biggest standouts are Knoll, in a personable and occasionally hilarious turn as the Narrator, and the appropriately named Best, who delivers several memorable solos on songs such as “I’m Still Here”, “I Never Do Anything Twice”, and “Send in the Clowns”. Miller also has his moments and a strong tenor voice, but Sinlah and especially Spanger struggle to maintain energy and consistency. After a somewhat lackluster opening, there are a few memorable group numbers, including a unique staging of “You Gotta Get a Gimmick” from Gypsy and an entertaining closing medley. It’s a fairly low-key production, and could use a little more energy in places.

Side by Side by Sondheim isn’t the spectacular tribute it could be, and I also think modern audiences might notice the lack of material from the composer’s more well-known later works like Sweeney Todd, Sunday in the Park with George, and Into the Woods. Still, even though it focuses on his earlier works, this could be a much more vibrant show than the Rep has managed to produce. It’s not entirely a miss–there are certainly some memorable moments, especially from Best and Knoll, and there are some interesting bits of trivia to learn about the legendary composer and lyricist. Anyone who is a particular fan of Sondheim’s, though, might still be frustrated with the lack of energy and true sparkle.

Paul HeeSang Miller, Saidu Singlah, Phoenix Best, Amy Spanger
Photo by Phillip Hamer Photography
Repertory Theatre of St. Louis

The Repertory Theatre of St. Louis is presenting Side by Side by Sondheim at COCA’s Catherine B. Berges Theatre until February 19, 2023

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“A Little Night Music” is an Emotional, Melodic Delight at Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , , , on October 8, 2022| Leave a Comment »

A Little Night Music
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Justin Been
Choreographed by Michael Hodges
Stray Dog Theatre
October 6, 2022

Jonathan Hey, Paula Stoff Dean
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is honoring the late Stephen Sondheim with a delightfully vibrant production of the composer’s 1973 musical A Little Night Music. Although in his pre-show speech artistic director Gary F. Bell mentioned that this show was planned before Sondheim’s passing, it’s nonetheless a fitting tribute to the celebrated legend of musical theatre to have one of his well-known shows staged with such energy and style. At SDT, this production highlights acting, emotion, and musicality in a memorable and thoroughly entertaining way.

This is the second production of this show I’ve seen this year. The first one, by a local opera company, was also excellent, although SDT’s version seems to emphasize the sensuality and emotion a little more in this tale of entanglements, temptations, and volatile emotions in early 20th Century Sweden. There’s a fairly large cast of characters, but the main focus is famous stage actress Desirée Armfeldt (Paula Stoff Dean) and lawyer Fredrik Egerman (Jonathan Hey), who were once lovers but have been apart for 14 years before being reunited when Fredrik takes his new, much younger wife Anne (Eileen Engel) to one of Desirée’s plays. Anne, who professes to love Fredrik but who still refuses to consummate the marriage, is distraught when it becomes obvious that her husband carries a torch for Desirée, though at first he claims not to know her. Meanwhile, Anne engages in somewhat of a flirtation with Fredrik’s son Henrik (Bryce A. Miller), an earnest young seminary student who tries to suppress his feelings for his young stepmother. Eventually, Desirée arranges to have her mother, Madame Armfeldt (Liz Mischel) invite the Egermans to her country estate for the weekend, and Desirée’s latest paramour, the jealous and self-important Count Carl-Magnus Malcolm (Scott Degitz-Fries), decides to crash the party along with with his neglected wife, Charlotte (Madeline Black), who hatches a plan to make her husband jealous so he will drop the affair with Desirée, who already appears to be tiring of the affair and turning her affections back to Fredrik. Also figuring into the story are Desirée’s young daughter Fredrika (Adeline Perry), who has been living with her grandmother while Desirée tours; Anne’s romantically adventurous maid Petra (Sarah Gene Dowling), and a quintet listed here as the “Liebeslieder Singers” (Cory Anthony, Shannon Lampkin Campbell, Jess McCawley, Kevin O’Briend, and Dawn Schmid), who serve as something of a Greek Chorus, singing songs that offer commentary on the proceedings. 

The plot may seem somewhat convoluted, but it all makes sense in the context of the show, and the subplots weave together with precision. The themes include the volatility of relationships, moral hypocrisy in high society, the fleeting nature of life, and more. It’s a highly melodic show with an Old World atmosphere, and a style that’s obviously influenced by older European musical styles, as well as operetta. There’s comedy ranging from the light and witty to the more risqué, as well as some darker comic moments along with moments of poignancy and romance. The staging here gets the tone just right, with the right balance of wit, energy, and drama, with a superb cast who are all in excellent voice, led by the wonderfully melodic Liebeslieder Singers, who also play other roles in the story as needed. There’s also excellent, waltz-heavy choreography by Michael Hodges that fits well with the mood of the show, along with an excellent small orchestra led by music director Leah Schultz.

As for individual performances, it’s great to see Dean again, who makes a return to SDT after several years, and who shines as Desirée, especially showcasing the character’s wit and strength, also providing a particularly emotional rendition of the show’s most famous song, “Send in the Clowns”. Dean is well-matched by the equally excellent Hey, who is especially adept at showing Fredrik’s vulnerability and progression of awareness through the course of the show. There are also standout performances from Miller as the conflicted, idealistic Henrik and Engel as the also conflicted Anne, who doesn’t seem to know exactly what she wants until suddenly, she does. Mischel is also memorable as the strong-minded but somewhat regretful Madame Armfeldt, and young Perry makes a strong impression as the curious and surprisingly observant Fredrika. Degitz-Fries and Black give fine performances as the Malcolms, as well, as does Dowling in a memorable and well-sung turn as Petra. It’s a strong ensemble all-around, and they do justice to Sondheim’s classic score and Hugh Wheeler’s witty, incisive book.

The show looks wonderful, as well, with gorgeously appointed period costumes by Engel, excellent atmospheric lighting by Tyler Duenow, and a minimal but effective set by Justin Been, consisting of a color-changing backdrop and various furniture pieces as needed. It’s a musical delight from start to finish, and one of the most marvelous shows I’ve seen from the already excellent Stray Dog Theatre. A Little Night Music may not be as well known as some other Sondheim shows, but this production emphasizes its classic, timeless appeal.

Cast of A Little Night Music
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting A Little Night Music at Tower Grove Abbey until October 22, 2022

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Union Avenue Opera’s “Night Music” is Witty, Emotional, Beautifully Sung

Posted in St Louis Theatre, tagged , , , , , , , on August 20, 2022| Leave a Comment »

A Little Night Music
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
Directed by Annamaria Pileggi
Choreographed by Christine Knoblauch-O’Neal
Union Avenue Opera
August 19, 2022

Debby Lennon, Peter Kendall Clark
Photo by Dan Donovan
Union Avenue Opera

A Little Night Music is a show I had heard the score to but hadn’t seen onstage, and by the end of October I hope to have seen it twice, as two local companies have chosen to produce it this year. The first production by Union Avenue Opera, which as an opera company focuses much on the singing and orchestra. And it does sound wonderful, with gorgeous vocals, and a full, lush-sounding orchestra, although in addition, it is also superbly acted and directed, with a stellar cast including several St. Louis-based performers.

A lot of companies are doing Stephen Sondheim shows this year, in memory of the legendary composer/lyricist who died late last year at the age of 91. Sondheim is regarded by many, including me, as one of the true geniuses of musical theatre. A Little Night Music is one of his more operatic-sounding works, which makes it ideal for a company like Union Avenue Opera. Based on the 1955 Ingmar Bergman film Smiles of a Summer Night, the show has a very “Old World European” feel, taking place in Sweden at the turn of the 20th Century. It explores issues of romance, repression, and regret, as well as challenging the attitudes and conventions of upper class society. The main characters are middle-aged lawyer Fredrik Egerman (Peter Kendall Clark), and well-known stage actress Desiree Armfeldt (Debby Lennon), who had been romantically involved years before but had lost touch until Fredrik brings his new, much younger wife Anne (Brooklyn Snow) to a play in which Desiree is appearing.  Anne is suspicious of Desiree because Fredrik, who obviously still carries a torch for his old flame, is evasive about their relationship. Also figuring into the story are Desiree’s aging mother Madame Armfeldt (Teresa Doggett), who is still nostalgic about the romantic adventures in her own past, and Desiree’s teenage daughter Fredrika (Arielle Pedersen), who lives with her grandmother while Desiree tours. There’s also Fredrik’s son from his first marriage, Henrik (James Stevens), who is studying to join the clergy but struggles to live up to his own ideals, and who harbors thinly-veiled feelings for Anne. Also figuring into the story are Desiree’s latest paramour, the self-absorbed and not-too-bright Count Carl-Magnus Malcom (Eric J. McConnell), and his neglected and jealous wife, Charlotte (Leann Schuering); and Anne’s maid, the bold and amorously adventurous Petra (Amy Maude Helfer). A somewhat hastily arranged weekend at Madame Armfeldt’s villa brings all these characters and their conflicting desires, jealousies, and conflicts together, resulting in a great deal of relational chaos, a measure of witty banter, and much reflection and commentary by way of song.

It’s a fascinating story, especially since a lot of the characters aren’t exactly likable, although all are made interesting and there isn’t a dull moment here, even though there isn’t much in the way of “action”, traditionally speaking. It’s a lot of talking, singing, and reflecting. There’s also a clever framework involving a Quintet (Joel Rogler, Gina Malone, Grace Yukiko Fisher, Philip Touchette, and Sarah Price) who serve as something of a Greek Chorus, commenting on the proceedings and characters as the story plays out. Many of the relationships are shallow and even silly, but I think that’s the point of this story, and there are a lot of selfish motives and petty squabbling, but it’s all done with so much wit, emotion, and energy, as well as well-paced comic timing, that it’s fascinating and often hilarious to watch, and the ultimate reflections as the story starts to wind down and gets to the show’s most well-know song “Send In the Clowns”, are truly poignant and soul-bearing. That song, incidentally, makes a whole lot more sense in the context of the show than it does sung by itself.  

The characters are made all the more watchable by the terrific cast that has been assembled here. Debby Lennon, who is known locally in both musical theatre and opera, is excellent as Desiree, projecting that “stage star” presence with ease, as well as communicating the character’s vulnerability and sense of regret. She has has a wonderful voice, as usual, and her scenes with the equally excellent, rich-voiced Clark are a highlight of the show. There are also strong performances from Stevens as the idealistic, oh-so-earnest Henrik, with a strong tenor voice; excellent soprano Snow as the conflicted Anne; along with particularly strong comic turns by McConnell as the boastful, possessive Carl-Magnus, and Schuering as the jealous, exasperated Charlotte. The Quintet is also especially strong, and the biggest standout is Doggett in a delightful, hilarious performance as the aging, nostalgic Madame Armfeldt. There are strong performances all around, and the singing is especially stellar, as should probably be expected for an opera company. The wonderful singing is accompanied by an equally wonderful, rich-sounding orchestra conducted by Scott Schoonover, bringing the overall mood and atmosphere of the piece to life in a memorable way.

Technically, the set designed by C. Otis Sweezey isn’t as elaborate as you might expect from a traditional theatre company, but it’s effective all the same, with mood-setting backdrops and furniture being brought on and off by a highly efficient stage crew. The costumes by Doggett are sumptuously appointed and true to the period, suiting the characters especially well. There’s also excellent lighting by Patrick Huber that helps to set and maintain the tone and mood of the story. Another aspect of the production that’s more specific to opera companies is that “supertitles” (designed by Philip Touchette) are projected on screens at either side of the stage, displaying the script and lyrics as the show goes on, which is especially helpful in this show since there are several moments in which several characters are singing different lyrics at the same time. 

If you’ve never been to Union Avenue Opera, this is a good show to introduce you to this excellent company. Opera can seem intimidating to the uninitiated, but musical theatre is generally seen as a little more accessible. This production of A Little Night Music has a lot of the best qualities of both art forms, with top-quality singing, acting, and orchestra, as well as being a compelling story with much to think about in terms of relationships and the varying, flawed people who engage in them.  It’s a remarkable production.

James Stevens, Leann Schuering, Eric J. McConnell, Jordan Wolk, Teresa Doggett
Photo by Dan Donovan
Union Avenue Opera

Union Avenue Opera is presenting A Little Night Music at Union Avenue Christian Church until August 27, 2022

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The Muny Brings “Sweeney” to Stage in Intense, Fully-Realized Production

Posted in St Louis Theatre, tagged , , , , , , , , on July 18, 2022| Leave a Comment »

Sweeney Todd: The Demon Barber of Fleet Street
Music and Lyrics by Stephen Sondheim, Book by Hugh Wheeler
From an Adaptation by Christopher Bond
Directed by Rob Ruggiero
The Muny
July 17, 2022

Ben Davis, Carmen Cusack
Photo by Phillip Hamer
The Muny

The Muny has gone darker and grittier with its latest production, and it’s brilliant! Sweeney Todd: The Demon Barber of Fleet Street is one of legendary composer/lyricist Stephen Sondheim’s masterpieces, but it hadn’t been performed at the Muny before, and it’s taken a while for this production. First announced  for the eventually cancelled 2020 season and then postponed again after last year’s season was shortened, this production has been long-anticipated, and I’m glad to say it’s been well worth the wait. With first-class production values that use the vast Muny stage ideally, a sumptuous sounding full orchestra, and a wonderful cast, this is a production of a modern classic that brings all the intense energy with chilling results. 

This is a big production, as is fitting the huge stage at the Muny, and all the lavish production values are here, fitting the darker and more horror-themed tone with just the right blend of gritty realism and old-style theatrical thrill. The story, following revenge-minded barber Todd (Ben Davis) upon his return to London after many years exiled in Australia, is well-cast and expertly paced. All the well-known characters are here and impeccably cast, from Todd’s admirer and eventual partner-in crime, meat pie baker Mrs. Lovett (Carmen Cusack), to his arch-nemesis Judge Turpin (Robert Cuccioli), who lusted after Todd’s wife in the old days and, after had Todd exiled on trumped-up charges, has been raising the barber’s daughter Johanna (Riley Noland) and aims to marry her now that she’s older. There’s also Anthony Hope (Jake Boyd), a young sailor who rescues Todd on his way back from Australia and soon becomes enamored with Johanna. Todd, for his part, is fixated mostly on getting revenge on the judge and his accomplice, the weaselly Beadle Bamford (Stephen Wallem), while Mrs. Lovett has her own plans for Todd, and for her pie shop. It’s a complex and eventually gruesome tale with interweaving plotlines, callbacks, and clues that come together gradually at first, and then pick up speed in the second act, leading to a shocking but essentially inevitable conclusion. 

While the Muny has occasionally produced darker, more cynical shows like Chicago, and Little Shop of Horrors, Sweeney Todd heads into even grimmer territory, as anyone who knows the basic plot will realize, even if it takes most of Act 1 to get to the “meat” of the story (pun most definitely intended). All the intricate plotting leads to a fully realized story and a pace that becomes more brisk as the story plays out, and in the hands of director Rob Ruggiero, this Sweeney never misses a beat. With a marvelously detailed and dynamic set by Michael Schweikardt, detailed costumes by Alejo Vietti, chillingly evocative lighting by John Lasiter and striking video design by Caite Hevner, as well as a superb orchestra led by music director James Moore, this is an ideal Sweeney Todd for this venue.

Nothing is “too much”, either–it’s all what it needs to be, including an ideal cast, led by the charismatic, big-voiced Davis as the moody, vengeful Todd, who is well-matched scene-for-scene by the equally superb Cusack as the devoted, single-minded Mrs. Lovett. Cusack also has a great voice, along with good comic timing and lots of energy. Other standouts include Cuccioli and Wallem as the appropriately villainous Judge Turpin and Beadle Bamford; Boyd and Noland as well-matched youthful lovers Anthony and Johanna; Lincoln Clauss as the young, impressionable Tobias Ragg, who gets taken in by Mrs. Lovett and comes to mistrust Todd; and Julie Hanson, in strong voice as the mysterious Beggar Woman who, in many ways, is the key to this whole story. There’s an excellent ensemble, as well, all in superb voice, singing Sondheim’s complex harmonies with energy and precision. 

So far, this is a remarkable season for the Muny, and this production just may be the best so far. It’s a long-awaited production (by me, anyway) that’s proven to be worth the hype. It’s a big, intense, emotional, well-cast, gloriously sung show that brings out all the chilling intensity that you would expect from Sweeney Todd. There’s much to think about here, and it’s not just blood and gore–and that aspect is done with just the right level of spectacle without being overly sensationalized. It’s not a show for all audiences, but if you know what to expect, this production delivers all the characterization, emotion, and intensity with much to think about, as well. It’s a true must-see at the Muny. 

Cast of Sweeney Todd
Photo by Phillip Hamer
The Muny

The Muny is presenting Sweeney Todd in Forest Park until July 22, 2022

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Fly North Theatricals’ “Assassins” is Incisive, Well-Cast, Chilling

Posted in St Louis Theatre, tagged , , , , , , on July 4, 2022| Leave a Comment »

Assassins
Music and Lyrics by Stephen Sondheim
Book by John Weidman
Directed by Bradley Rohlf
FlyNorth Theatricals
July 1, 2022

Eli Borwick, Sarah Lantzberger, Eileen Engel, Jaymeson Hintz
Photo by John Gramlich
Fly North Theatricals

It’s Assassins, but (mostly) immersive! That’s essentially the idea of Fly North Theatricals’ latest production of the Stephen Sondheim/John Weidman musical study of various individuals who have sought out to assassinate Presidents of the United States, with varying degrees of “success”. I put that word in quotes because of the inherently problematic and disturbing nature of the goal, which is pointed out in chilling fashion in this cleverly staged production, which features a contextualization that adds a degree of immediacy to the show that contributes much to the overall dramatic effect. 

Assassins is a show that blends sharp satire with social commentary and moments of intense drama. It profiles various would-be presidential assassins, some well-known and some more obscure, but they are not glorified here, although there is criticism of the societal and cultural values and situations that influenced them. The tone is satirical for the most part, but this production in particular brings out a degree of immediacy in the sense of how the show is framed. While most productions of this show have the backdrop of a carnival/fair shooting gallery attraction, this production is set up as a panel discussion at a convention called “PresCon 2022”. Each audience member is given a lanyard with a badge, identifying each attendee as “President”. The pre-show activities are a combination of hilarious and disturbing, such as autograph sessions with John Wilkes Booth (Jordan Wolk), a projected schedule of events that includes some clever topical and historical references, and more. Then the show starts and all the “presidents” settle down to watch the “panel”.  For a closer look at the pre-show activities and a lists of the various “schedules of events”, you can check out Fly North’s Facebook page. 

Although the show is advertised as “fully immersive”, it’s most immersive elements are before the actual play begins, and then it plays out as written, only with a different set than usual, and with the Proprietor (Eileen Engel) outfitted in professional attire and serving essentially as the host of the panel. The assassins and aspiring assassins are presented and begin to tell their tales. In addition to Booth, we meet Leon Czolgosz (Eli Borwick), Charles Guiteau (Bradford Rolen), Sarah Jane Moore (Kimmie Kidd-Booker), Lynette “Squeaky” Fromme (Avery Lux), John Hinckley (Jaymeson Hintz), Giuseppe Zangara (Ryan P. Townsend), Sam Byck (Sarah Lantsberger), and Lee Harvey Oswald (Stephen Henley).  The characters and their motives are varied, but the ultimate goal is the same–to kill a president. There’s also social commentary in the form of a figure called The Balladeer (also Henley), who–aided by clever projections–clicks through his cell phone to show us background on the various figures and their situations. The stories are sometimes linked in ways they didn’t in real life–like with Fromme and Moore, who both tried to assassinate President Ford, but not together as shown here, and Fromme and Hinckley, whose disturbingly dissonant duet “Unworthy of Your Love” is one the show’s most memorable tunes. Of course, these characters are all from different times and places, but having them interact adds to the theme, drama, and satire of the piece. This particular production adds another layer to that drama, as well, casting the audience as “presidents”, which makes everyone a potential victim if you think about it. Also, the sharp dramatic turn the show takes toward the end adds even more tension and impact to the story, making it a lot more personal than I had seen before. I won’t spoil it, but I’ll give a clue–the guns used in the show are all obviously fake (mostly toys). There’s a rather jarring moment when that changes, which affects the whole tone of the show in a powerfully effecting way. 

The theming here is excellent and consistent, working well with this production, as the “PresCon” setting is played out especially well in the build up to the show itself, and Lauren Perry’s simple but effective set and clever media design adds to the overall effect. The colorful, character-appropriate costumes by Engel are also excellent, as is Tony Anselmo’s evocative lighting. Music Director Colin Healy leads a top-notch band that accompanies the show with style, as well, although the band’s placing and the acoustics in the .ZACK theatre sometimes work to make the music drown out the singers.

Aside from occasional sound issues, though, this is a strong production all around, led by a superb cast with no weak links. Engel has an oddly effective air of detached menace as the Proprietor, and Wolk’s prideful, vengeful Booth is also a standout, as is Lantsberger (who also briefly plays anarchist Emma Goldman) as the attention-seeking Byck, whose goal was to assassinate President Nixon. Lux and Kidd-Booker are memorable in their scenes together as Fromme and Moore, and Hintz is effective as the single-minded and disturbed Hinckley, as is Borwick as aspiring anarchist Czolgosz, who shot President McKinley. Rolen, as the gleefully self-promoting Guiteau (Garfield’s assassin), is a stand-out, as well, and Henley is in excellent voice as the Balladeer, and also makes a convincing Oswald. The whole cast is excellent here, with strong ensemble chemistry and strong stage presence, energy, and vocals. 

If you’ve seen Assassins before, you essentially know what to expect, but there are some surprises in this version, in terms of direction and focus, with a powerful turn toward the end that makes the story more personal than I’ve seen before. Fly North Theatricals has presented some memorable productions in the past, but I think this is their best yet. It’s a profoundly affecting theatrical experience. 

Jordan Wolk, Eli Borwick, Kimmie Kidd-Booker, Bradford Rolen
Photo by John Gramlich
FlyNorth Theatricals

Fly North Theatricals is presenting Assassins at the .ZACK Theatre until July 23, 2022

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With “Gypsy” The Muny Brings a Classic Musical to the Stage With Style

Posted in St Louis Theatre, tagged , , , , , , , , on July 30, 2018| Leave a Comment »

Gypsy
Book by Arthur Laurents, Music by Jule Styne, Lyrics by Stephen Sondheim
Directed by Rob Ruggiero
Choreographed by Ralph Perkins
The Muny
July 27, 2018

Cast of Gypsy Photo: The Muny

It makes sense that the Muny would be staging Gypsy in its historic 100th season, considering the show’s reputation as an iconic American classic. It’s a show that’s been lauded for its strong book, its memorable score, and its well-realized characters, and particularly for the role of Rose–a part that has been played by many legendary performers over the years from Ethel Merman and Angela Lansbury to Patti Lupone and Imelda Staunton. It’s also been filmed three times, and although I had seen two of those three filmings, I had never seen the show onstage in its entirety before, having been part of a group trip to a community theatre production when I was a teenager that was lesss than great, although I was struck by the excellent songs and intriguing story. Although I had wanted to stay, I was outvoted and my group left that production at intermission, so I only got to see half of it. Now, the Muny is presenting this show and I’m happy, not just because I finally get to see the whole show on stage, but also because it’s such a wonderful production, staged with such precision, attention to detail, stunning production values and a superb cast lead by Broadway and Muny veteran Beth Leavel.

This show is a fictionalized account based on the memoirs of famous mid-20th Century stripper Gypsy Rose Lee. Lee isn’t the main character here, although she is important, and the story does show how Louise (Julia Knitel, with Elise Edwards as the younger “Baby Louise”) eventually became Gypsy Rose Lee. The primary focus, though, is on her mother, Rose (Leavel), a determined “stage mother” who once had hopes of stardom for herself but eventually pours all her energy into her daughters’ success in Vaudeville, and particularly her younger daughter, June, first as the headlining child performer “Baby June” (Amelie Lock) and later as the teenage “Dainty June” (Hayley Podschun). As Rose promotes the act in various venues on the West Coast, she eventually meets Herbie (Adam Heller) an agent-turned-candy salesman who is attracted to Rose, and whom she persuades to represent June’s act. While Herbie hopes to marry Rose, she strings him along, also neglecting Louise in her focus on the “star” of the act, June, and both sisters feel the pressure of having grown up on the road. Rose’s indomitable drive alienates and intimidates a lot of people, but the act is sucessful for a time, although not without consequences, as key figures in her life eventually are driven away. Although the story is well-known, I won’t give away too much, other than the obvious fact of who Louise eventually becomes. How she gets there, though, is a pivotal part of the drama and her relationship with her domineering mother.

Rose herself is a formidable character, a challenging role that’s considered one of the most sought-after roles in musical theatre. She’s complex and forceful, and not always likable, although a strong performer can make her watchable and even sympathetic in crucial moments. Here, Leavel takes the role and fills that colossal Muny stage with her powerful voice and memorable presence. She has her over-the-top moments, as is expected for the character, but she also portrays the characters humanity and desperate need for validation with clarity. Her “Everything’s Coming Up Roses” and “Rose’s Turn” are intense, but she also displays an easy chemistry with Heller’s supremely likable and dependable Herbie in songs like “Small World” and “You’ll Never Get Away From Me”. Her last scene with the grown-up Louise/Gypsy Rose Lee is especially poignant. Knitel, for her part, is excellent as Louise, showing a truly credible personal journey as she grows from insecure teenager to world-class burlesque performer in the course of the show. There are also stand-out performances from Podschun as the outwardly perky but increasingly exasperated June, by Drew Redington in a dazzlingly danced turn as chorus boy and aspiring song-and-dance man Tulsa, and especially by Jennifer Cody, Ellen Harvey, and Ann Harada as the trio of strippers who explain the secrets of their success to Louise in the show-stopping “You Gotta Get a Gimmick” number. The whole cast is excellent here, from the leads to the ensemble, with some cast members playing a few different roles and everyone in excellent form in singing, dancing, and acting.

One of valuable lessons I learned from that half-production I saw years ago is that pacing in this show is crucial. This is a show that, as great as it is, depends a lot on timing and energy. Director Rob Ruggiero has staged this show at just the right pace, so it’s not too slow but still takes the time to tell the story well. At the Muny, the lavish production values also help, with and excellent versatile set designed by Luke Cantarella that makes great use of the Muny’s turntable and authentically recreates the look and atmosphere of Vaudeville theatres and Depression-era America. There are also excellent costumes by Amy Clark, striking lighting by John Lasiter, and impressive use of video, designed by Nathan W. Scheuer.

This is a show that demands a great production, and the Muny has delivered that here. Anchored by the excellent performances of Leavel and her co-stars, this is a Gypsy production that’s worth seeing and remembering. It’s a magnificent production.

Adam Heller, Beth Leavel, Julia Knitel Photo: The Muny

The Muny is presenting Gypsy in Forest Park until August 2, 2018

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The Muny Dazzles with Dance in “Jerome Robbins’ Broadway”

Posted in St Louis Theatre, tagged , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on June 15, 2018| Leave a Comment »

Jerome Robbins’ Broadway
by James M. Barrie, Irving Berlin, Leonard Bernstein, Jerry Bock, Sammy Cahn,
Moose Charlap, Betty Comden, Larry Gelbart, Morton Gould, Adolph Green,
Oscar Hammerstein II, Sheldon Harnick, Arthur Laurents, Carolyn Leigh,
Stephen Longstreet, Hugh Martin, Jerome Robbins, Richard Rodgers,
Burt Shevelove, Stephen Sondheim, Joseph Stein, Jule Styne
Directed by Cynthia Onrubia
Additional Choreography by Harrison Beal, Dan Knechtges, Ralph Perkins
The Muny
June 11, 2018

Cast of Jerome Robbins’ Broadway
Photo: The Muny

The Muny’s 100th season is finally here, and it’s opening in grand style with a show that’s really several shows in one. The 1989 Tony Winner for Best Musical, Jerome Robbins’ Broadway pays tribute to a prolific director-choreographer from the Golden Age of Broadway in a production that, even though it has “Broadway” in the title, seems almost tailor-made for the Muny.

The Muny has traditionally been about big, large-cast musicals with spectacle and style, and that’s here in abundance with Jerome Robbins’ Broadway. It’s the first regional production of the show ever, apparently, and although it’s not exactly the same as the 1989 version, most of the songs are here, highlighting Robbins’ illustrious career and featuring some iconic numbers from classic shows, as well as some numbers from lesser-known shows. From On the Town, HIgh Button Shoes and Billion Dollar Baby to West Side Story, The King and I, Peter Pan, and Fiddler On the Roof, this show has a little bit of everything, dance-wise, from dramatic, ballet-influenced numbers, to jazz, to slapstick comedy, and more, staged with the usual big, bold, high-energy stage-filling style of the Muny.

There isn’t really a story here. It’s a revue, essentially, with Rob McClure as “The Setter” introducing the scenes. McClure, a Muny veteran and favorite performer, also plays several memorable roles in the production, including two roles from HIgh Button Shoes and the role of Tevye alongside Maggie Lakis as Golde in the excellent Fiddler sequence that features “Tradition”, “Tevye’s Dream”, “Sunrise, Sunset”, and the always thrilling wedding dance. There are many excellent moments here. In fact, there are so many highlights, it’s not easy to name them all. Among the standout routines is a thrilling rendition of “I’m Flying” from Peter Pan starring Sarah Marie Jenkins as a vibrant Peter Pan, along with Elizabeth Teeter as Wendy, Gabriel Cytron as Michael, and Cole Joyce as John. This sequence is particularly dazzling, with excellent flying effects by ZFX, Inc. and great use of the Muny’s electronic scenery wall. The ensemble is the star here, really, with energetic dancing from the more dramatic West Side Story moments to the high comedy of the “On a Sunday By the Sea” number from High Button Shoes. Another memorable sequence is the truly stunning dance number “Mr. Monotony” featuring powerful vocals from Muny veteran Jenny Powers and astounding dancing from Sean Rozanski, Alexa De Barr, and Garen Scribner, who also all turn in strong performances in the West Side Story sequence as Bernardo, Maria, and Tony respectively, alongside the equally excellent Davis Wayne as Riff and Tanairi Vazquez as Anita, along with an athletic, energetic ensemble of Jets and Sharks. There is so much here to see and enjoy, with Robbins’ routines recreated with an authentic look and feel, to the point where it seems for some moments as if the audience has traveled in time.

The production values here are also first-rate, with a stylish, colorful and versatile set by Paige Hathaway and remarkably authentic costume design by Robin L. McGee. There’s also excellent lighting design from John Lasiter, lending atmosphere and changing tones and moods to the various production numbers. There’s also great video design by Nathan W. Scheuer and wonderful music from the always excellent Muny Orchestra.

This is an old-school musical revue with lots of energy and a big cast to fill out the enormous Muny stage. Jerome Robbins’ Broadway is a collection of numbers that serves as an ideal first show for the Muny’s 100th season. It’s a retrospective, but also a celebration of musical theatre’s past as the Muny prepares to move into the future. It’s a dazzling start to a long-awaited season in Forest Park.

West Side Story Dancers
Photo: The Muny

The Muny is presenting Jerome Robbins’ Broadway in Forest Park until June 17, 2018.

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