Posts Tagged ‘stray dog theatre’

“Nevermore” is a Well-Sung, Fascinating Musical Thriller at SDT

Posted in St Louis Theatre, tagged , , , , , , , , on October 16, 2024| Leave a Comment »

Nevermore: The Imaginary Life and Mysterious Death of Edgard Allan Poe
Written and Composed by Jonathan Christenson
Directed by Justin Been
Choreographed by Maggie Nold
Stray Dog Theatre
October 10, 2024

Drew Mizell (center) and Cast
Photo by John Lamb
Stray Dog Theatre

It’s October, and it’s common for theatre companies to do a “spooky” show in keeping with Halloween. Stray Dog is getting in the spirit of the season with a fascinating, well-staged bio-musical about famed 19th Century writer Edgar Allan Poe, who is best known for the dark subject matter of some of his poems and stories. It’s a small cast show with most cast members playing several roles, and it has a pre-recorded soundtrack backing the singers, but what shines forth in this production especially is the high quality of the singing, as well as the look and overall dark and mysterious tone of the show.

The story is told largely in flashback, as the famous writer Poe (Drew Mizell) is traveling on a train and meets a troupe of actors who recognize him and start acting out his story. The group of six players (Michael Cox, Heather Fehl, Stephen Henley, Kevin O’Brien, Dawn Schmid, and Sara Rae Womack) join in telling Poe’s story, which each of the performers playing several roles. The story follows Poe from his childhood with his parents–who are also performers–and his siblings Henry and Rosalie. As he gets older, he and his siblings are orphaned and sent to live with different families, with Edgar staying with Jock and Fanny Allan, who influence his life in various ways. In young adulthood, Edgar becomes involved with kindred spirit Elmira, who likes his dark and creepy stories and has some of her own, but her parents don’t approve and encourage her to marry into a “better” family. The story then follows the ups and downs of Edgar’s career as a writer, as well as personal struggles with substance abuse, along with his marriage to his young cousin Virginia “Sissy” Clemm. The important biographical points are covered, if sometimes out of order, with the ominous and mysterious tone being kept up throughout, leading up to some surprising revelations and an emotional ending.

The score is pervasive and memorable, with a pre-recorded soundtrack (which was apparently required to be used), which works reasonably well even though I don’t prefer them. The music utilizes the ranges of the singers well, especially the fantastic Mizell’s crystal clear higher range. Mizell has loads of presence as Poe, with a stunning voice and impressive emotional range. The entire cast is strong, as well, with the supporting players handling their multiple roles well. Particular standouts include Schmid as the kind but troubled Fanny Allan and as the devoted Sissy; Womack as the delightfully quirky Elmira; and Henley as Poe’s  optimistic and loyal older brother Henry. Everyone has excellent moments, and the ensemble singing is marvelous.

The show looks great, with an ominous tone maintained by a purple-and-black color palette and a clever multi-level set by director Justin Been. Sarah Gene Dowling’s costumes are also a highlight, with impressive detail and style. The lighting by Tyler Duenow dazzles, emphasizing the shadows and changing moods in the story, and there’s also good work from sound designers Been and Wade Staples–although it was somewhat difficult to hear the singers at the beginning–as well as music director Jennifer Buchheit.

Nevermore is an ideal show for the Halloween season, especially for fans of Gothic horror and mystery, and Poe in particular.  Bolstered by a top-notch leading performance and an excellent ensemble, this is a show that’s both entertaining and appropriately unsettling. It’s an educational experience, as well, and a thoroughly memorable production.

Cast of Nevermore
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe at the Tower Grove Abbey until November 2, 2024

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SDT’s “Ruthless” Satire of Old Hollywood is a Hilarious Hit

Posted in St Louis Theatre, tagged , , , , , , , , on August 8, 2024| Leave a Comment »

Ruthless!
Book and Lyrics by Joel Paley, Music by Marvin Laird
Directed by Justin Been
Choreographed by Sara Rae Womack
Stray Dog Theatre
August 2, 2024

Sarah Gene Dowling, Finley Mohr, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Ruthless! is an apt title for the latest production from Stray Dog Theatre. A combination send-up/tribute to “Old Hollywood” and showbusiness in general, the show debuted off-Broadway in 1992 and become something of a cult favorite. In the hands of director Justin Been and an enthusiastic, talented cast, this show becomes an especially hilarious camp-fest, although I think it helps to be at least somewhat familiar with the material and genres that inform this musical.

At the heart of Ruthless! is an affectionate parody of various “Old Hollywood” and showbiz tropes, and more specifically stories like All About Eve, Gypsy, The Bad Seed, and Inside Daisy Clover. The story follows child prodigy Tina Denmark (Finley Mohr), whose mother, Judy (Sarah Gene Dowling) loves and supports, although she herself doesn’t know where her daughter would have gotten her talent, considering Judy herself sees herself as an untalented “typical” suburban housewife. Suddenly, the mysterious and ambitious talent agent Sylvia St. Croix (Sarajane Clark) appears, determined to make Tina a star. For Tina, however, stardom begins with getting the lead role in her school production of a Pippi Longstocking musical that was written and directed by her frustrated third grade teacher Miss Thorn (Anna Langdon), who once had Broadway ambitions of her own. When fellow student Louise Lerman (Sarah Lantsberger)–whose wealthy parents are bankrolling the show–threatens to get in the way of Tina’s ambitions, the story takes an even darker turn, and that’s only Act 1. Act 2 carries the saga to even greater, and campier, heights of raw ambition, complicated parent-child relationships, and power struggles as the show speeds up the pace on the way to living up to its title in frenetic, darkly hilarious fashion.

While the first act can be a little slow at times, the players give memorable and committed performances, led by Dowling in a versatile turn as the initially upbeat but conflicted Judy, who later undergoes a somewhat radical transformation. Clark is also fantastic as the mysterious, haughty Sylvia, and young Mohr is a delightfully disturbing blend of perky and (dare I say?) ruthless as Tina. There’s also a scene-stealing performance from Laura Kyro as Judy’s adoptive mother, theatre critic Lita Encore, who will not let anyone forget that she hates musicals. Langdon also has excellent moments as Miss Thorn, and Lantsberger offers strong, amusing support in a dual role as Louise Lerman and as Judy’s assistant “Eve” in Act 2. It’s a cohesive cast, and the chemistry between Dowling, Clark, and Mohr is especially memorable, with a ferocity that adds to the overall dark-comic atmosphere of this production. 

The look of this show is a well-realized mid-century marvel, as well, with an effective set by Rob Lippert and marvelous costumes by Colleen Michelson that add to the overall classic showbiz look. There’s also strong work from lighting designer Tyler Duenow and sound designer Been. The small band, led by music director Randon Lane, adds much to the overall sound of the catchy score and lending able support to the excellent singing.

Another fun touch in this show is all the references to the shows and films it’s parodying, which is another reason it’s helpful to be familiar with a lot of those stories. While it does have it’s slow moments, Ruthless! is, for the most part, a whole lot of fun. If you’re looking for a campy, fiercely dark showbiz musical with the glamour of the “old days’ and energetic performances, SDT’s current production is a good place to go.

Sarajane Clark, Sarah Gene Dowling, Laura Kyro
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ruthless! at Tower Grove Abbey until August 24, 2024

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“Ripcord” is a Well-Cast, Fast Paced Comedy from Stray Dog Theatre

Posted in St Louis Theatre, tagged , , , , , on June 14, 2024| Leave a Comment »

Ripcord
by David Lindsay-Abaire
Directed by Gary F. Bell
Stray Dog Theatre
June 8, 2024

Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre’s latest production is a showcase for two first-rate comic performances, along with a strong supporting cast in an increasingly madcap series of situations. Directed by artistic director Gary F. Bell, David Lindsay-Abaire’s Ripcord is a hilarious, fast-paced, character-driven comedy that explores issues of aging, personality conflicts, grief and regret, and more. It’s a small show with a big sense of humor, and a good deal of action.

The story, set at the Bristol Place Senior Living Facility, follows the curmudgeonly, reclusive Abby (Annie Bayer), and the more outgoing, bubbly Marilyn (Jan Mantovani), who are unlikely roommates. Abby complains to staff member Scotty (Victor Mendez), that she’s used to having the room to herself, and she wants Marilyn to be moved to another room. The facility’s new superintendent seems to be against this idea, and as the two roommates continue to clash, they come up with an idea: a bet. The upbeat Marilyn is challenged to frighten the stoic Abby, while Abby’s goal is to make Marilyn angry. The “prize” for Abby is that Marilyn would move out, and if Marilyn wins, she gets the bed closer to the window. This bet sets the plot in motion, in which a series of increasingly wild happenings ensue, including the involvement of Marilyn’s daughter Colleen (Donna Parrone), son-in-law Derek (Matt Anderson), and son Lewis (Jeremy Goldmeier), as well as another important character named Benjamin (also Goldmeier).  As the situations get more and more unusual–and dangerous–the audience is made to wonder exactly how this bet is going to end, and whether the women will emerge from this series of events as friends or enemies. 

This is a funny show, with a good deal of laugh-out-loud humor, but also a more poignant side as both of the main characters have hidden depths. The complexity of the characters is conveyed well by Bayer as the initially difficult to like Abby–who is insistent on pushing away anyone who tries to get close–and Mantovani as the almost too-chipper Marilyn, who has her own reasons for being so insistently positive. These two characters are the heart of the show, and both performers shine, working together well and conveying a believable competitive energy. Mendez is also excellent as the likable and often exasperated Scotty. There is also strong support from Parrone and Anderson as the helpful Colleen and Derek, and Goldmeier in a dual role that proves to be integral to the story.

The play fills out the stage at Tower Grove Abbey with a suitably realistic set by Rob Lippert, and excellent evocative lighting by Tyler Duenow. The lighting, as well as the sound by Justin Been, is put to excellent use in some especially memorable scenes, such as a Halloween “haunted house” that Scotty is a part of, and another inventively staged “action” scene later. The costumes by Colleen Michelson are well suited to the characters, with the haunted house scene also being a fun highlight in this respect. 

Overall, Ripcord is a well-plotted show that portrays the ups and downs of aging and personality conflicts in memorable fashion. At SDT, the show is brought to life with truly marvelous performances from the two leads, who make a credibly hilarious dualling duo. With a strong supporting cast and fast-paced staging, this is a thoroughly entertaining, thought-provoking play.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Ripcord at Tower Grove Abbey until June 22, 2024

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SDT’s “Xanadu” is Energetic, Nostalgic Fun on Wheels

Posted in St Louis Theatre, tagged , , , , , , , , on April 5, 2024| Leave a Comment »

Xanadu
Book by Douglas Carter Beane
Music and Lyrics by Jeff Lynne and John Farrar
Directed by Justin Been
Choreographed by Mike Hodges
Stray Dog Theatre
April 3, 2024

Shannon Lampkin Campbell, Phil Leveling
Photo by John Lamb
Stray Dog Theatre

Where were you in 1980? I know a fair amount of my readers probably weren’t even born yet, but I was around. I was a kid, and like many other kids in the neighborhood, I liked to roller skate. The skates, and the iconic soundtrack featuring ELO and Olivia Newton-John, are what I remember most about the notorious cinematic flop-turned-cult-classic Xanadu, which was later turned into a surprisingly successful Broadway musical with a book by Douglas Carter Beane, and a production team that recognized the cheesy appeal of the original and decided to lean into it. At Stray Dog Theatre, an enthusiastic cast directed by Justin Been positively revels in the nostalgic silliness, with a result that’s marvelously entertaining. 

The show’s charm is that it doesn’t parody the original source as much recognizing its cult appeal and ramping up the cheesy, campy, nostalgic aspects of it, making for an infectiously hilarious story that celebrates its own silliness while also highlighting the film’s famous soundtrack. It also adds in other hits by ELO’s Jeff Lynne and by Australian composer-producer John Farrar, who wrote many of Olivia Newton-John’s biggest hits. So, in this story of a self-doubting Venice Beach artist, Sonny (Phil Leveling) who meets a literal Greek Muse, Clio/Kira (Shannon Lampkin Campbell) and aims to turn an old theatre into an arts venue and roller disco, we get to hear the film’s hit songs like “All Over the World”, “Magic”, and “Xanadu”, along with ELO classics like “Evil Woman” and “Strange Magic” and Newton-John hits like “Have You Never Been Mellow”. The clever book also features some fun pop-culture jokes and a good deal of meta-humor along with the film’s tale of love, Greek Mythology in the “modern” (1980s) world, music and roller skating. 

The show also features a funny villainous subplot involving scheming Muses Melpomene (Chelsie Johnston) and Calliope (Sarah Gene Dowling) who are out to put a curse on Kira/Clio and providing for some hilariously memorable moments. Also, the older, jaded real estate tycoon Danny Maguire (Scott Degitz-Fries)–who owns the dilapidated theatre and was played by Gene Kelly in the film–is on hand, as he’s sure he’s seen Kira before, many years ago, and seeing her now reawakens memories and feelings of the more idealistic goals he once had. The story of music, magic, and mythology highlights the roller skating in inventive ways as well as featuring some comically marvelous production numbers.

The performers are all invested in this cavalcade of colorful, campy nostalgia, led by impressive turns from Campbell as the perky and persistent Kira and Leveling as the self-doubting, not super bright but charmingly idealistic Sonny. Their chemistry is excellent, making the somewhat silly love story work, and Campbell’s vocals have the tone and power to carry the classic Olivia Newton-John songs of the score. There are also fun performances from Johnston and Dowling as gleefully villainous Muses, along with Degitz-Fries in a dual role as Danny and Greek god Zeus. Degitz-Fries, as the skating consultant, is also especially great on wheels, featuring in some impressive skate-tapping along with Campbell as Drew Mizell as a younger version of Danny in one memorable number. The whole ensemble is excellent and full of energy–including cast members Mateo Bleuemel, Lindsey Grojean, Madison Mesiti, Katie Orr, and Lauren Tenenbaum–playing various roles from Muses to musicians to mythological creatures and members of the ancient Greek pantheon, and everyone is reveling in the good-natured goofiness that brings a lot of heart and humor to some of the most wonderfully wacky production numbers I’ve seen from this company, with memorable choreography by Mike Hodges.

The technical aspects of this show add to the fun, with a somewhat minimal set by director Been that provides a versatile and colorful backdrop for the story. There are also suitably nostalgic and inventive costumes by Colleen Michelson and impressive hair and makeup by Dowling. The well-designed and visually striking lighting by Tyler Duenow also adds to the overall tone of the show, as does the great-sounding band led by music director Leah Schultz, adding an upbeat groove to the pop-disco score. 

Overall, Xanadu at Stray Dog Theatre is a whole lot of fun. I can’t imagine a better way to adapt the original film, which does have a cult following but was widely panned and is very much tied to its time. Highlighting the nostalgia, humor, and heartfelt silliness is certainly the right way to go here, and SDT has done a great job of bringing all that colorful goofiness to the stage. I found myself unable to stop smiling in some of the more over-the-top moments. I would call this a “feel-good” show in the best sense of that term. 

Cast of Xanadu
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Xanadu at the Tower Grove Abbey until April 27, 2024

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Visually Striking, Suspenseful “Mousetrap” Entertains at SDT

Posted in St Louis Theatre, tagged , , , , , , on February 7, 2024| Leave a Comment »

Agatha Christie’s The Mousetrap
by Agatha Christie
Directed by Gary F. Bell
Stray Dog Theatre
January 31, 2024

Cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Agatha Christie is well-known as the queen of the “Whodunit”, and The Mousetrap is one of her most well-known works. It’s especially notable because the original production is still running in London after more than 70 years. It’s also an excellent showcase for actors, and Stray Dog Theatre has assembled an especially strong cast for their latest production, directed by Gary F. Bell and featuring some striking visuals in addition to the usual murder-mystery plot.

Taking place in the English countryside, outside of London but within a reasonably short distance, the show features a mid-20th Century setting and, as is usual for Christie, memorable characters and a good deal of intrigue. As young couple Mollie and Giles Ralston prepare to open their cavernous old house, Monkswell Manor, as a guest house, two notable events happen as they await their guests–a snowstorm and a murder. The storm helps add to the suspense as the collection of characters soon become stranded together at the house, and the news of a murder in London brings up memories of a tragic story from years before to which that crime is apparently connected. What’s more, when Detective Sergeant Trotter arrives on skis, he announces that the perpetrator is still on the loose, and there’s reason to believe that the killer has fled to Monkswell Manor, and that anyone connected to the earlier case could be in danger. Of course, the guests all have their secrets, but soon there is another murder, and the tension ramps up, as the characters race to solve the mystery before the killer can strike again.

The cast is excellent, with all playing their characters with degrees of complexity and distinctive personality. Claire Coffey and Sean Seifert display strong chemistry as Mollie and Giles, the hopeful young couple who are soon driven to suspicion of one another by the determined Sergeant Trotter, played with impressive intensity by Drew Mizell. The rest of the cast is also strong, including Jason Heil as the sensitive and excitable Christopher Wren, Julie Healey as the strict Mrs. Boyle, David Wassilak as the even-tempered Major Metcalf, Shannon Campbell as the gruff and secretive Miss Casewell, and Matt Anderson as the especially mysterious “surprise” guest Mr. Paravacini. The interplay between the characters adds much to the suspense and tension of the play, as do their wildly contrasting personalities.

The staging is well-paced and thrilling, making use of the remarkably detailed two-level set by Richard Brown and Dominic Emery and the atmospheric lighting by Tyler Duenow. There’s also excellent work from sound designer Justin Been, adding to the building tension of the story. The costumes, by Colleen Michelson, are especially memorable, as well, using a bright palette of colors and giving each character a distinctive color, reminiscent of Clue to a degree.

Agatha Christie’s The Mousetrap may be an oft-performed show, but Stray Dog Theatre has put its own stamp on it here, with a strong cast and just the right balance between thrilling mystery and moments of needed comic relief. It works well in the Tower Grove Abbey space, and the cast keeps up the energy to the last moment. For fans of old-fashioned murder mystery, this should be an especially appealing production.

Drew Mizell (center) and cast of Agatha Christie’s The Mousetrap
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Agatha Christie’s The Mousetrap at Tower Grove Abbey until February 17, 2024

This review was originally published at kdhx.org

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SDT’s “Sister Mary” Offers a Darkly Comic Alternative for the Holidays

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

Sister Mary Ignatius Explains It All For You
by Christopher Durang
Directed by Gary F. Bell
Stray Dog Theatre
December 14, 2023

Tommy Pepper, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Sister Mary Ignatius Explains it All For You has something of a controversial history. Christopher Durang’s pitch-dark satire of Catholic Church teachings, particularly in American parochial schools, has been the subject of protests and complaints over the years. It’s also the latest “alternative” holiday offering from Stray Dog Theatre. With a strong cast and simple but effective staging, the show certainly makes a memorable impression. 

Unfortunately, I wasn’t able to see this production until late in its run, and it closed this past weekend, so this is an “after the fact” review. Still, Sister Mary made her mark, as the titular nun (Sarajane Clark) started out on a simply decorated stage backed by a large Christmas wreath, poised to teach the audiences the basics of Catholic belief, in her own insistently cheerful manner. Occasionally, she would call on one of her young pupils, Thomas (Tommy Pepper) to recite various points of doctrine. After a series of pointed lessons on matters such as Heaven, Hell, and Purgatory, a group of former students appeared to enact a Christmas pageant apparently written by another former student, although it’s basically reiterating a lot of Sister Mary’s own lessons. Soon, we learn that the now-adult former pupils–Gary (Stephen Henley), Diane (Rachel Bailey), Philomena (Eileen Engel), and Aloysius (Sean Seifert) have their own agenda, and it’s not one that the rigid Sister Mary is going to like. From there, the story went into a series of directions, some fairly predictable and others downright shocking. There isn’t much else I can say without spoiling the story, but I’ll just say that Sister Mary certainly had some tricks up her sleeve (or in her sock), leading to an especially dark conclusion that will probably stick in the memory of audience members for quite a while.

The staging is well-paced and brisk, focusing on the towering performance of Clark as the determined, insistently staunch Sister Mary Ignatius. Regardless of whether or not you agree with her interpretations of Catholic doctrine, it’s clear that Sister Mary is not going to budge in her stance. Clark also maintained a cool, cheerful veneer most of the time that added a degree of menace to her characterization, which was in keeping with the icy, super dark tone of this piece. Young Pepper as Thomas was also memorable, cheerfully obeying Sister Mary no matter what she asked him to do. There were also convincing performances from Henley as Gary, who has a secret he knows Sister Mary won’t like; as well as Bailey as the assertive Diane; Engel as the conflicted Philomena; and Seifert as the increasingly nervous Aloysius. The confrontations are believable and increasingly volatile, with convincing performances by all the cast members.

Technically, the staging was fairly simple, but it worked well considering this is supposed to be a presentation on a stage at a church, which made the Tower Grove Abbey space especially ideal for this show. Justin Been’s set, Gary F. Bell’s costumes, and Tyler Duenow’s lighting contributed much in the way of atmosphere to the production.

Not being Catholic myself, I don’t really have as personal a connection with this story as I would imagine a lot of local audience members would, considering the large Catholic population in St. Louis. There are some points that seem to jab more at Christianity in general, but the Catholic Church is the primary target. There’s a lot to think about here, especially in terms of authoritarianism in religious organizations, and its effects on those who experience it. This kind of sharp, biting satire is in keeping with SDT’s “alternative” holiday tradition, and it’s certainly provided much about which to think and discuss.

Stephen Henley, Sarajane Clark, Rachel Bailey, Eileen Engel, Sean Seifert
Photo by John Lamb
Stray Dog Theatre

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

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

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

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

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

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

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

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

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

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

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

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SDT Entertains with Campy, Energetic “Vampire Lesbians of Sodom”

Posted in Uncategorized, tagged , , , , , on June 12, 2023| Leave a Comment »

Vampire Lesbians of Sodom
by Charles Busch
Directed by Gary F. Bell
Stray Dog Theatre
June 10, 2023

Sarajane Clark, Greta Johnson, Victor Mendez, Zander Huber
Photo by John Lamb
Stray Dog Theatre

The latest production from Stray Dog Theatre is from celebrated playwright and drag artist Charles Busch, who seems to be a favorite of this theatre company, since they’ve performed several of his works in the past. Vampire Lesbians of Sodom is a fairly short play, but it packs a lot of laughs into its roughly 70 minute running time, featuring Busch’s campy style and an energetic cast who all seem to be having a great time on stage.

The story is told in three scenes, starting in the infamous biblical city of Sodom, then moving into glamorous 1920’s Hollywood, and finally arriving in glitzy 1985 Las Vegas. Most of the actors play a variety of roles, with notable exceptions being the two main characters, La Condesa Scrofula de Hoya (Sarajane Clark) and Madelaine Astarté (Xander Huber), whose rivalry lasts for many centuries. I won’t give too much away, because that might spoil the fun, but basically, it includes quests for amorous conquests, the blood of virgins, ambitious movie stars, and lots of stylized melodrama. It’s actually a fairly thin plot, but the point isn’t the plot, really. 

The point here appears to be letting the actors ham it up as much as possible, and they do that with impressive enthusiasm, led by the gloriously theatrical Clark and Huber, who make the most of their roles as glamorous, seemingly ageless rivals. The rest of the cast includes Rachel Bailey, Greta Johnson, Victor Mendez, Nara, and Sean Seifert, most of whom play a variety of roles, with Seifert a standout in a hilariously physical performance as Las Condesa’s sycophantic butler in the Hollywood sequence. Johnson also makes a humorous impression as two different young, seemingly clueless aspiring starlets, and Mendez gleefully overacts his role as a movie star and jealous boyfriend. The staging is fast-paced and energetic, with moments of physical comedy, witty banter, and all that hilariously overdone emoting.

The set, by Rob Lippert, is appropriately versatile, featuring a mountainous backdrop that is modified with signage in the Hollywood and Vegas scenes. There are also gleefully whimsical costumes by Colleen Michelson and wigs by Sarah Gene Dowling. Tyler Duenow’s lighting and Justin Been’s sound also contribute to the humorous tone of the production.

Overall, Vampire Lesbians of Sodom is a broadly comic show that revels in its own silliness. With its use of language and innuendo, it’s not for everyone, but it’s a fun showcase for its enthusiastic cast. Fans of bawdy, campy comedy, and particularly those who appreciate the works of Charles Busch, should especially enjoy this show. 

Xander Huber, Sarajane Clark
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Vampire Lesbians of Sodom at the Tower Grove Abbey 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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SDT’s Intense, Riveting “Woolf” Highlights Superb Acting

Posted in St Louis Theatre, tagged , , , , , on February 10, 2023| Leave a Comment »

Who’s Afraid of Virginia Woolf?
by Edward Albee
Directed by Gary F. Bell
Stray Dog Theatre
February 9, 2023

Stephen Henley, Stephen Peirick, Claire Wenzel, Mara Bollini
Photo by John Lamb
Stray Dog Theatre

Who’s afraid of an acting challenge? Apparently not Stray Dog Theatre, director Gary F. Bell, and his first rate cast in an Edward Albee classic. Who’s Afraid of Virginia Woolf? is famous for its intense plot, strong characterizations, and the intensity of its performances. The roles of Martha and George, especially, have been played in various productions by a succession of acclaimed actors. Here, Bell has assembled a top-notch cast of local performers and staged a volatile, highly charged production of this portrait of troubled relationships, shattered dreams, and alcohol-fueled revelations. It may not be an easy play to watch, considering the tension and emotional fireworks, but its expertly played and a must-see for the sheer caliber of the performances. 

The basic plot, set in 1962 New England, involves middle-aged couple George (Stephen Peirick) and Martha (Mara Bollini), who have been married for over twenty years and whose relationship has become a picture of resentment, regret, and repeated exercises in mutual mocking and caustic bickering. He’s a professor at a small college, and she’s the daughter of the institution’s president. When the action begins, they’ve just returned from a party, and after some banter, Martha informs George that she has invited some guests from the party to join them for drinks–a new professor, Nick (Stephen Henley), and his wife, Honey (Claire Wenzel). Soon, the young couple arrive, and a series of emotional games ensues, challenging both relationships and resulting in a series of revealing tales and shocking discoveries. 

With its intense subject matter, not-easy-to-like characters, and over three-hour running time, this play can seem daunting to the unfamiliar. Still, even though it’s long and intense, Albee’s script is intelligent and incisive, and the roles are oft-coveted by actors. It’s a play that requires the audience to pay attention, and the script, along with the excellent performances here, make it hard to look away, even when the situations can become awkward and challenging. It also helps that this production  has set the scene so well–with a well-realized, period-appropriate set and costumes by director Bell, and excellent atmospheric lighting by Tyler Duenow and sound by Justin Been.

The centerpiece of this production, though, is its first-rate performances and thoughtful, dynamic staging. Peirick and Bollini are well-matched as the constantly sparring George and Martha. Their chemistry is strong and credible, managing even amidst the mind games to convey the sense that this difficult marriage once had its happier, more hopeful moments. These are big personalities, but neither becomes a caricature, with Bollini communicating Martha’s sharper aspects as well as an underlying sense of sadness and regret, and Peirick matching in her in energy while also showing George’s hurt and weariness. It’s a remarkable set of performances, with strong support from Henley as the initially guarded, ambitious Nick, and Wenzel, whose initially clueless Honey masks very real regrets of her own. The interplay between all four characters provides the “action” here, and its turns halting, volatile, and emotionally devastating.

There’s a lot to think about in this play, with its boldly defined characters and explorations of societal expectations in an early 1960s academic setting, as well as its look at how years of expectations and disappointments can affect a relationship. Its themes obviously still resonate today, roughly 60 years after the play first premiered, considering how often this play has been staged over the years. Here in St. Louis, audiences are fortunate to have this first-rate production to witness. It’s a remarkable staging from Stray Dog Theatre. 

Claire Wenzel, Mara Bollini
Photo by John Lamb
Stray Dog Theatre

Stray Dog Theatre is presenting Who’s Afraid of Virginia Woolf? at Tower Grove Abbey until February 25, 2023

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