WAKE UP, CAMERON DOBBS • West End Players Guild

The West End Players Guild continues its season with Wake Up, Cameron Dobbs, a world premiere penned by St. Louis actor and playwright, Stephen Peirick.  Written in 2006, this comedy is getting a splendid treatment with thoughtful, nimble performances and direction.

The lights come up on Owen (Eric Dean White) and his wife Abby's (Colleen Backer) New York City apartment.  They're preparing to host a little birthday dinner party for Owen's brother, Cameron (John Foughty).  The natural, conversational tone of the evening is delightfully set as Owen considers the wine for the night and Abby considers her wardrobe -- their back-and-forth is very funny.  Cameron shows up with a bloody nose and a bruised up face from falling into the gutter after being tripped just outside his brother's apartment.  Happy 30th birthday, right?!  After an explanation about his appearance and the discovery that the meal prepared for him features something he's deathly allergic to, Cameron admits that he'd lost his job months ago and could use a little financial boost from big bro.  Cameron suffers a considerable amount of ribbing from his brother concerning the specific circumstances of his job loss (an ill-timed company bathroom situation -- I'll just leave it at that, shall I?), and then Owen tells Cameron that he has invited their mother (Jan Meyer) to the party -- an invitation Abby wasn't expecting.  When Mom arrives, she flies into the details of her latest drama, is convinced that Cameron really got mugged instead of falling down, and manages to set everyone on edge.

John Foughty (Cameron), Jan Meyer (Mother),

Eric Dean White (Owen) and Colleen Backer (Abby).

Photo credit: John Lamb

Nobody was expecting that Abby would take it upon herself to invite Natalie (Sarajane Alverson), a co-worker, to the festivities in hopes of a match with Cameron, but she did, and Cam's b-day party continues its downward spiral.  Although it's obvious that his would-be date has ZERO interest in Cameron, Natalie, always up for a good time, takes him out on the town in an inspired effort to get Cameron to "wake up", grow a pair, and push back against the antagonism he's put up with from his family.

Part of the great thing about this play in addition to Peirick's skillful writing, is that under Robert Ashton's wonderful direction, each actor presents fully realized characters, and they all work together like a well-oiled machine.  John Foughty as the hapless Cameron brings a lovable quality to the guy described by his own family as "okay looking" and not a complete screw-up.  Eric Dean White as his self-involved older brother Owen was fantastic, wearing his role like a comfy sweater.  Colleen Backer as Owen's equally self-involved wife Abby delivers her lines with an excellent, deadpan, subtle hilarity.  These two are perfect for each other.  Jan Meyer's Mother is big fun from the minute she comes into the action, and Sarajane Alverson's Natalie also puts in a strong performance with perfect timing.

John Foughty (Cameron), Eric Dean White (Owen)

and Sarajane Alverson (Natalie).

Photo credit: John Lamb

Great work also by Ken Clark's scenic design, Anthony Anselmo's lighting design, Chuck Lavazzi's sound design, and Colleen Heneghan's costumes, that thoughtfully inform each player.

Not much longer to see this one -- it's playing until March 4th.  Go see it -- you won't be sorry.

WAKE UP, CAMERON DOBBS

Written by Stephen Peirick

Directed by Robert Ashton

Union Avenue Christian Church, 733 Union Blvd.

through March 4 | tickets: $15 - $20

Performances Fridays and Saturdays at 8pm, Sundays at 2pm

Cast:

John Foughty (Cameron), Eric Dean White (Owen), Colleen Backer (Abby), Sarajane Alverson (Natalie) and Jan Meyer (Mother).

John Foughty (Cameron) and Sarajane Alverson (Natalie).

Photo credit: John Lamb

Creative:

Scenic design by Ken Clark; lighting design by Anthony Anselmo; sound design by Chuck Lavazzi; costume design by Colleen Heneghan; special makeup effects designed by Anna Blair; asst. director/stage manager, Renee Sevier-Monsey. 

AUTOBAHN • Soundstage Productions/R-S Theatrics

A girl on her way home from rehab, an inappropriate trip to a cabin in the woods, and a series of pre-interpretations that turn "make-out" point into "break-up" point and then back again -- these are some of the situations explored in Neil LaBute's 2003 collection of seven brief one-act, two-characters plays, and it's getting a fittingly intimate production by Soundstage Productions/R-S Theatrics.  (<-- Sorry.  Longest sentence ever.)


While these vignettes are unrelated, they all take a look at relationship dynamics, and take place in the front seat of a car.  The additional common denominator is the fact that they are also language-oriented.  David Mamet is one of LaBute's favorite playwrights, and in like fashion, connotations and perceptions of meaning are examined and the "here's the dark underbelly" of things are uncovered.

Funny - Ellie Schwetye and Jan Mantovani

While the plays feature a conversational rhythm, some of them are more of an exchange, and some of them are monologues.  Most start mid-conversation, and the depths and details, sometimes funny, sometimes disturbing, are hidden under these layers that become exposed, bit by bit.  The reactions of the "less vocal one" play a large part in each presentation.

"Funny" is a monologue featuring a chatty teen-ager on her way home from rehab, who informs her mom that she still may not be completely off the junk, so buckle up (Ellie Schwetye and Jan Mantovani).  "All Apologies" is another monologue with a guy trying to dig himself out of the hole he has created when he called his wife a four-letter word in public (Phil Leveling and Betsy Bowman).  In both cases, the body language of Jan Mantovani as the mom in "Funny" and the wife, Betsy Bowman in "All Apologies", add much to the scenes.  "Long Division" has two buddies out to reclaim a gaming system from an ex-girlfriend (Phil Leveling and Jared Sanz-Agero).  "Autobahn" (Ellie Schwetye and Jared Sanz-Agero) has to do with a wife having to rationalize the fact that she and her husband have just had to return their foster child.

Bench Seat - Betsy Bowman and Phil Leveling

On the more dialogue-driven side, we've got "Bench Seat" -- one of the best for me -- that features a couple (Betsy Bowman and Phil Leveling) and their very different intentions concerning a drive to a scenic point in town.  "Road Trip" (Caroline Kidwell and Mark Abels) has a high-school teacher taking one of his students to a remote spot "to play house".  Ew...  "Merge" (Jan Mantovani and Mark Abels), another favorite, shows us a wife explaining to her frustrated husband the fragmented memories of her recent indiscretions during a business trip.

The more vocal ones in these pairs are all wonderful, and again, the reactions and body languages of the less vocal ones are equally impressive.  The formula that LaBute employs can become a little predictable, but the provocative starkness of the set (Mark Kelley & Brian Peters) along with the performances, keep you engaged throughout.

Only one more weekend to check this one out!

Road Trip - Caroline Kidwell

and Mark Abels

AUTOBAHN

Written by Neil LaBute

Directed by GP Hunsaker, Nick Moramarco, Landon Shaw and Randy Stinebaker 

Crestwood ArtSpace, 214 Crestwood Court

through February 26 | tickets: $15

Performances Fridays and Saturdays at 8pm, Sundays at 7pm

Cast:

Funny - Ellie Schwetye and Jan Mantovani

Bench Seat - Betsy Bowman and Phil Leveling

Road Trip - Caroline Kidwell and Mark Abels

Long Division - Phil Leveling and Jared Sanz-Agero

Merge - Jan Mantovani and Mark Abels

All Apologies - Phil Leveling and Betsy Bowman

Autobahn - Ellie Schwetye and Jared Sanz-Agero

Creative:

Scenic design by Mark Kelley & Brian Peters; lighting design by Mark Kelley;

sound design by Mark Kelley.

URINETOWN: THE MUSICAL • Stray Dog Theatre

First of all, get a ticket.  This hilarious show, superbly co-directed by Justin Been and Gary F. Bell, lampoons everything from political corruption, the legal system and bureaucracy, to the musical form itself, while constantly obliterating the fourth wall.  Speaking of the fourth wall, there's this thing called "Brechtian theatre".  It's a term that used to intimidate the hell out of me, but not anymore.  Thanks to a conversation with a buddy of mine, I learned that, in a nutshell, Bertolt Brecht, a poet and playwright who played a huge part in developing what's called "epic theatre", didn't want the audience to get too caught up in the story by constantly reminding us that we were watching a piece of theatre.  He "intended to provoke rational thought rather than to create illusion."  Little did I realize that this works brilliantly in comedic satire.  Hello, Urinetown: The Musical!  

Thanks to a devastating 20 year drought, a town has had to suffer no private toilets in an effort to conserve water.  Public amenities are controlled by the corporation UGC, or "Urine Good Company".  These toilets are scattered throughout the city, and there is a fee to pee.  The big guy kicking the shit… no pun intended… out of the little guy.  Sound familiar?  Sure it does!

(l to r, top) Ryan Cooper, Sabra Sellers, Jeffrey M. Wright, C. E. Fifer,

and Deborah Sharn as Penelope Pennywise.

(l to r, bottom) Anna Skidis, Lindsey Jones, and Berklea Going as Little Sally.

Photo credit: John Lamb

The show begins with our narrator, Officer Lockstock (Keith Thompson), and Little Sally (Berklea Going) letting us in on what's about to happen in their opening number, "Too Much Exposition" (<-- Brecht  :)).  At "Public Amenity #9", the nastiest toilet in the worst part of town, Penelope Pennywise (Deborah Sharn), is in charge with her trusty, good-hearted assistant, Bobby Strong (Antonio Rodriguez).  Bobby's dad, Joseph “Old Man” Strong (Ryan Cooper), in a line of those waiting to empty themselves, can't hold it any longer, so he breaks the law and takes a piss in a non-authorized space.  He's then hauled off to Urinetown, a place shrouded in mystery, where law-breakers of the pee rules are taken, never to be seen again.

(l to r) Deborah Sharn, Keith Thompson, J. T. Ricroft,

Christopher R. Brenner, and Jennifer M. Theby.

Photo credit: John Lamb

Meanwhile, the CEO of Urine Good Company, Caldwell B. Cladwell (Christopher R. Brenner), is considering a toilet fee hike with Senator Fipp (Michael Brightman) whom he has firmly in his pocket.  In the middle of their conversation, we're introduced to Cladwell's beautiful daughter Hope (Jennifer M. Theby), just home from college and beaming with optimism about... well... the world in general.  Hope ends up falling for Bobby once they meet, although this poop-station fee hike drives Bobby to take a stand against Hope's family's mega-corporation.  A rebellion against UGC ensues for the right to "pee for free" and Hope ends up being taken hostage by the rebels.

"Act One Finale"

Photo credit: John Lamb

Stray Dog Theatre, as usual, makes excellent use of Tower Grove Abbey's space, and the entire cast of this show is first-rate.  It's clear that everyone took their roles and ran with them, and they sounded great together.  A few noteworthy numbers include "Mr. Cladwell", "Cop Song", "Run Freedom Run" and "Snuff That Girl".  It's hard to pick any standouts because it's a strong ensemble, but I'll try.  Deborah Sharn delivers a wonderful performance as the hard-nosed Penelope Pennywise, Keith Thompson is an engaging Officer Lockstock, Antonio Rodriguez is the perfect hero as Bobby Strong, and Berklea Going as Little Sally is absolutely fantastic.  Then there's Jennifer M. Theby as Hope Cladwell.  Love.  She plays her part with so much sincerity in the midst of absurdity that you can't help being completely drawn in by her performance.  She's also got great comic timing and solid vocals.

Also kudos to Justin Barisonek's multi-leveled set, Alexandra Scibetta Quigley's costumes, and Tyler Duenow's lighting, and sound.  The music is pre-recorded, but not over-powering, and it was nice that the actors didn't have mics -- they really didn't need them for the most part.  There was also some sweet choreography by J.T. Ricroft -- who sports a hilariously ridiculous hairpiece as Cladwell's right hand man, Mr. McQueen.

This production shouldn't be missed.  I mean, the two main cops are named Officers "Lockstock" and "Barrel" for cryin' out loud.  How can you not love that?  Go see it.  Seriously.

URINETOWN: THE MUSICAL

Book/lyrics by Greg Kotis 

Music/lyrics by Mark Hollman 

Co-Directed by Justin Been and Gary F. Bell

Tower Grove Abbey, 2336 Tennessee Ave.

through February 25 | tickets: $18 - $20

Performances Thursday to Saturday at 8pm, Final Saturday, February 18 at 2pm and 8pm
*Added performances will be at 8pm on Friday, February 24, and Saturday, February 25

Cast:

Antonio Rodriguez (Bobby Strong), Jennifer M. Theby (Hope Cladwell), Christopher R. Brenner (Caldwell B. Cladwell), Keith Thompson (Officer Lockstock), Berklea Going (Little Sally), Deborah Sharn (Penelope Pennywise), Josh Douglas (Officer Barrel), Michael Brightman (Senator Fipp), J.T. Ricroft (Mr. McQueen), Ryan Cooper (Joseph “Old Man” Strong/Hot Blades Harry), Lindsey Jones (Josephine “Ma” Strong), Anna Skidis (Little Becky Two-Shoes), Jessica Tilghman (Mrs. Millennium), Jeffrey M. Wright (Tiny Tom/Doctor Billeaux), Sabra Sellers (Soupy Sue) and C.E. Fifer (Billy Boy Bill).

Creative:

Scenic design by Justin Barisonek; lighting design by Tyler Duenow; costume design by Alexandra Scibetta Quigley; vocal direction by Chris Petersen; choreography by J.T. Ricroft; stage manager, Justin Been.

WAY TO HEAVEN • The New Jewish Theatre

"Himmelweg", translated from German, means "Way to Heaven".  In the context of this absorbing play by Juan Mayorga, it means the sound of the train, and the way to the gas chambers.  The third show of The New Jewish Theatre's 15th season is based on real occurrences, and it is arresting.

In the 1940's, there was a concentration camp at Theresienstadt, where scenes from everyday life were orchestrated by the Nazi's for the appearance of normalcy for a group of Red Cross inspectors.  It's within this settlement that our Red Cross representative (Jerry Vogel) found himself years ago.  During a good bit of the first act, he talks about the time when he went to visit that community in the woods, and how something about the place seemed oddly fabricated, although there was a school, a synagogue, a theatre -- all of the trappings of relative comfort.  He also talks about his regrets about what he couldn't, or refused to see back then.

Scott McMaster (Young Man) and

Julie Layton (Young Woman 1).

Photo credit: John Lamb

The next scene shows us what the inspector saw.  After the sounding of a loud whistle, we watch manufactured deception depicting "normal life" in the settlement -- boys spinning a top, a couple arguing, a young girl teaching her doll to swim.  And then again, boys spinning a top, a couple arguing, a young girl teaching her doll to swim.  As much as the participants in this fabrication are urged to improve their performances each time, and focus on their words and gestures, they are too distracted by the sound of the daily train, and the atrocities they are all too familiar with.

The second act shows us the "behind the scenes".  The Commandant (Jason Cannon) has forced one of the prisoners, Gershom Gottfried (Terry Meddows), into helping him stage these scenarios.  Gottfried is often reminded that as long as he's engaged in this farce, he and the other "actors" are not on one of those trains.

Jason Cannon (Commandant) and

Terry Meddows (Gershom Gottfried).

Photo credit: John Lamb

The execution of this chilling production was first-rate.  Doug Finlayson's direction was flawless.  There are excellent performances by Jerry Vogel, our Red Cross Representative, who holds our attention as he sets the stage in the beginning.  Also Jason Cannon, the pompous and intimidating Commandant, whose menace ripples just under the surface, despite his spouting about Spinoza and talk of unity.  Terry Meddows as Gottfried, despising what he's being forced to do but unable to do anything else, was incredibly nuanced.  Wonderful performance.  Also fine performances from the ensemble, including Julie Layton, Scott McMaster and Shaina Schrooten.  Whether they are trying to "get their lines down", or going over new scenes and players, the weight of the group's fate is never far.  Also great work from the kids, especially an impressive Elizabeth Teeter.  John Stark's scenic elements were marvelous and a little surreal, with parts of the set being supported by books, and leaves with typed writing on them, never letting us forget that there is duplicity going on in this little village.  And horror.  Michael Sullivan's lighting was dark and evocative and Robin Weatherall's sound design was subtle, but haunting.  The costumes by Michele Friedman Siler were also spot on.

This play is completely engrossing.  Go see it.  The end.

Drew Redington, Elizabeth Teeter, Leo Ramsey

Photo credit: John Lamb

WAY TO HEAVEN

Written by Juan Mayorga, translated by David Johnston

Directed by Doug Finlayson 

Marvin & Harlene Wool Studio, 2 Millstone Campus Drive Creve Coeur

through February 12 | tickets: $35.30 - $39.50

Performances Wednesdays and Thursdays at 7:30pm, Saturdays at 8pm, Sundays at 2pm & 7:30pm

Cast:

Jerry Vogel* (Red Cross Representative), Jason Cannon* (Commandant), Terry Meddows (Gershom Gottfried), Julie Layton (Young Woman 1), Scott McMaster (Young Man), Shaina Schrooten (Young Woman 2), Children: Parker Donovan, Matthew Howard, Braden Phillips, Leo Ramsey, Drew Redington and Elizabeth Teeter.

* Member Actors' Equity Association

Creative:

Costume design by Michele Friedman Siler; scenic design by John Stark; lighting design by Michael Sullivan; sound design by Robin Weatherall; dramaturg, Gad Guterman; stage manager, Lorraine LiCavoli.

The Seventh Annual Kevin Kline Awards Nominations

It's that time again!  The Kevin Kline Awards honor excellence in St. Louis professional theater, and are presented by the Professional Theatre Awards Council, and the nominees for the Seventh Annual Kevin Kline Awards are out!

The Award winners will be announced in a ceremony on Monday, April 2nd at the Loretto-Hilton Theater, and it's open to the public.  Congratulations to all of the nominees!  Yay, theatre!!!!

Outstanding Production for Young Audiences
"The Giver", Metro Theatre Company
"Chanticleer!", The Repertory Theatre of St. Louis/Imaginary Theatre Company
"Trail of Tears", The Repertory Theatre of St. Louis/Imaginary Theatre Company
"Cruel to be Kind?", Shakespeare Festival Education Tour
"Elves and the Shoemaker", The Repertory Theatre of St. Louis/Imaginary Theatre Company

Outstanding New Play or Musical
"Till We Have Faces", Mustard Seed Theatre
"The Montford Point Marine", The Black Rep
"Falling", Mustard Seed Theatre
"The Winners", HotCity Theatre
"Hit-Story", OnSite Theatre

Outstanding Costume Design
Dorothy Marshall Englis, "In the Next Room or the Vibrator Play", The Repertory Theatre of St. Louis
Garth Dunbar, "Awake and Sing!", The New Jewish Theatre
Michele Siler, "The Death of Atahualpa", Upstream Theatre
Brad Muskgrove, "Disney’s 101 Dalmatians", Stages St. Louis
Teresa Doggett, "The Royal Family", Act Inc.
Dorothy Marshall Englis, "The Secret Garden", Stages St. Louis
Lou Bird, "Victor/Victoria", Stages St. Louis
JC Krajicek, "Palmer Park", St. Louis Actors’ Studio

Outstanding Lighting Design
Josh Smith, "The Immigrant", The New Jewish Theatre
Matthew McCarthy, "The Secret Garden", Stages St. Louis
Phil Monat, "Red", The Repertory Theatre of St. Louis
Matthew McCarthy, "Victor/Victoria", Stages St. Louis
Kirk Bookman & Steve O’Shea, "God of Carnage", The Repertory Theatre of St. Louis
Robert M. Wierzel, "The Adventures of Tom Sawyer", The Repertory Theatre of St. Louis

Outstanding Set Design
Scott C. Neale, "Cooking With Elisa", Upstream Theatre
Regina Garcia, "Ruined", The Black Rep
Gianni Downs, "In the Next Room or the Vibrator Play", The Repertory Theatre of St. Louis
Scott C. Neale, "Awake and Sing!", The New Jewish Theatre
Scott C. Neale, "The Taming of the Shrew", Shakespeare Festival St. Louis
Michael Ganio, "Red", The Repertory Theatre of St. Louis

Outstanding Sound Design
Rusty Wandall, "Macbeth", The Repertory Theatre of St. Louis
Josh Limpert, "The Immigrant", The New Jewish Theatre
Rusty Wandall, "Red", The Repertory Theatre of St. Louis
Rusty Wandall, "Circle Mirror Transformation", The Repertory Theatre of St. Louis
Daniel Baker & Aaron Meicht, "The Adventures of Tom Sawyer", The Repertory Theatre of St. Louis

Outstanding Ensemble Play
"In the Next Room or the Vibrator Play", The Repertory Theatre of St. Louis
"The Real McCoy", The Black Rep
"The Immigrant", The New Jewish Theatre
"Circle Mirror Transformation", The Repertory Theatre of St. Louis
"The Adventures of Tom Sawyer", The Repertory Theatre of St. Louis

Outstanding Supporting Actress in a Play
Linda Kennedy, "Pericles", The Black Rep
Peggy Billo, "The Immigrant", The New Jewish Theatre
Emily Baker, "Just Desserts", St. Louis Actor’s Studio
Julie Venegoni, "Savage in Limbo", OnSite Theatre
Linda Kennedy, "Blood Wedding", Upstream Theatre
Hayley Treider, "The Adventures of Tom Sawyer", The Repertory Theatre of St. Louis

Outstanding Supporting Actor in a Play
Bob Harvey, "The Price", Avalon Theatre Company
Chauncy Thomas, "The Real McCoy", The Black Rep
Jason Cannon, "Awake and Sing!", The New Jewish Theatre
Gary Wayne Barker, "The Immigrant", The New Jewish Theatre
Jonathan Foster, "Falling", Mustard Seed Theatre

Outstanding Lead Actress in a Play
Andrea Frye, "Ruined", The Black Rep
Kari Ely, "Sirens", The New Jewish Theatre
Brooke Edwards, "Danny and the Deep Blue Sea", Non-Prophets
Michelle Hand, "Falling", Mustard Seed Theatre
Susan Louise O’Connor, "God of Carnage", The Repertory Theatre of St. Louis

Outstanding Lead Actor in a Play
Gary Wayne Barker, "Shadowlands", Mustard Seed Theatre
J. Samuel Davis, "Ruined", The Black Rep
John Pierson, "Closer", St. Louis Actor’s Studio
Bobby Miller, "Awake and Sing!", The New Jewish Theatre
Bob Thibaut, "The Immigrant", The New Jewish Theatre
Brian Dykstra, "Red", The Repertory Theatre of St. Louis
Danny McCarthy, "Circle Mirror Transformation", The Repertory Theatre of St. Louis

Outstanding Director of a Play
Andrew Moodie, "The Real McCoy", The Black Rep
Edward Coffield, "The Immigrant", The New Jewish Theatre
Steven Woolf, "Red", The Repertory Theatre of St. Louis
Stuart Carden, "Circle Mirror Transformation", The Repertory Theatre of St. Louis
Jeremy B. Cohen, "The Adventures of Tom Sawyer", The Repertory Theatre of St. Louis

Outstanding Production of a Play
"In the Next Room or the Vibrator Play", The Repertory Theatre of St. Louis
"Awake and Sing!", The New Jewish Theatre
"The Immigrant", The New Jewish Theatre
"Red", The Repertory Theatre of St. Louis
"God of Carnage", The Repertory Theatre of St. Louis
"Circle Mirror Transformation", The Repertory Theatre of St. Louis

Outstanding Musical Direction

Michael Sebastian, "Beehive", The Repertory Theatre of St. Louis
Charles Creath, "Black Pearl Sings!", The Black Rep
Lisa Campbell-Albert, "The Secret Garden", Stages St. Louis
Michael Horsley, "Seven Brides for Seven Brothers", The Muny
Joe Schoen, "Godspell", The Mustard Seed Theatre

Outstanding Choreography
Kelli Barclay, "Singin’ in the Rain", The Muny
Dana Lewis, "The Secret Garden", Stages St. Louis
Pepper Clyde, "Seven Brides for Seven Brothers", The Muny
Dana Lewis, "Victor/Victoria", Stages St. Louis
Alicia Gbaho, "Black Nativity", The Black Rep

Outstanding Ensemble in a Musical
"Beehive", The Repertory Theatre of St. Louis
"Legally Blonde", The Muny
"Singin’ in the Rain", The Muny
"Seven Brides for Seven Brothers", The Muny
"Godspell", The Mustard Seed Theatre

Outstanding Supporting Actress in a Musical

Jessica Vaccaro, "A Chorus Line", Stages St. Louis
Michele Ragusa, "Singin’ in the Rain", The Muny
Julia Cardia, "The Secret Garden", Stages St. Louis
Melinda Crown, "Victor/Victoria", Stages St. Louis
Amy Loui, "Godspell", The Mustard Seed Theatre

Outstanding Supporting Actor in a Musical
Curtis Holbrock, "Singin’ in the Rain", The Muny
Ken Page, "Little Shop of Horrors", The Muny
Lewis J. Stadlen, "Bye Bye Birdie", The Muny
Steve Judkins, "Victor/Victoria", Stages St. Louis

Outstanding Lead Actress in a Musical
Lisa Estridge, "Beehive", The Repertory Theatre of St. Louis
Debra Walton, "Beehive", The Repertory Theatre of St. Louis
Denise Thomas, "Black Pearl Sings!", The Black Rep
Alexis Kinney, "The Secret Garden", Stages St. Louis
Alli Mauzey, "Little Shop of Horrors", The Muny
Jenny Powers, "Seven Brides for Seven Brothers", The Muny

Outstanding Lead Actor in a Musical
Leigh Wakeford, "Disney’s 101 Dalmatians", Stages St. Louis
Tony Yazbeck, "Singin’ in the Rain", The Muny
James Bleecker, "Thrill Me", Max & Louie Productions
David Schmittou, "Victor/Victoria", Stages St. Louis

Outstanding Director of a Musical

Andrea Frye, "Black Pearl Sings!", The Black Rep
Rick Conant, "Singin’ in the Rain", The Muny
John Miller-Stephany, "Little Shop of Horrors", The Muny
Mark Schneider, "Seven Brides for Seven Brothers", The Muny
Deanna Jent, "Godspell", The Mustard Seed Theatre

Outstanding Production of a Musical
"Singin’ in the Rain", The Muny
"The Secret Garden", Stages St. Louis
"Seven Brides for Seven Brothers", The Muny
"Victor/Victoria", Stages St. Louis
"Godspell", The Mustard Seed Theatre

OLEANNA • HotCity Theatre

HotCity is kicking off their 2012 season with this tense, explosive play written by David Mamet, that will surely leave an impression as you head to your car after the show.

The play begins in the office of John (John Pierson), a college professor, who is meeting with one of his students, Carol (Rachel Fenton).  Carol, meek and self-effacing, has received a failing grade on a paper, and is seeking the help of her rather condescending, smug and verbose professor.  Carol admits that she is having a difficult time understanding John's class, his book, and just about everything he's saying most of the time.  She quotes from her extensive notes and frantically jots down everything he says to her, but she remains overwhelmed by the material, is offended by his assertion that higher education is like "systematic hazing", and thinks she's stupid.  John tries to console Carol by opening up and telling her that he wasn't the best student himself back in the day, but key points during this conversation are interrupted by phone calls from John's wife.  John, who's an inch away from being granted tenure along with a sizable raise, is also getting ready to close on a new high dollar house.  His wife keeps calling about last minute details and wants him to come out to the property.  After numerous interruptions, one coming just as Carol was going to reveal something about herself, John eventually offers to give her an "A" in the course if she would agree to come back to his office for talks about the coursework.  After an innocent hand on the shoulder is quickly shrugged off by Carol, the first act ends.

Rachel Fenton (Carol) and John Pierson (John).

Photos by Todd Studios

The second act reveals a more composed Carol, informing John that the tenure committee is reviewing her recent complaint against him -- accusations of sexual harassment and pornography.  John tries to make Carol understand that he had no ill intentions, but she'll have none of it.  The power starts to shift, and John is freaked out at the prospect of possibly losing his "in-the-bag" tenure.  In a desperate effort, as Carol starts to walk out of the office, John blocks her exit and she screams out for help.

The final scene shows that the arc of these two have completely been switched around.  Carol now wields all of the power, and John seems to be at her mercy.  The way this power swap happens however, is pretty whack.  Political correctness displayed from its worst angle.

John Pierson (John) and Rachel Fenton (Carol).

Photos by Todd Studios

These two characters, these stark representations, don't leave you with many options -- you're a misogynistic pig or an outrageous feminist.  No win.  But food for thought, no doubt.  Interestingly enough, Mamet wrote this play in 1992 -- right after the Clarence Thomas hearings.  Yeah.  Remember him?  Pubic hair on a soda can, anyone?

This play was a bold choice to me, and Annamaria Pileggi's precise direction propels this short three-act from the beginning, with the tension and pauses in all of the right places.  John Pierson was pitch-perfect as the professor who's just a little full of himself, but displays just enough affability to allow us to sympathize with him and the situation he's found himself in at the end.  Rachel Fenton's transformation from the weak powerless one to the calculated contemptible one was a little chilling -- in a good way.  The whole play takes place in John's office, and Lex Von Blommenstein's set served the story well, along with Mark Wilson' lighting design, Scott Breihan's costumes and sound by Michael Perkins.

It's quite a thought provoker that's only playing one more weekend at the Kranzberg.  Check it out and see what you think.

OLEANNA

Written by David Mamet

Directed by Annamaria Pileggi

Kranzberg Arts Center, 501 North Grand Blvd.

through February 4 | tickets: $20 - $25

Performances Thursday and Friday at 8pm, Saturday at 3pm and 8pm, Sundays at 7pm

Cast:

John Pierson* (John) and Rachel Fenton (Carol).

* Member Actors' Equity Association

Creative:

Scenic design by Lex Von Blommenstein; lighting design by Mark Wilson; costume design by Scott Breihan; sound design by Michael Perkins; stage manager, Kate Koch.

AVENUE Q • [insert name here] Theatre Company

[insert name here] Theatre Company, recently a project under the wing of Stray Dog Theatre, took a hiatus in 2011, but now they're back with this dynamic furry-faced coming-of-age musical that still maintains its edge.  Debuting on Broadway in 2003, this Tony Award winning musical may have puppets in it, but as lovable as they are, they're often naughty and foul-mouthed, so leave the kids at home.  For the rest of you, sit back and enjoy this energetic cast of humans, and their fuzzy counter-parts as they all endeavor to find their way in a fictitious neighborhood in New York City -- winking, dirty and Sesame Street style.  Yay!!!

Princeton (Wes Jenkins), having just graduated with a B.A. in English, is off on his own looking for a place to live.  Avenue A is completely out of the question.  Too much $$$$, but Avenue Q looks affordable.  Shortly after moving into the neighborhood, Princeton learns that life after college can kick your ass, once he's laid off 7 seconds after signing his lease on an apartment.  The landlord is Gary Coleman (Nki Calloway).  That's right -- the Gary Coleman, and INH Theatre Co. continues the tradition of casting this character as a black woman (love), and Nki Calloway has a strong voice and does a great job as the put-upon landlord -- a child-star who has had to sue his parents.  Princeton soon gets to know the rest of his neighbors.  There's Kate Monster (Connie Reinhardt), a cute monster who's a kindergarten teacher, Trekkie Monster (Paul Cereghino), a monster with a soft spot for internet porn, (one of the best numbers in the show -- worth the price of admission) Rod (Wes Jenkins) a closeted homosexual and his roommate Nicky (Paul Cereghino) along with a couple of Bad Idea Bears (Troyer Coultas) -- hilarious.  There's also our humans -- Brian (Troy Turnipseed) an aspiring comic, and his Asian fiancee, Christmas Eve (Nicole Robbins), a therapist with no clients along with the aforementioned Gary Coleman.

It's cozy in the LGBT Center of St. Louis, where the show is performed, and because I've been to more than a few meetings in their upstairs space, I was curious to see how they would pull it off.  With seating for around 70 or so, there's not a lot of room for the actors to perform, but they make the most of every inch, and have transformed the Center nicely.  There were a couple of lighting miscues the night I saw it and some of the technical aspects of the show were a little unpolished, but I'm sure that will smooth out as the run continues.

The puppets look great -- impressive replicas of the Broadway versions, so kudos to Character Translations, Inc.  The actor/puppeteers were fantastic with their puppeteering skills -- also a credit to the director, Chris Owens, who did an excellent job with this show.  Mind you, sometimes the actors take on different puppets, and sometimes they voice puppets that they aren't operating.  A tricky little maneuver that this cast handles with aplomb.  Connie Reinhardt is one that pulls double-duty as Kate Monster and Lucy the Slut.  She eventually settles into the higher vocal range of Kate Monster, but she shines as Lucy the Slut, and her performance is committed and quite good.  She also bears an eerie resemblance to Stephanie D'Abruzzo, who originated the role on Broadway.  Wes Jenkins is wonderful as Princeton and Rod -- another double duty role that he commits to completely.  Paul Cereghino's Trekkie Monster, Nicky and Ricky was splendid.  He's so cute, too.  Nicole Robbins was very funny as Christmas Eve.  Vely, vely funny!  <-- Get it?!  No offense intended...

This score is full of numbers with beautifully layered harmonies, and the cast nailed them -- high-fives to Lea Eilers's vocal direction.  Here's what I love about this show -- the tunes are very "Sesame Street" -- catchy, tuneful little numbers that are a joy to listen to.  Earworms.  Whether the number is about internet porn, racism or sex, these melodies and harmonies get into your head and stick -- just like those nifty Sesame Street tunes.  Love…

Let's face it -- it's neat hearing puppets say "fuck".  Better yet, it's neat actually seeing puppets...  fuck.  It's a grand time that's only going on for one more weekend.  Go see it!  Oh, and this show got a mention in one of my previous blogs -- again -- leave the kids at home.  Unless you're like a hippy or something, which I think is totally cool.

AVENUE Q

Book by Jeff Whitty

Lyrics/music by Robert Lopez & Jeff Marx

Directed by Chris Owens 

The LGBT Center of St. Louis, 4337 Manchester Ave.

through January 28 | tickets: $18 - $20

Performances Thursday to Saturday at 8pm

Cast:

Wes Jenkins (Princeton/Rod), Troy Turnipseed (Brian), Connie Reinhardt (Kate Monster/Lucy the Slut), Paul Cereghino (Trekkie Monster/Nicky/Ricky), Nicole Robbins (Christmas Eve), Nki Calloway (Gary Coleman), Bryant Fogelbach (Bad Idea Bear/Ricky) and Troyer Coultas (Bad Idea Bears/Newcomer).

Creative:

Vocal direction by Lea Eilers; music direction by Joseph Eckelkamp; choreography by Kelly Stevens; lighting and sound design by Lucas T. Pate; scenic design by Kyle Jeffery; animation design by Robert Lopez; puppet design by Character Translations, Inc.; graphic design by Lucas T. Pate; stage manager, Matt Schneider.

AVENUE Q Band:
Keyboard 1, Joseph Eckelkamp; keyboard 2, Tim Clark; percussion, Clarence "Clancy" Newell; bass, Chad Haley; reed, Rebeca Parisi.