St. Louis Theatre Snob

URINETOWN: THE MUSICAL • Stray Dog Theatre

2012-02-08T01:27:00.010-06:00

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

2012-02-02T01:30:00.000-06:00

"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

2012-01-30T19:28:00.007-06:00

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

2012-01-29T15:09:00.001-06:00

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

2012-01-22T02:08:00.009-06:00

[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.

SUNDAY IN THE PARK WITH GEORGE • The Repertory Theatre of St. Louis

2012-01-14T01:12:00.013-06:00

Often when I'm writing blog posts, I try to remind myself not to use too many adjectives. And then there's this post… I'm not even sure where to start it's so good.

The Rep. is currently presenting Stephen Sondheim (my hero) and James Lapine’s achingly beautiful Sunday in the Park with George, and this production, exceptionally directed by Rob Ruggiero, is impressive. The "George" of the title is French painter, Georges Seurat. Seurat developed a technique of painting called pointillism in the 1880's, in which small dots of basic color are juxtaposed to form different hues when viewed from a distance. This Pulitzer Prize, Tony Award winning musical uses Seurat's masterpiece (a two-year effort), "A Sunday Afternoon on the Island of La Grande Jatte", as a jumping off point, but this show is about way more than just a painting. It's about one of Sondheim's favorite themes -- human connection (and/or the lack of being able to obtain it).

Erin Davie as Dot, Kari Ely as Nurse, Ron Bohmer as George

and Zoe Vonder Haar as Old Lady. © Photo by Jerry Naunheim, Jr.

"White. A blank page or canvas. The challenge: bring order to the whole. Through design. Composition. Tension. Balance. Light. And harmony." These opening lines introduce us to George (Ron Bohmer) who's sketching his lover and model, Dot (Erin Davie) -- foremost featured in the painting. As the Rep's stage becomes filled with massively impressive (<-- those adjectives, like I warned…) sliding set pieces (Adrian W. Jones) and warm, dappled lighting (John Lasiter), George initially seems dismissive and consigned to his sketchbook while Dot craves closer attention. But she is happy to oblige him as she poses for his sketchings in the hot sun. She notices in her delightful opening number, "Sunday in the Park with George", that "artists are bizarre, fixed and cold", but she loves him, and admires his talent. But loving an artist can be a challenge because sometimes there's not much room for anything else but the artist's "art", while you're left feeling incomplete. And for the artist, it may be difficult to become attached to what you can't control outside of your own studio. (cough,thiscouldSObeaboutSondheimandmanyartistsofwhatevermediacough,cough)

Ron Bohmer as George and Erin Davie as Dot.

This sets up the main dynamic for much of the rest of the show. The first act looks at the 1880's George, completing his masterwork and the scrutiny that comes along with it, but we're also treated to wonderful scenes featuring some of the subjects from his current project. These two-dimensional figures take on a third dimension for a time, and we see their interaction with each other and George, brought to vibrant life by the amazing ensemble along with gorgeous costumes courtesy of Alejo Vietti.

The second act jumps forward to Seurat's great-grandson, also an artist struggling with connection and the commercialism of the time. "George.2" endures fancy gallery affairs in an effort to obtain grants to finance his series of "Chromolumes" -- modern art machines using lights, lasers and color. In a trip to the original setting of his great-grandfather's La Grande Jatte, new lessons are learned by George.2, and a new appreciation is gained for the art of achieving connection outside of yourself. And your art.

Erin Davie as Dot, Ron Bohmer as George and Cast.

Ron Bohmer was an impassioned George with a great voice. Actually, everyone had great voices. Erin Davie made a flirty, playful and marvelously realized Dot and Marie. (I love that Seurat's love interest is named "Dot". Brilliant.) I saw Erin Davie a few years ago in "Grey Gardens" and later in "A Little Night Music" (another display of Sondheim's genius), and yes, I love her. Can't say enough about the rest of the performers either. Numbers like "Gossip", "Sunday" and "It's Hot Up Here" are beautifully performed by this perfectly cast ensemble. Some standouts for me included the surly boatman, Steve French, Celestes #1 and #2, (Meggie Cansler and Audrey Rae McHale), Chris Hietikko's Jules, Zoe Vonder Haar's Old Lady, the Southern visitors, Whit Reichert and Rebecca Watson, and Kari Ely as the Nurse and Harriet Pawling. Most play double roles in the first and second acts, and they are all excellent. The creative crew also wowed with the aforementioned scenic design, costumes and lighting along with sound and musical direction by Michael Hooker and F. Wade Russo. Seurat would have been proud -- taking all of these singular elements that form something much richer when combined and taken in from a few steps back. Love…

Zoe Vonder Haar as Blair Daniels, Erin Davie as Marie

and Meggie Cansler as Elaine. © Photo by Jerry Naunheim, Jr.

Many regard this show as one of Sondheim's greatest works, and for good reason. I find it interesting that Suerat approached his art almost scientifically. Kinda like Sondheim. Right!?! Although this musical won the Pulitzer Prize for Drama after it opened, it got only mixed reviews when it made its Broadway debut in 1984. Yet you've got this lovely leitmotif (one of a few), particularly in "Color and Light" from the first act, in which Sondheim mimics Seurat's pointillistic brush strokes in his melody and lyrics. Sigh… I'm sorry. I just think Sondheim is a genius. And just a quick note -- a couple of people sitting next to me left at intermission. Idiots…

This show has confirmed my belief in two things -- The Rep is the bomb, and Stephen Sondheim is the Einstein of theatre. Go see it right now. For real. This show should not be missed.

A Sunday Afternoon on the Island of La Grande Jatte,
Georges Seurat, 1884

SUNDAY IN THE PARK WITH GEORGE

Music/lyrics by Stephen Sondheim

Book by James Lapine

Directed by Rob Ruggiero

Loretto-Hilton Center, 130 Edgar Road

through January 29 | tickets: $19 - $77

Performances Tuesdays at 7pm Wednesdays–Fridays at 8pm Selected Wednesdays at 1:30pm Saturdays at 5pm Selected Saturdays at 9pm Sundays at 2pm Selected Sundays at 7pm

Cast:

Ron Bohmer (George), Erin Davie (Dot and Marie), Meggie Cansler (Celeste #1 and Elaine), Nyssa Duchow (Young Woman in Park), Kari Ely (Nurse and Harriet Pawling), Mark Emerson (Louis and Billy Webster), Steve French (Boatman and Dennis), Abbey Friedmann (Louise), Chris Hietikko (Jules and Bob Greenberg), Charlie Ingram (Horn Player and Photographer), Jacob Lacopo (Boy Bathing and Waiter), Jamie LaVerdiere (Franz and Charles Redmond), Deanne Lorette (Yvonne and Naomi Eisen), Sean Montgomery (Soldier and Alex), Jordan Parente (Young Man and Waiter), Audrey Rae McHale (Celeste #2 and Party Guest), Whit Reichert (Mr. and Lee Randolph), Zoe Vonder Haar (Old Lady and Blair Daniels) and Rebecca Watson (Freida, Mrs. and Betty).

Creative:

Scenic design by Adrian W. Jones; costume design by Alejo Vietti; lighting design by John Lasiter; sound design by Michael Hooker; musical direction by F. Wade Russo; choreography by Ralph Perkins; stage manager, Champe Leary; assistant stage manager, Tony Dearing.

Musicians:
Conducted by F. Wade Russo; concertmaster, violin, Alison Rolf; violin, viola, Tova Braitberg; cello, Marcia Mann; french horn, Nancy Schick; reeds, Michael Buerk; keyboard, Henry Palkes.

THE SEAFARER • West End Players Guild

2012-01-11T00:02:00.004-06:00

This 2006 play from Irish playwright, Conor McPherson, is currently onstage presented by the West End Players Guild, and if you're into Irish plays, this one's for you. This show also shares the same name of an old English poem that deals with the hardships of life, God, the devil and the afterlife. Cool, right?!

Sharky (Matt Hanify) is returning to his coastal hometown near Dublin after being let go from his chauffeuring job. Good thing too, cause his older brother Richard (Robert Ashton) needs some looking after -- another reason Sharky is heading home. Richard is blind, after hitting his head in a spill into a dumpster. Richard is also cantankerous and likes his drink, which sucks for Sharky because he's trying to give up the bottle. On Christmas Eve, no less. Richard has invited a couple of blokes over for a little poker -- Ivan (Charles Heuvelman), who's practically a constant houseguest, avoiding his own home life, and Nicky (John Reidy), who is dating Sharky's ex (awkward). Nicky shows up with a bottle of booze, and a mysterious Mr. Lockhart (Barry Hyatt). Sharky has some dark secrets from his past, and during a few moments alone between the two of them, it appears that this Lockhart guy seems to know everything about them. Turns out, the devil spends his time on Christmas Eve collecting overdue souls, and Lockhart is intent on collecting Sharky's. Really interesting premise -- a bunch of moonshine soaked Irish guys getting together for some Pre-Christmas cheer, and the Prince of Darkness shows up in a snazzy suit trying to get Sharky to "come through the old hole in the wall" with him. Spooky…

Barry Hyatt (Mr. Lockhart), Robert Ashton (Richard),

Charles Heuvelman (Ivan), John Reidy (Nicky)

and Matt Hanify (Sharky). Photo credit: John Lamb

But there are some things about this production that take away from the intriguing set-up. The night I saw it, some of the pacing seemed very slow. There were a few very pregnant pauses that took away from the impact quite a bit. It's hard to stay engaged when there are some tentative line deliveries. The dialects were also a little uneven. When you've got a couple of guys nailing the dialect, and others… well… not, it stands out like a sore thumb. But hey, every night of theatre is different. That's what makes it so neat. Robert Ashton was a standout -- funny and bitingly credible as the crabby, and perhaps a little smelly Richard, along with Matt Hanify as the put-upon Sharky. John Reidy also added a lot to the show as the good-natured Nicky. Charles Heuvelman's Ivan has some secrets of his own, also drawing the attention of Mr. Lockhart. Barry Hyatt as the menacing Prince of Darkness was often engrossing, although sometimes I thought he was from Brooklyn, not Ireland. However, his description of Hell was chilling. The set by Mark Wilson, lighting by Renee Sevier-Monsey, and sound by Steve Callahan were wonderful, and I love a cozy little theatre space. That intimacy added a lot to the play's portents. It is a show that mixes the naturalistic with a touch of the supernatural, and it's playing until the 15th.

THE SEAFARER

Written by Conor McPherson

Directed by Steve Callahan

Union Avenue Christian Church, 733 Union Blvd.

through January 15 | tickets: $15 - $20

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

Cast:

Matt Hanify (Sharky), Robert Ashton (Richard), Charles Heuvelman (Ivan), John Reidy (Nicky) and Barry Hyatt (Mr. Lockhart).

Creative:

Scenic design by Mark Wilson; costume design by Colleen Heneghan; lighting design by Renee Sevier-Monsey; stage manager, Bob Nickles.

LA CAGE AUX FOLLES • The Fox

2012-01-09T12:43:00.002-06:00

Wow. It's been a long time since I've been to a show. Hello again, theatre. I've missed you…

Next in the Fox's Broadway series is a show based on Jean Poiret's 1973 play that was later adapted into a musical in 1983. That production won a bunch of Tony Awards, including Best Musical, Book, Original Score and Actor. Its 2004 revival won the Tony for Best Revival of a Musical, as did this current revival from 2010. Many of us may be most familiar with the 1996 film version with Robin Williams and Nathan Lane, "The Birdcage". Similar to "The Addams Family", "La Cage" involves an "I'm bringing a fiancée home whom the folks may not be too crazy about" scenario, packaged in rainbow colored sequins -- and it's a blast.

Les Cagelles

Photo credit: Paul Kolnik

Before the proceedings begin, there's a drag queen outside the Fox and in the lobby greeting the folks coming in. They did this in NYC too, but for some reason, seeing this in St. Louis was way more fun. Many people couldn't wait to get their picture taken with this seven-foot beauty -- others gawked with caution. Ha! I just thought to myself, "If this bothers you, you might wanna hop back into that Buick and head home." The pre-show chitchat was entertaining and did a good job acclimating people to the vibe of the show. A nice addition to the tour that serves its purpose well. The team putting this tour together obviously did their research -- a couple of people came in a little late during the banter the night I was there and were greeted with, "Where did you guys come from, Granite City?!"

Georges (George Hamilton) is the owner and master of ceremonies of La Cage, a drag bar on the French Riviera, and Georges's long-term partner, Albin (Christopher Sieber), is the headliner, Zaza. The chorus members of the club, The Cagelles, and their opening number, "We Are What We Are", and all of their other numbers for that matter, show off some of the most athletic performances I've ever seen, and they welcome us into this shabby-chic little nightclub.

Christopher Sieber (ZaZa), George Hamilton (Georges).

Photo credit: Paul Kolnik

Georges's son, Jean-Michel (the result of a one-night stand with a chorus girl), comes home to announce that he is engaged to Anne Dindon, and her parents are due to pay Georges and Jean-Michel a visit. Trouble is, Anne's father, M. Dindon (Bruce Winant), is an ultra-conservative politician, all about "family values" and whatnot. In addition, Jean-Michel is insistent that Albin, the more flamboyant of the pair, not be present when Anne's parents arrive, lest the wedding be completely spoiled. Well, as you can imagine, farce ensues, but mixed in with the farce are some great numbers -- not least of all Albin's incredible act one closer, "I Am What I Am".

It was neat seeing the golden-hued George Hamilton, and he did an admirable job as Georges, from serving as our amiable host at the nightclub, to managing his parade of drag queens, to trying to coach Albin in a very funny "masculinity" lesson. But as dapper and believable as he is in the role, he's not the strongest singer. It doesn't really detract from the show though, because Christopher Sieber as Albin is marvelous in every aspect. He's got a powerhouse voice, and his Albin/Zaza is hilarious, sincere, touching and completely inhabited. He may be my first male Broadway crush. WHAT?!?! Yeah.

Christopher Sieber (ZaZa).

Photo credit: Paul Kolnik

With the current political climate regarding gay issues, and "La Cage" touring during an election year and all, even though this show is from the 70's, it strikes a familiar chord in more ways than one. Personally, I love it when homophobic people are poked fun at, but more than that, this show ultimately shines a light on acceptance, love and true family bonds and values. What could be better than that?!

Now to digress for a moment -- I hadn't seen a show at the Fox in awhile, and I was reminded of how it can kinda be like amateur night. My Fox buddy Bruce and I were sitting in front of a group of 2 couples who obviously have no comprehension of what it means to use your "inside voice". And also, if you're gonna bring a drink back into the theatre, and you have to chew the ice, could you *please* try to chew it with your stupid mouth closed? I'd get into more detail, but I'm saving it all up for a St. Louis Theatre Etiquette Part 2 blog.

This tour will be in town till the 15th. Check it out for a great night of unadulterated "be who you are" theatre! Say hello to the drag queens while your'e at it. They're working their tails off out there!

LA CAGE AUX FOLLES

Book by Harvey Fierstein

Music/lyrics by Jerry Herman

Directed by Terry Johnson

Fox Theatre, 527 North Grand Blvd.

through January 15 | tickets: $15 - $70

Performances Tuesday to Friday at 8pm, Saturdays at 2pm & 8pm, Sundays at 2pm, Sunday, January 8 at 7:30pm, Thursday, January 12 at 1pm

Cast:

George Hamilton (Georges), Christopher Sieber (Albin), Billy Harrigan Tighe (Jean-Michel), Cathy Newman (Mme. Renaud/Mme. Dindon), Jeigh Madjus (Jacob), Gay Marshall (Jacqueline), Allison Blair McDowell (Anne), Dale Hensley (Francis), Ashley Kate Adams (Colette), Ken Clark (Etienne), Danny Vaccaro (Tabarro), Rylyn Juliano, Todd Thurston, Todd Lattimore, Christophe Caballerro, SuEllen Estey (Babette) Bruce Winant (M. Dindon) and "Les Cagelles", Matt Anctil, Mark Roland, Donald Shorter, Jr., Trevor Downey, Logan Keslar and Terry Lavell.

Creative:

Choreography by Lynne Page; set design by Tim Shortall; costume design by Matthew Wright; lighting design by Nick Richings; sound design by Jonathan Deans; hair and makeup by Richard Mawbey; stage manager, Karyn Meek.

Can I just talk about Stephanie J. Block for a minute? • Thank you.

2011-12-30T03:37:00.003-06:00

Hello again theatre peeps, and Happy Holidays! You know what the Holiday season brings -- among many other things, it's also typically when I ramble on about random stuff, so here goes…

I love Stephanie J. Block, aka, Broadway Crush #1. I know, big surprise. Why you ask? Well for one thing, there's that picture over there to the left. Hello. Then there's the fact that the first time I saw her was when she came through St. Louis with the first National Tour of WICKED as Elphaba in 2005. That show is what prompted me to see more theatre. I just thought to myself, "I enjoy this too much to not do more of it". The rest is history. Okay. Not really history, but you get my point…

WICKED rehearsals with Stephanie J. Block

In preparation for seeing WICKED, I found an online trailer for the tour. With "The Wizard of Oz" being one of my all-time childhood faves, after watching the trailer, my obsession with WICKED began immediately, and I did a little reading about Stephanie and the play. At the time, she had suffered an injury from a flying accident in a scene that was later taken out of the show, and had thankfully recovered in time for the St. Louis stop. After more online googling, I learned that she had been involved in the workshops for the show as early as 2001 - 2002 (Joe Mantello loved her), but the "higher ups" were concerned about the fact that she hadn't opened a Broadway show before, so they went with that other one… Don't get me wrong -- Idina Menzel is a great talent, but Stephanie has a voice meant for this score. A big-ass Broadway voice. It's incredible. Don't believe me? I have clips at the end of this post -- don't even…

WICKED First National Tour with Stephanie J. Block.

Photo credit: Joan Marcus

Shame she wasn't able to originate the role. Stephanie has always been very gracious about this, acknowledging the fact that nothing is a done deal until the papers are signed. Although she had been with the show from very early on, she knew that she wasn't a shoe in, but as far as I'm concerned, Idina Menzel has Stephanie's Tony Award on her mantel. There. I've said it. Anyway, my girl is still featured in one of the original tour trailers included below.

Next for me was the rather unfortunate PIRATE QUEEN in 2007, written by Claude-Michel Schönberg and Alain Boublil of Les Misérables fame. Based on the life of Irish pirate and clan chieftain, Grace (Grania) O'Malley, this musical (a reported $18 million flop) didn't last too long on the Broad-Way.

Stephanie J. Block in THE PIRATE QUEEN

Photo credit: Joan Marcus

The life of Grace O'Malley had all of the makings of a hit -- potentially, but producers Moya Doherty and John McColgan, who brought us Riverdance, kind of mucked it up. That, along with Schönberg and Boublil's blue-print, soulless book, that completely shortchanged the fascinating life of this historic figure, ensured this show a quick death. The reviews were not kind. Did I see it though? Uh, yeah. Twice. Actually three times -- twice during previews in Chicago and once the last night of previews in NYC. *sigh* Poor Steph…

Megan Hilty (Doralee Rhodes), Allison Janney (Violet Newstead) and Stephanie J. Block (Judy Bernly).

Photo credit: Joan Marcus

Next up was 9 TO 5, which I also had to see out of a sense of obligation in 2009. Stephanie as Jane Fonda's film counterpart, Judy Bernly, made the most out of a role that wasn't that great. Again -- she gets the big 11 o'clock number, but those reviews... Oof...

The next time I saw my girlfriend Ms. Block, she was "Grizabella, the Glamour Cat" right here at the MUNY's 2010 production of CATS. Yes, she was brilliant belting out another powerful 11 o'clock number, "Memory", and was charming at the stage door. Then the following year, we were both seeing a show in NYC (WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN). She was like 5 seats down from me! I didn't notice her there until the intermission, when I went up and said hello, and she recognized me from the MUNY… WHAT?!?! … and we talked a bit after the first act. It was the bomb. Mentioned it at the end of this blog post.

Stephanie J. Block (Gloria Mitchell)

and Sanaa Lathan (Vera Stark).

Photo by Joan Marcus

Then, last year I saw her in BY THE WAY, MEET VERA STARK, where we had a cool, "low-key" chat after. It was a matinee show and she was trying to escape the stage door, but she recognized me again (love) and we talked on our way down 43rd street for a little while. Magic… I went into more detail in the blog for the show.

Recently she got to fill in for Sutton Foster in ANYTHING GOES. Her reviews were incredibly positive, and it makes me happy for her. I hope in the near future she can originate a role in a show that doesn't suck. She deserves it.

So now, for your viewing and listening pleasure, here are a few little knick-knacks for your enjoyment!

WICKED Tour Trailer:

"No Good Deed" from WICKED

"Sea of Life" from THE PIRATE QUEEN

And yes, her voice is legit. The "money notes" are at the end...

KRAPP'S LAST TAPE • The Black Mirror Theatre Company

2011-12-10T18:20:00.013-06:00

Samuel Beckett wrote of his character in KRAPP'S LAST TAPE, "Krapp has nothing to talk to but his dying self and nothing to talk to him but his dead one." This hour-long, one-act, one-man classic is said to be the closest thing to an autobiography he'd ever written, and its current staging, the second show from the newly founded Black Mirror Theatre Company, is marvelous.

The space where the show is presented, the Firecracker Press on Cherokee Street, is a graphic design studio and letterpress printshop. This showroom is filled with handmade posters, stationary, and a ton of other little artistic knick-knacks for sale. In enlarging Krapp's profession to include printing, this location served as the perfect backdrop.

The play begins with a lovely welcome and introduction by its director, Dennis Corcoran. The action starts during the introduction, with Krapp (a superb Rob Suozzi) coming out to work on printing our programs in the background. After this engaging initiation, Krapp slowly moves in and around the audience, turning off lights, putting on his vest, and eating a banana. It's his sixty-ninth birthday, and after several minutes of quiet business, a weary and unkempt Krapp hauls out several boxes filled with audio recordings and a reel-to-reel tape recorder. After finally finding the spool he's looking for -- a recording made when he turned thirty-nine, he listens to excerpts. This has been his ritual -- to listen to his impressions of the past as a younger man, and record new ones on his birthday. On this reel, he mentions not only that the new light above his table is a great improvement, but that he had also just listened to a recording he'd made when he was in his twenties, and seems to regard his younger self with amusement mixed with scorn. He recounts his resolution to drink less -- even as Krapp takes breaks, wandering outside his stark circle of light, to go to the back of the room for a healthy swig. Or two. The present Krapp seems to regard his thirty-something year-old self in the same way his thirty-something year old self regarded his twenty-something year old self. Ordinary details, discarded pleasures and past and present aches of Krapp's life are alluded to and expanded upon as his memories unspool on the tape and in person. I'd really rather not go into the particulars of what he listens to, and proceeds to document making his new recording. Watching it intimately unfold in front of you is too rewarding to compromise with details. Just get a ticket.

Rob Suozzi (Krapp)

Rob Suozzi was captivating as Krapp. This young actor was able to pull off the role of a man in his late sixties, and I was impressed with the way he was able to command our attention with affecting silence -- also a great credit to Beckett's script and Corcoran's direction. This is a slow moving play, but that's also what makes it so intriguing. The lighting and costumes, along with that wonderful space, and Dennis Corcoran's invisible direction, all came together seamlessly for a truly cohesive and poignant presentation.

It's only playing until the 17th, so check it out.

KRAPP'S LAST TAPE

Written by Samuel Beckett

Directed by Dennis Corcoran

The Firecracker Press, 2838 Cherokee Street

December 17 | tickets: (donncha@swbell.net or 314-740-6514): $10 donation at door*

* A portion of the proceeds to benefit the Family Resource Center – “Helping to Keep Kids Safe”

Performances Friday & Saturday at 7pm

Cast:

Rob Suozzi (Krapp).

THE LAST NIGHT OF BALLYHOO • The New Jewish Theatre

2011-12-07T02:15:00.002-06:00

The plays I've seen from The New Jewish Theatre often seem to be these intimate little "slice of life" affairs that offer lessons that sneak up on you. This 1997 Tony Award winning play by Alfred Uhry (author of DRIVING MISS DAISY), with solid direction by Gary Wayne Barker, is no exception.

It's the Holiday Season in a 1939 well-to-do German Jewish community in Atlanta, Georgia. "Gone With the Wind" is about to make its film debut, and a flighty, young Lala Levy (Rachel Fenton) cannot wait to soak up the atmosphere of this highly anticipated premiere. Lala's social climbing mother, Beulah "Boo" Levy (Peggy Billo), is more concerned with securing a suitable gentleman to take Lala to "Ballyhoo" -- an annual celebration for southern Jews that culminates on the last night with a dance. Lala, a college dropout who's not the most popular girl, is one of the only ones in her circle of friends who is still unmarried. Lala and Boo live on one of the finest streets in Atlanta with Boo's single brother, Adolph (Greg Johnston), head of the Dixie Bedding Company, and their seemingly simple and endearing sister-in-law, Reba Freitag (Laurie McConnell). Although they boast a Jewish heritage that goes back 150 years, the Levys and the Freitags have hardly any idea what it means to be Jewish, aside from a couple of Yiddish words here and there. They are so assimilated into the predominantly Christian South that the opening scene has Lala decorating their Christmas tree -- without the star on top (which makes it okay).

Greg Johnston (Adolph Freitag), Peggy Billo (Boo Levy),

Laurie McConnell (Reba Freitag), Adam Moskal (Joe Farkus)

and Rachel Fenton (Lala Levy).

Photo credit: John Lamb

When Adolph brings his newest employee home for dinner, a nice Jewish boy from Brooklyn named Joe Farkus (Adam Moskul), the first hints of friction begin to surface. Joe is a devout Jew -- baffled a bit by the presence of a Christmas tree in his employer's home, but he's also a Jew of Eastern European descent -- looked down upon by Jews of German descent. Joe meets Reba's daughter Sunny on the train, after Adolph asks him to check up on her as she's on her way home from Wellesley College. They hit it off. But again -- those differences. While Sunny seems willing to be more open to her Jewish identity, other members of the family seem blissfully oblivious to their heritage -- even going so far as hurling anti-semitic slurs. Meanwhile, Boo is trying to angle a match between her daughter and Peachy Weil (Dylan Duke), a Jewish boy from a good family in Louisiana. As the night of the dance approaches, tensions emerge, and the heavier subjects of self-hatred and inter-cultural prejudices are further explored, and it all hits the fan at… yes… the last night of Ballyhoo.

Rachel Fenton (Lala Levy)

and Peggy Billo (Boo Levy).

Photo credit: John Lamb

This show has a fantastic cast. Peggy Billo as the ambitious Boo Levy was impressive. A real piece of work that one. With her own grudges to nurse, Billo is not only bitter and biting at times, but also sympathetic and very funny, with some of the best lines in the play. Laurie McConnell's Reba Freitag was brought to life with a wonderful charm -- down to that spot-on Southern drawl. Greg Johnston was marvelous as Adolph, delivering some of the most sentimental moments in the show. Also nice work from Adam Moskul and Dylan Duke as Joe and Peachy, and Rachel Fenton was perfectly distracted as Lala. Although her dialect didn't quite ring as true, Alexandra Woodruff's Sunny Freitag was also a delight. The beautifully natural set by Justin Barisonek, enhanced by Michael Sullivan's lighting and Michele Friedman Siler's costumes, draw you further into the story.

Check this one out for a great cast and crew, seamless direction, and some food for thought when you leave the theatre. You won't be sorry.

THE LAST NIGHT OF BALLYHOO

Written by Alfred Uhry

Directed by Gary Wayne Barker

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

through December 18 | tickets: $35.30 - $39.50

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

Laurie McConnell (Reba Freitag), Greg Johnston (Adolph Freitag)

and Alexandra Woodruff (Sunny Freitag).

Photo credit: John Lamb

Cast:

*Peggy Billo (Boo Levy), *Laurie McConnell (Reba Freitag), Greg Johnston (Adolph Freitag), Rachel Fenton (Lala Levy), Alexandra Woodruff (Sunny Freitag), Dylan Duke (Peachy Weil) and Adam Moskul (Joe Farkus).

* Member Actors' Equity Association

Creative:

Scenic design by Justin Barisonek; lighting design by Michael Sullivan; costume design by Michele Friedman Siler; sound design by Donald Smith; props, Peggy Knock; stage manager, Lorraine LiCavoli.

GODSPELL • Mustard Seed Theatre

2011-11-23T01:42:00.008-06:00

A musical about the New Testament? Sure, why not?! Originating as a thesis project that ended up running Off-Broadway at the Cherry Lane Theatre in 1971 (where it ran for 5 years and 2,000+ performances), GODSPELL transferred to Broadway in 1976 and ran for another 500 or so shows. This musical is presented as a series of lessons based on the Gospel of Matthew. The original production was set in a playground, but has since been set in various locations -- everywhere from a museum to a McDonald's. Because there is no specific setting for the play in the script, directors are able to be creative and tailor the show's particulars to fit the times, the city, etc. This production, beautifully directed and innovatively staged by Deanna Jent, takes place in the streets of St. Louis. They even worked in the theme to "Angry Birds", that I loved!

Cast of GODSPELL -- Mustard Seed Theatre

Photo credit: John Lamb

As the audience enters the space, the action is already taking place onstage and cast members are gathering -- a random dude paints graffiti on a wall ("Too many things, not enuf poetry") and city folk gather around during the opening "Prepare Ye (The Way of the Lord)". The people congregate to listen to a prophet, newly and cleverly baptized with a bottle of water. The teachings of Jesus (an incredible J. Samuel Davis) include everything from the parables of the Good Samaritan and Lazarus, to showing us His betrayal at the hands of Judas (Charlie Barron), along with His end days. These parables are played out in wonderfully performed songs, or sometimes a game of charades, or plays within plays. As the show progresses, the ensemble, beginning as strangers, come together to form a close knit community -- and when you think about it -- that's all it's really about, right?!

Cast of GODSPELL -- Mustard Seed Theatre

Photo credit: John Lamb

There's a lot of talent in this cast, and it was fantastic to hear so many of these actors bust out some impressive vocals. J. Samuel Davis was… well… divine. His Jesus was playful, compassionate and charming, but also vulnerable, wise and stern when he needed to be. He completely inhabited the role. Charlie Barron held his own as John the Baptist and Judas. These leads were bolstered by an energetic ensemble that sounded marvelous -- particularly in "Turn Back, O Man", "By My Side" and "All Good Gifts" -- the latter including some nice flute action by Laura Ernst. It's difficult to pick out any standouts in the ensemble, because they were all truly terrific in their moments to shine, but I have to give a shout out to Joe Schoen as "The Band" -- in his little music shop storefront window! He did a great job, and was completely engaged right along with the rest of the cast.

Dunsi Dai's set was brilliant, with its storefronts and fire escapes, allowing the cast to roam around in the space. The costumes by Jane Sullivan were perfect, with each character picking out what they needed for the assorted parables out of an on-set shopping cart on the spot, and Michael Sullivan's lighting was provocative and powerful, along with Kareem Deanes's sound design and choreography by Julie Venegoni, Laura Ernst & the ensemble -- all complementary, all making a statement at just the right moments. Love...

This was the first time I'd seen GODSPELL, and I'm glad my first exposure to this classic was in my own backyard. If my childhood church experiences had been like this, I would have paid a LOT more attention. Although many of these lessons are stories we all may have heard before, this production will leave you with those feel good emotions that ring true, and make you want to go out and help your neighbor, forgive your enemies -- perfect for the Holiday season. So I beseech thee - go see it.

GODSPELL

Book by John-Michael Tebelak

Music by Stephen Schwartz

Directed by Deanna Jent

Mustard Seed Theatre, 6800 Wydown Blvd.

through December 11 | tickets: $20 - $25

Performances Thursday through Saturday at 8pm, Saturdays & Sundays at 2pm
*Saturday 2pm performances are "Pay What You Can or Pay With a Can"

Cast:

J. Samuel Davis* (Jesus), Charlie Barron (John/Judas), Justin Ivan Brown (ensemble), Laura Ernst (ensemble), Justin Leibrecht (ensemble), Izzy Liu (ensemble), Amy Louis* (ensemble), Khnemu Menu-Ra (ensemble), Deborah Sharn (ensemble) and Anna Skidis (ensemble).

* Member Actors' Equity Association

Creative:

Scenic design by Dunsi Dai; lighting design by Michael Sullivan; costume design by Jane Sullivan; sound design by Kareem Deanes; choreography by Julie Venegoni, Laura Ernst & ensemble; fight choreographer, Shaun Sheley; stage manager, Bess Moynihan.

The Band:

Joe Schoen.

MURDERING MARLOWE • West End Players Guild

2011-11-16T19:17:00.002-06:00

Charles Marowitz's fictional account of a rivalry between two real-life figures, playwrights Christopher Marlowe and William Shakespeare, is an intriguing, slick little play, and under Robert A. Mitchell's wonderfully paced direction, completely entertaining. I'm just gonna say right now you should get a ticket.

All that is known about Marlowe's death in May 1593 is that he was stabbed in the eye following an argument over a bill. Marowitz takes this nugget and weaves a tale that seems incredibly plausible.

In 16th century London, Christopher "Kit" Marlowe (John Wolbers) is all the rage. His works dominate Elizabethan theatre, although he's considered by many to be a canker on the English landscape due to his blasphemy, drinking, and his willingness to engage with just about anything with an orifice.

Michael B. Perkins (Shakespeare)

and Jim Hurley (Philip Henslow).

Photo credit: John Lamb

Meanwhile, Shakespeare (Michael B. Perkins) is struggling to make a living with his writing and constantly nagged by his wife Anne about the family's dire financial situation. Shakespeare is jealous as hell of Marlowe and his literary success. Even the local theatre manager Philip Henslow (Jim Hurley) advises Shakespeare that his works were no match for Marlowe's, and that he could maybe punch up a few of his plays with a little more blood and sex. At one point, he suggests that THE COMEDY OF ERRORS be re-worked into THE COMEDY OF EROS -- a title that would "draw the town!". You know… sex always sells. Shakespeare only seems to find solace in the arms of his lover, Emilia Lanier (Maggie Murphy), who also knows Marlowe ("knows" in the biblical sense).

Because of Marlowe's perceived "affronts to God and decent Christians", he draws the attention of the English government, so Shakespeare jumps on this opportunity to convince those around him that Marlowe should be dealt with. He hires Robert Poley (David Wassilak) and Ingram Frizer (Todd Moore) to murder him -- conveniently ridding himself of an eminent rival.

David Wassilak (Robert Poley),

John Wolbers (Christopher Marlowe)

and Todd Moore (Ingram Frizer). Photo credit: John Lamb

There are winning performances all the way around in this one. John Wolbers is a wonderfully tawdry and talented Christopher Marlowe, and Michael B. Perkins as Shakespeare is aptly glowering and grim. Jim Hurley as the theatre manager has some of the best lines, and his interrogation scene along with Reynard Fox as the investigator is worth the price of admission. Laura Singleton was a bitter and angry Anne Hathaway and Maggie Murphy as Emilia Lanier was seductive and self-assured. Their scenes together are very powerful. The costumes by Teresa Doggett were beautiful, and the set (Nic Uhlmansiek) was simple with just a few pieces of furniture. The lighting (Renee Sevier-Monsey) was low and foreboding, and I really liked the mood of the pre-show music.

MURDERING MARLOWE is a great show that sadly has just one more weekend left, so I pray thee -- go see it!

Laura Singleton (Anne Hathaway)

and Maggie Murphy (Emilia Lanier).

Photo credit: John Lamb

MURDERING MARLOWE

Written by Charles Marowitz

Directed by Robert A. Mitchell

Union Avenue Christian Church, 733 Union Blvd.

through November 20 | tickets: $15 - $20

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

Cast:

Shakespeare (Michael B. Perkins), Anne Hathaway (Laura Singleton), Christopher Marlowe (John Wolbers), Emilia Lanier (Maggie Murphy), Robert Poley (David Wassilak), Philip Henslow (Jim Hurley), Henry Maunder (Reynard Fox) and Ingram Frizer (Todd Moore).

Creative:

Costume design by Teresa Doggett; scenic design by Nic Uhlmansiek; lighting design by Renee Sevier-Monsey; sound design by Michael B. Perkins; stage manager, Elizabeth Henning.

HOW I LEARNED TO DRIVE • Muddy Waters Theatre

2011-11-08T21:57:00.008-06:00

Muddy Waters closes their 2011 season with Paula Vogel's 1998 Pulitzer Prize winning comedic drama, HOW I LEARNED TO DRIVE. Vogel's incredible script deals with some very unfunny things -- incest, alcoholism, pedophilia -- but it's also packed with humor and surprisingly manages to draw out some unexpected pathos. Maybe that's why it won the Pulitzer.

L'il Bit (Laurie McConnell) serves as the narrator for much of the play, recalling driving lessons with her Uncle Peck (B. Weller). With a family who gives each other nicknames for their genital characteristics, having an Uncle "Peck" can only mean one thing… Peck is a war vet and recovering alcoholic, and it's during these driving lessons that he starts molesting L'il Bit, starting from the time when she was 11 years old. These encounters continued until L'il Bit was 18. Through these years, we not only learn about Peck's less than savory inclinations, but also about how these moments on the road are some of the only times in her life when L'il Bit feels able to enjoy a feeling of control -- when she's behind the wheel, driving. Trapped within her suburban Maryland family, L'il Bit revels in these driving lessons with her Uncle, but as she approaches the legal age of 18, and she's receiving letters from Uncle Peck (also anxiously counting down the days till her 18th birthday -- when he hopes to fully seduce her), L'il Bit truly takes control, and puts an end to their trysts.

B. Weller (Uncle Peck)

and Laurie McConnell (L'il Bit).

Photo credit: Jerry McAdams

L'il Bit and Uncle Peck are both "black sheeps" of the family in some regard -- feeling like they don't quite fit in. During the course of the evening, we also hear from L'il Bit's family, the Greek chorus, sometimes playing multiple roles, who flesh out the particulars of L'il Bit's home life. There's her Aunt Mary, Peck's wife (Kimberly D. Sansone), who suspects something is going on but chooses to ignore it, and would just like her husband back. Her mom (Kimberly D. Sansone), comically fills us in on the ABC's of social drinking for women, (wish I'd had that lesson...) and L'il Bit's grandmother (Denise Saylor), who is set on telling L'il Bit that sex hurts like hell -- unless you're married, along with L'il Bit's grandfather (Michael Brightman), who serves as the chauvinistic male who expects sex how he wants it, when he wants it.

Laurie McConnell navigates the duties as narrator and participant with great skill, and B. Weller's Uncle Peck was understated but surprisingly heart-breaking. The Greek chorus was also quite cohesive, and Milt Zoth's skillful and savvy direction evokes the most out of this play. Thoughtful projections by Michael B. Perkins add to the subtext, and the costumes (Theresa Loebl) and set (Cristie Johnston) were simple but quite effective. Jim Wulfsong's low and provocative lighting along with sound design by Jerry McAdams, also play a part in this show's success.

Michael Brightman (Male Chorus),

Denise Saylor (Female Chorus),

Kimberly D. Sansone (Female Chorus),

Laurie McConnell (L'il Bit)

and B. Weller (Uncle Peck).

Photo credit: Jerry McAdams

Again, as disturbing as it may sound, this play is also very funny. It's worth checking out. Just buckle up…

HOW I LEARNED TO DRIVE

Written by Paula Vogel

Directed by Milt Zoth

Kranzberg Arts Center, 501 North Grand Blvd.

through November 20 | tickets: $20 - $25

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

Cast:

Laurie McConnell* (L'il Bit), B. Weller (Uncle Peck), Michael Brightman (Male Chorus), Kimberly D. Sansone (Female Chorus) and Denise Saylor (Female Chorus).

* Member Actors' Equity Association

Creative:

Scenic design by Cristie Johnston; lighting design by Jim Wulfsong; costume design by Theresa Loebl; sound design by Jerry McAdams; choreography by Cindy Duggan; projections by Michael B. Perkins; stage manager, Lydia Crandall.

GRUESOME PLAYGROUND INJURIES • R-S Theatrics

2011-11-03T10:37:00.003-05:00

The latest play on offer from R-S Theatrics, written by Rajiv Joseph, looks at the relationship of Kayleen (Christina Rios) and Doug (Mark Kelley) over the course of 30 years. These two are… well… damaged. Physically and emotionally. Doug is a thrill seeking daredevil who wears his scars like badges of honor. Depressed self-hater, Kayleen, suffers from stomach upsets, and sometimes cuts herself. They first meet in the nurse's office at age 8 after Doug has ridden his bike off the roof of the school, cracking his head open, and Kayleen is having a stomach ache. Their inquiries about each other's outside and inside wounds ring true to what an 8 year old would say -- "does it hurt" or "can I touch it?", but as they grow older, this self-destructive behavior seems to be what keeps bringing them together.

Scenes between Kayleen and Doug, not always in chronological order, begin with slates that describe their ages and current injuries like, "8 - Face Split Open" or "23 - Eye Blown Out". Costume changes and wound applications are carried out in full view of the audience and musically accompanied by Ravel's "Bolero". That was neat. "Bolero" seemed quite appropriate, seeing as how these two spend most of the time doing this odd little dance together through the course of the evening. The costume changes took a little while on occasion, but these intervals detached you a bit from the action, and the reminder that we were watching a play was, for me anyway, rather soothing. Although Doug always seems more upset about the fact that his relationship with Kayleen has remained platonic for so long, there's obviously a bizarre little connection between them both. Their love hurts...

Christina Rios (Kayleen) and Mark Kelley (Doug).

Photo credit: Autumn Rinaldi

Mark Kelley's Doug is brimming with nervous energy throughout, and watching him play ages from 8 to 38 was a treat. Christina Rios's Kayleen is like a quietly bleeding open wound, and her more heartfelt moments with Doug are affective and touching. It's a different kind of romance, that's for sure, but worth checking out.

This weekend coming up is the last weekend to see this play -- it closes on the 6th.

GRUESOME PLAYGROUND INJURIES

Written by Rajiv Joseph

Co-Directed by Randy Stinebaker & Christina Rios

Crestwood ArtSpace, 214 Crestwood Court

November 6 | tickets: $12 cash only

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

Cast:

Christina Rios (Kayleen) and Mark Kelley (Doug).

Creative:

Props master, Meg Brinkley, stage manager/board operator, Sydney Frasure.

CIRCLE MIRROR TRANSFORMATION • The Repertory Theatre of St. Louis (Studio Theatre)

2011-11-01T10:07:00.003-05:00

So, while everyone else in St. Louis was watching the World Series (Yay, Cards!), I was in an acting class -- room #107 at the Shirley Community Center in Shirley, Vermont. This is the setting for Annie Baker's clever and funny Off-Broadway play that premiered at Playwrights Horizons in 2009, and won 2010 Obie Awards for Best New American Play, Performance, Ensemble and Direction.

Marty (Lynne Wintersteller) is holding a six-week course in creative drama. Her four students include her enthusiastic husband James (John Ottavino), Lauren (Charlotte Mae Jusino), a brooding 16 year old, Theresa (Kate Middleton), a perky actress newly transplanted from New York City, and newly out of a toxic relationship, and Schultz (Danny McCarthy), a recently divorced carpenter. On some level, all of these people are trying to connect in some way. Now, in the program notes by Gillian McNally, it's pointed out that creative drama is defined as "an improvisational, non-exhibitional, process-centered form of drama in which participants are guided by a leader to imagine, enact and reflect upon human experience." What better framework could there be to learn about these five people and watch them in turn discover each other? Under Stuart Carden’s evenly-paced, invisible direction, it works pretty well.

John Ottavino (James), Danny McCarthy (Schultz),

Kate Middleton (Theresa), Charlotte Mae Jusino (Lauren)

and Lynne Wintersteller (Marty).

There's really no plot to speak of. The story unfurls through a series of vignettes – mostly comprised of acting exercises. These exercises include everything from reenacting childhood memories of a stuffed snake, a tree, a bed and baseball glove, to carrying out conversations only using the words “goulash” and “ak-mak”, to telling each others’ stories. Through these exercises, and the conversations in between, layers of each character are peeled away. We learn a little about their lives, we get to see relationships form and dissolve and hear sad truths told.

Inside the Rep's cozy 125 seat studio theatre, Jack Magaw's set is impeccable -- a convincing replica of a small dance studio complete with a mirrored wall in the back. These mirrors make it possible to catch all of the subtleties in the performances (all of them excellent) as well as the reflection of the audience. This, along with the easy pacing, heightens the voyeuristic feeling of the play. The costumes by Garth Dunbar were spot-on, and interstitial sound design by Rusty Wandall and lighting by Mark Wilson, came together to create a very realistic setting. Lynne Wintersteller as Marty, the hippie leader of the proceedings, provided poignant revelations, along with her husband James (John Ottavino), perhaps one of the more over-eager students in her class. Kate Middleton and Danny McCarthy as Theresa and Schultz were also pitch-perfect in their roles, and watching their characters learn about each other proves to be a real treat sometimes -- sometimes not so much. Charlotte Mae Jusino was wonderful as Lauren -- not really fitting in anywhere, but desperate to land a role in her high school production of WEST SIDE STORY. The play doesn't tell you how the lives of these people will unfold, but it gives you just enough leeway to imagine on your own -- and you can't help but wish them the best.

Check it out!! It'll be at the Rep's studio theatre until the 13th.

Danny McCarthy (Schultz), Kate Middleton (Theresa),

John Ottavino (James), Lynne Wintersteller (Marty)

and Charlotte Mae Jusino (Lauren).

©Photo by Jerry Naunheim Jr.

CIRCLE MIRROR TRANSFORMATION

Written by Annie Baker

Directed by Stuart Carden

Loretto-Hilton Center, 130 Edgar Road

through November 13 | tickets: $45 - $58

Performances Tuesdays at 7pm, Wednesday to Friday at 8pm, Saturdays at 5pm, selected Saturdays at 9pm, Sundays at 2pm and 7pm

Cast:

Charlotte Mae Jusino (Lauren), Danny McCarthy (Schultz), Kate Middleton (Theresa), John Ottavino (James) and Lynne Wintersteller (Marty).

Creative:

Set design by Jack Magaw; costume design by Garth Dunbar; lighting design by Mark Wilson; sound design by Rusty Wandall; stage manager, Champe Leary.

GOD OF CARNAGE • The Repertory Theatre of St. Louis

2011-10-21T12:30:00.005-05:00

All of us have, at some point, had one of those, "Man, what an effed up evening that was! What the hell just happened?" kind of experiences. This play is kinda like that. Written by Yasmina Reza and translated from French by Christopher Hampton, it opened on Broadway in 2009, scoring Tony Awards for best play, best actress and best direction.

The Raleighs are getting together at the Brooklyn home of the Novak's because the Novak's son has had two teeth knocked out as a result of a playground fight with the Raleigh's kid. <-- Yes, longest sentence ever. Alan Raleigh (Anthony Marble) is a lawyer, constantly interrupting the proceedings with cell phone calls about a drug he's representing that has recently been found to cause some bothersome side-effects. His wife Annette (Susan Louise O'Connor) deals in wealth management. Veronica Novak (Eva Kaminsky) is writing a book about Darfur, and her husband Michael Novak (Triney Sandoval) sells domestic hardware. They meet each other with the best of intentions, but with the help of ample amounts of rum, these four upper-middle class adults jettison their civilized guises to expose their untamed and wickedly universal selves underneath.

Susan Louise O'Connor (Annette Raleigh),

Anthony Marble (Alan Raleigh), Eva Kaminsky (Veronica Novak)

and Triney Sandoval (Michael Novak).

©Photo by Sandy Underwood

Couples gang up against couples, the women gang up against the men, common ground is stumbled upon and then immediately abandoned, and the neanderthal in all is revealed. During the course of the afternoon, discussions about African culture, social responsibility, molars and clafouti give way to tantrums, taunting, ranting and puking. It's quite engrossing watching the day devolve.

The shrewd direction of Edward Stern keeps the action at a perfect pace, although a couple of the performances sometimes seemed a little "zero to sixty" too fast. The marvelous set by Narelle Sissons is inviting and upscale, and the lighting design by Kirk Bookman & Steve O’Shea, along with costume design by Gordon DeVinney, set a perfect note on which to start off the festivities. All of the performances were strong. Anthony Marble as Alan Raleigh was reserved enough in the beginning, that by the time he lets loose, it's very funny and rewarding. Susan Louise O'Connor as his wife, Annette Raleigh, does a complete 180 during the course of the play -- starting off seemingly very meek, but ending up anything but by the end. Triney Sandoval as Michael Novak was the perfect "guy's guy", and it was great fun watching Eva Kaminsky's Veronica Novak have a major meltdown right in front of you.

Susan Louise O'Connor (Annette Raleigh)

and Eva Kaminsky (Veronica Novak).

©Photo by Sandy Underwood

Now, before I conclude, can I just bitch about a couple of audience members for a minute? Please and thank you.

So, in my infamous Theatre Etiquette post (okay, not really infamous), I made a comment about how it's okay to laugh during a show because of the fact that I find so many audiences here completely unresponsive. Well, there's that, and then there's the other end of that -- like the woman seated to my left, who broke out into uncontrollable hee-haws five minutes into the play. Okay so here's the deal -- if you're truly moved to respond during a show, great! I love that. Lord knows I've let out my fair share of nervous or inappropriate laughter during a show. But then there's that, "before the ball's even hit, I'm gonna guffaw at the windup of the pitch, so everyone will know how clever I am." *sigh* I've got clever for you -- relax, shut your pie hole, get engaged and quit trying to pretend you're engaged. K? You know the type -- don't even. Then there's the guy sitting to my buddy's right. An approximately 237 year old man who felt compelled to say, "Uh oh", or, "Here we go", every eight minutes. That, or he repeatedly explained the physical action going on onstage to his wife. Yeah dude. We saw that too. STFU. I can't help it you don't have verbal interaction with your wife at home. Please don't choose to have it at the theatre during a performance. I'm sorry. It's hard for me to let this stuff go. I was so looking forward to moving away from these "noisemakers" at intermission, only to sadly discover there was no intermission. Again -- I don't want to judge how anyone responds to a show. It's all so subjective. And although I clearly am judging, whatever. We all know these people.

Anthony Marble (Alan Raleigh),Triney Sandoval (Michael Novak),

Susan Louise O'Connor (Annette Raleigh)

and Eva Kaminsky (Veronica Novak).

©Photo by Sandy Underwood

Anyhoo, GOD OF CARNAGE is very entertaining in its revelations, and sincere in the responsive chords it plucks. If you've ever wanted to be a fly on the wall of one of those, "What the hell just happened?" kind of days, then check it out. It will be at the Rep till November 6th! And don't be afraid to "shush" someone if you have to. :)

GOD OF CARNAGE

Written by Yasmina Reza; Translated by Christopher Hampton

Directed by Edward Stern

Loretto-Hilton Center, 130 Edgar Road

through November 6 | tickets: $19 - $72

Performances Tuesdays at 7pm, Wednesday to Friday at 8pm, selected Wednesdays at 1:30pm, Saturdays at 5pm, selected Saturdays at 9pm, Sundays at 2pm, selected Sundays at 7pm

Cast:

Eva Kaminsky (Veronica Novak), Anthony Marble (Alan Raleigh), Susan Louise O'Connor (Annette Raleigh) and Triney Sandoval (Michael Novak).

Creative:

Scenic design by Narelle Sissons; costume design by Gordon DeVinney; co-lighting design by Kirk Bookman & Steve O’Shea; stage manager, Glenn Dunn.

NUTS • St. Louis Actors' Studio

2011-10-13T15:35:00.006-05:00

Ooo, I love a good courtroom drama. And there's a fine one going on right now at the Gaslight Theater, kicking off St. Louis Actors’ Studio's season. Possibly best known for its 1987 film adaptation starring Barbra Streisand and Richard Dreyfuss, Tom Topor's NUTS… you know what I mean… opened as a play off-off Broadway in 1979 and transferred to Broadway the next year. The play all takes place inside a courtroom in New York's Bellevue Hospital, and although the play itself can seem a bit static at times, the dynamic performances from the high-caliber cast within it are anything but. It’s three acts with two intermissions, but once the first act gets going, the rest of the show flies by.

The play begins on the day of Claudia Faith Draper's sanity hearing (a compelling Lara Buck). She's a high-priced call girl who has been indicted for manslaughter. She claims she killed one of her clients in self-defense, but the state is trying to have her declared mentally unfit to stand trial. The state's witness, her arrogant psychiatrist Dr. Rosenthal (Steve Callahan), has determined that Claudia is a paranoid schizophrenic and should be hospitalized for her own good, and for the good of the state. Her mother and stepfather, Rose and Arthur Kirk (Donna Weinsting & John Contini), fearing that the details of Claudia's profession would be exposed in an embarrassing public trial, side with the state. Claudia insists that she's completely sane, and is equipped with an explicit understanding of the law. She knows that if she is denied the right to stand trial, because of the way New York's "Mental Hygiene Law" works, she could possibly be committed for up to 17 years. Claudia is going up against the system, and even though she has the help of her public defender, Aaron Levinsky (William Roth), she seems pretty much on her own.

Donna Weinsting (Rose Kirk), John Contini* (Arthur Kirk),

Bob Harvey (Judge Murdoch), Rachel Visocan (The Recorder),

Steve Callahan (Dr. Rosenthal), Lara Buck* (Caludia Faith Draper),

Keith Thompson (Officer Harry Haggerty),

Alan McClintock (Franklin Macmillan)

and William Roth (Aaron Levinsky).

Photo credit: John Lamb

Dr. Rosenthal is the first to take the stand, and Claudia’s erratic behavior during his testimony really doesn’t help her case much. She antagonizes him through much of it, insisting that the medicine they have her on is poisoning her, and that she's got a legitimate reason to be paranoid. Steve Callahan's Rosenthal is sufficiently smug and pompous as the state's witness, and his ideas about what constitutes mental stability and individual rights are truly a little frightening.

The second act brings Claudia's mother and stepfather to the stand, and Donna Weinsting and John Contini both ramp up the proceedings with incredibly layered performances. It’s obvious their relationship with Claudia is a strained one, and Rose glances at her daughter across the room as if she is looking at a stranger, not able to determine when things went wrong, and wondering what happened to her little girl. The self-important Arthur Kirk, the kind of man who thinks marriage is a "deal", starts off steady, but once Claudia's attorney suggests that their relationship was perhaps closer than it should have been, he begins to unravel on the stand. Arthur ends up looking pretty pathetic with his checkbook out, trying to buy his way out of the indiscretions he's revealed.

We finally get to hear from Claudia in the final act, and Lara Buck gets to let loose with a perfectly delivered monologue. She talks about her parents, her failed marriage, and how she's been able to make a living for herself since her divorce. Her parents listen, horrified, as Claudia rattles off all of the services she provides, but it's clear that while she's outspoken and doesn't mince her words, she may very well be one of the sanest people in the room.

Donna Weinsting (Rose Kirk), Steve Callahan (Dr. Rosenthal),

William Roth (Aaron Levinsky), Bob Harvey (Judge Murdoch),

Rachel Visocan (The Recorder) and John Contini* (Arthur Kirk).

Photo credit: John Lamb

In addition to the remarkable performances from Buck, Weinsting, Contini and Callahan, William Roth does a good job as Aaron Levinsky, building steam as the hearing unfolds. Alan McClintock's prosecuting attorney, Franklin Macmillan, starts off quite sure of himself, but finds this case might not be as cut-and-dry as he expected. Bob Harvey's Judge Murdoch presides over the hearing with a quiet authority, and the cast is rounded out by Keith Thompson as Officer Haggerty, and Rachel Visocan as the court recorder. These two don't get to say much, with the exception of a brief epilogue delivered by the court recorder. The handsome and sizable courtroom set, designed by Cristie Johnson with lighting by Sean M. Savoie, miraculously doesn't make the Gaslight's small stage seem cramped at all.

All nine of the players are onstage the whole time, and under Milt Zoth's excellent direction, watching all of the reactions to the happenings in the room, was fascinating. Everyone is distinctively engaged throughout -- the same way you'll be if you check out this show. This is one you don't want to miss.

NUTS

Written by Tom Topor

Directed by Milt Zoth

The Gaslight Theater, 358 N. Boyle Ave.

through October 23 | tickets: $20 - $25

Performances Thursday to Saturday at 8pm, Sundays at 3pm

Cast:

Keith Thompson (Officer Harry Haggerty), William Roth (Aaron Levinsky), Alan McClintock (Franklin Macmillan), Donna Weinsting (Rose Kirk), John Contini* (Arthur Kirk), Steve Callahan (Dr. Rosenthal), Rachel Visocan (The Recorder), Bob Harvey (Judge Murdoch) and Lara Buck* (Claudia Faith Draper).

* Member Actors' Equity Association

Creative:

Costume design by Jennifer “JC” Krajicek; scenic design by Cristie Johnson; lighting design by Sean M. Savoie; sound design by Robin Weatherall; stage manager, Amy Paige.

THE WHO'S TOMMY • Stray Dog Theatre

2011-10-08T16:42:00.021-05:00

Take a young boy, nullified into a practically catatonic state by witnessing a violent act at home, abuse from a vile uncle and a vicious cousin, a pinball machine, a rise to messianic fame and some kick-ass rock music -- what do you get? You get THE WHO'S TOMMY, Stray Dog Theatre's strikingly ambitious season opener.

Pete Townshend and The Who's double concept album is considered by many to be one of the first rock operas. It is at any rate, one of the best known, and it attained massive success when it was released in 1969. 1975 brought a star-studded psychedelic film version, and then a Broadway musical adaptation in 1993 (Alice Ripley made her Broadway debut in it) that won Tony Awards for original score, scenic design, lighting design, choreography, and direction.

From the minute those first chords explode and the expositional scenes begin, this full tilt ride never stops. In Stray Dog's production, the visual elements lean heavily towards "steampunk". Explaining what that's all about would be a whole nother post, but it's basically a sub-culture set within a time based on a general British Victorian era where their take on what the future might look like is what is expressed. ... Okay, so that probably doesn't make sense, so that's why I made it a clickable link so those interested can find out more about it. Anyhoo, it was an artful stylistic choice that added a timelessly old, yet nostalgically new vibe to the TOMMY fable that contributed to the richness of the show -- a show that recalls familiar tunes for many of us.

The Who's TOMMY at Stray Dog Theatre

(l to r) Anna Skidis, Josh Douglas, C.E. Fifer, Jeffrey M. Wright,

Austin Pierce, Antonio Rodriguez as TOMMY,

Paula Stoff Dean, Andrea Kimberling,

Ryan E. Glosemeyer, Sarah Porter.

(Photo credit: John Lamb)

Captain Walker (Jeffrey M. Wright) is sent off to war in 1940. Presumed dead, his wife (Paula Stoff Dean) takes up with another man (C.E. Fifer). When the captain unexpectedly comes home and finds his wife with another guy, a struggle ensues and the lover ends up dead -- all witnessed by the Walker's 4-year-old son, Tommy (Audrey Manalang). Tommy is sternly told by his parents that he didn't see or hear anything ("What About the Boy"), and as a result of this taken to heart message, he ends up deaf, dumb and blind. After a battery of tests by countless doctors (a clever little sequence among many), we are not only introduced to the 10-year-old Tommy (Braden Phillips), but we get confirmation that nothing can be done about the boy's condition. Sexual abuses are also suffered by Tommy at the hands of his alcoholic Uncle Ernie (Josh Douglas) and constant bullying by his cousin Kevin (Ryan E. Glosemeyer), pushing Tommy further into his state of oblivion, until his cousin takes him to an arcade. Here, his genious unleashes through a pinball machine ("Pinball Wizard"). He gains fame for this, and further fame once he is freed from his state by the smashing of a mirror by his frustrated mom. Tommy, by this time, presented as the adult Tommy (Antonio Rodriguez), is a cult-hero. But when one of his admirers is hurt in a rush to get closer to him, Tommy's reaction to instant fame and the reasons for that fame exposes the real message underneath this kind of tale -- a familiar one. Followers wanting to be like a person, who only wants to be like everyone else.

When the original LP was made, times were turbulent and the music was loud, but the story of Tommy and his individualized yet universal journey is timeless. Just like that steampunk vibe, and the beautiful tableau of the last snapshot of this musical that is relatable to everyone, on some level.

The Who's TOMMY at Stray Dog Theatre

(l to r, top) C.E. Fifer, Ryan E. Glosemeyer, Austin Pierce.

(l to r, bottom) Lindsey Jones, Andrea Kimberling,

Antonio Rodriguez as TOMMY, Sarah Porter, Anna Skidis.

(Photo credit: John Lamb)

Justin Been and Gary F. Bell's co-direction was tight and dead on. 4-year-old Tommy, a marvelous Audrey Manalang, and the 10-year-old Tommy, an impressive Braden Phillips, blew me away. Very focused acting from these kids. Not to mention the adult Tommy, a piercing Antonio Rodriguez, equipped with strong vocals, who held all of the captivating allure that made so much of this show successful. Kudos also to Jeffrey M. Wright, a thoughtfully engaged Captain Walker with a charming tenor voice. A perfectly paired Paula Stoff Dean as Mrs. Walker also had a rich performance and solid vocals. The entire ensemble was top-notch and had a wonderfully harmonic sound, particularly later on in "Pinball Wizard". Standouts include Josh Douglas as dirty old Uncle Ernie, and Anna Skidis as The Gypsy, who delivered an energetic number as "The Acid Queen".

This show wouldn't work at all without an excellent band and under Chris Petersen's musical direction, they brought all of the power you would expect in this show. Projections by Justin Been, Tyler Duenow's lighting design, beautifully designed costumes by Alexandra Scibetta Quigley and sound design by audio engineer, Lucas Clopton, all worked seamlessly together, and J.T. Ricroft's choreography was great.

Getting the opportunity to see this classic told through the innovative interpretation of Stray Dog's co-directors, along with an impressive cast and technical crew shouldn't be passed up. Check it out -- it's playing until the 22nd!

"Pinball Wizard" in The Who's TOMMY at Stray Dog Theatre

(top) Antonio Rodriguez as TOMMY,

(middle) Ryan E. Glosemeyer as Cousin Kevin.

(Photo credit: John Lamb)

THE WHO'S TOMMY

Book by Pete Townshend & Des McAnuff

Music/lyrics by Pete Townshend

Additional music & lyrics by John Entwistle & Keith Moon

Co-Directed by Justin Been and Gary F. Bell

Tower Grove Abbey, 2336 Tennessee Ave.

through October 22 | tickets: $18 - $20

Performances Thursday to Saturday at 8pm

Cast:

Antonio Rodriguez (Tommy), Jeffrey M. Wright (Captain Walker), Paula Stoff Dean (Mrs. Walker), Audrey Manalang (Tommy, Age 4), Braden Phillips (Tommy, Age 10), Ryan E. Glosemeyer (Cousin Kevin), Josh Douglas (Uncle Ernie), C.E. Fifer (The Boyfriend/Ensemble), Anna Skidis (The Gypsy/Ensemble), Kay Love (The Minister/Ensemble), Sarah Porter (Sally Simpson/Ensemble), Austin Pierce (Ensemble), Andrea Kimberling (Ensemble) and Lindsey Jones (Ensemble).

Creative:

Costume design by Alexandra Scibetta Quigley; scenic design by Justin Been & James Volmert, Jr.; scenic artist, Megan Henderson; lighting design by Tyler Duenow; projection design by Justin Been; audio engineer, Lucas Clopton; choreographer, J.T. Ricroft; hair & make-up stylist, Sarah Hitzel.

The Band:

Music direction/keyboard, Chris Petersen; drummer, Sean Lanier; electric bass, Michael Monsey; guitar I, Adam Rugo; synthesizer, Sallie Du Maine Cole.

THE ADDAMS FAMILY • The Fox

2011-10-01T16:44:00.003-05:00

The Addams Family began in 1938 as a series of single panel cartoons published in The New Yorker, created by cartoonist Charles Addams. Since then, they have been adapted into a television series, an animated series, and films. So, it was just a matter of time before it ended up as a staged Broadway musical, right? This show has been re-tooled for the national tour, and it kicks off The Fox's Broadway series.

Musicals that have been adapted from popular franchises don't tend to fare too well with NYC critics, and it opened last year to some nasty reviews, but who the hell cares about theatre reviews anyway?! …Oh wait...

Anyway, it's a highly entertaining, visually delightful show with all of the expected Addams Family familiars -- a passionately romantic Gomez and Morticia (a handsome and charming Douglas Sills and sleek, deadpan Sara Gettelfinger), their daughter Wednesday (Cortney Wolfson -- great voice), who literally tortures her little brother Pugsley (an impressive young Patrick D. Kennedy), much to his delight. Then you've got a frizzy, dizzy, most likely stoned Grandma (Pippa Pearthree), carting around bottles of elixirs and potions, a sunken-eyed Uncle Fester (Blake Hammond), the zombie-like butler, Lurch (Tom Corbeil), and even a couple of cameo appearances from the disembodied hand, Thing, and Cousin Itt. And yes, much to the delight of the audience, the overture begins with Vic Mizzy's unmistakable tv series theme, "Buh-da-da-dum (snap, snap)".

THE ADDAMS FAMILY National Tour Company.

Photo credit: Jeremy Daniel

There's no mistaking the Addams Family's fondness for the macabre the minute you hear the opening number, "When You're an Addams" -- long dead ancestors are roused from their tombs for an annual assemblage to celebrate what it means to "be an Addams". You know -- creepy and kooky, mysterious and spooky. Before the dead ones are allowed back into their graves though, Uncle Fester enlists their help in a current family situation. See, Wednesday has fallen for Lucas Beineke (Brian Justin Crum) -- a normal boy from Ohio, and she plans to marry him and has invited the Beinekes over for drinks and dinner so the families can meet each other. Fester knows this is gonna be tricky, so he intervenes along with the ancestors to try to make sure that love wins the day. Who knew Uncle Fester was such a romantic?

In an almost desperate attempt to try to have her family come off as everyday folks, Wednesday preps her family for the visit, while her father Gomez struggles to keep the intended marriage a secret from his wife Morticia. When the Beinekes arrive, they find themselves completely out of their element, but once they're forced to spend the night in the family's ghoulish old mansion, some common ground is made, and everything turns out for the best -- naturally. It's really a pretty traditionally structured love story couched within the oddness of the Addams Family. I mean, where else can you see a loving mother tuck her son into bed with promises that she's sure a monster will come out in the night and eat him alive -- only to be followed by a huge iguana springing out from underneath the bed?

All of the leads were in great voice, and the chorus of ancestors, in all of their various costumes, were energetic and added a lot to the proceedings. There's also a fair amount of nifty stagecraft, and the show manages to make the family as atypical as we would expect, while striking the responsive chords that make them relatable. It's a really fun night out at the theatre. Screw the killjoys -- I had a great time. Check it out!

THE ADDAMS FAMILY

Book by Marshall Brickman & Rick Elice

Music/lyrics by Andrew Lippa

Directed by Phelim McDermott & Julian Crouch

Fox Theatre, 527 North Grand Blvd.

through October 9 | tickets: $25 - $82

Performances Tuesday to Friday at 8pm, Saturdays at 2 & 8pm, Sundays at 2pm, Sunday, October 2 at 7:30pm, Thursday, October 6 at 1pm

Cast:

Douglas Sills (Gomez Addams), Sara Gettelfinger (Morticia Addams), Martin Vidnovic (Mal Beineke), Crista Moore (Alice Beineke), Blake Hammond (Uncle Fester), Pippa Pearthree (Grandma), Tom Corbeil (Lurch), Patrick D. Kennedy (Pugsley Addams), Brian Justin Crum (Lucas Beineke), and Cortney Wolfson (Wednesday Addams).

Creative:

Costume and scenic design by Phelim McDermott & Julian Crouch; choreography by Sergio Trujillo; lighting design by Natasha Katz; sound design by Acme Sound Partners; creative consultation, Jerry Zaks; puppetry by Basil Twist; stage manager, E. Cameron Holsinger.

DIRTY BLONDE • Dramatic License Productions

2011-09-30T01:15:00.001-05:00

A clever look at the bawdy, naughty film star, Mae West, is what's on offer at Dramatic License Productions. Mae West was a true icon, and a pioneer when she started out in vaudeville. With her sexually provocative stage shows and salacious one-liners, what she may have lacked as far as talent, she made up for with chutzpah, pushing the envelope of censorship. You go, girl!

This play covers a lot of ground considering it has only 3 actors. It starts off introducing us to Charlie (John Reidy) and Jo (Kim Furlow). They're two modern day fanatics who LOVE Mae West, and run into each other in a Brooklyn cemetery at Mae's crypt on August 17, the anniversary of her birth. Jo is a lonely actress who temps more than she acts, and Charlie is a mild, quiet man who works at the New York Public Library Film Archives. They strike up a friendship, and the ambiguous relationship between these two Mae West devotees grows during the course of the play. By the end of it, they both get to "be" Mae West -- in a sense. There are also scenes involving a young Mae (also Kim Furlow), with the various men of her life (John Reidy and B. Weller). These follow her beginnings on the vaudeville stage, honing her persona, testing the boundaries of what she could get away with, and taking a few tips from a couple of drag queens -- a hilarious scene that suggests these queens helped give Mae West some finishing touches that solidified the indelible images that come to mind when we hear her name. There are also scenes that show a young Charlie meeting Mae when he was 17 and she was an aging sexpot in her 80's, still trying to work it for all it was worth. These scenes were some of the most compelling for me, with a rather sad Mae taking delight in looking at old pictures of herself, and Charlie, completely smitten, and Joe Frisco (B. Weller), a long-time friend of Mae's and hanger-on hoping to get lucky again. Even into her mature years, she insisted that she looked like a woman of 26.

Kim Furlow (Mae West).

Photo credit: John Lamb

Kim Furlow was up to the task of pulling double duty as Mae and Jo. She does quite a good characterization of Mae West, and approaches both roles with loads of energy. The fellas end up playing so many people it makes your head spin, and their commitment to each one is first-rate. John Reidy is wonderful as Charlie along with the other characters he plays, as was B. Weller, who made a very entertaining Joe Frisco. Again, they were both quite memorable as a couple of drag queens. These 3 navigate all of their parts with skill, and really work their butts off in the process. This show must have been a real bitch to direct -- so many time changes, wardrobe changes and scene changes, and director Carolyn Hood handles it pretty well although it was a little unevenly paced at times. The scenic design by Courtney Sanazaro Sloey involved just a few pieces that got the job done, but at times the set changes took awhile. That proved a bit distracting. Justine Brock's lighting design was fine, and the projections used to inform time and place were a nice touch. Teresa Doggett's costumes were a treat, and there was also lovely piano accompaniment by Jeremy Melton. All in all, it's a witty, insightful sneak peek into the life of Mae West, with a quirky little romantic storyline at the heart of it. Only one more weekend to check it out!

DIRTY BLONDE

Written by Claudia Shear

Conceived by Claudia Shear and James Lapine

Directed by Carolyn Hood

Dramatic License Productions, Chesterfield Mall (upper level entrance, next to Houlihans)

through October 2 | tickets: $22.00 - $25.00

Performances Thursday to Saturday at 8pm, Sundays at 2pm

Cast:

Kim Furlow (Mae/Jo), John Reidy (Charlie/Harry/Jim Timony/Lt. Gregg/Duchess/Kid Moreno/W.C. Fields/Muscleman) and B. Weller (Man/Armando/Joe Frisco/Frank Wallace/Edward Elsner/Ed Hearn/Muscleman).

Creative:

Costume design by Teresa Doggett; scenic design by Courtney Sanazaro Sloey; lighting design by Justine Brock; sound design by Joseph Pini; musical accompanist, Jeremy Melton; stage manager, Natasha Toro.

PASSING STRANGE • New Line Theatre

2011-09-25T12:11:00.002-05:00

New Line's season opener rocks. Literally. Never letting you forget you're watching a play, PASSING STRANGE challenges the preconceptions about what a musical is -- a musical for people who don't think they like musicals. It's a high-octane, allegorical, semi-autobiographical account of a musician, Mark Stewart, who goes by the single name, Stew, and his journey of self-discovery. It opened on Broadway in 2008, garnering a Tony Award for Best Book.

Stew (Charles Glenn) serves as the older, wiser narrator, looking back on "Youth" (Keith Parker) who serves as his rebellious younger self, our Hero for the evening. Pivotal scenes from Stew's life are played out with Youth, and a fully engaged ensemble. Strong numbers like, "Baptist Fashion Show", "Amsterdam", and "May Day", shine a full light on the electrifying strength of this cast that a New Line production always promises.

Keith Parker (Youth)

Photo credit: Jill Ritter Lindberg

Youth grows up in a black middle-class South Central Los Angeles suburb. His church-going single mother (Talichia Noah) longs for the son she adores to settle into the life she imagines for him. After successfully dragging him to church -- a good ole Black Baptist church where catching the spirit of the "Holy Ghost" is expected, Youth does end up having what he calls a "religious experience". As it turns out, his encounter with the Holy Ghost has less to do with God, and more to do with his connection with the music. In that moment Youth finds his calling, while his mother slaps him in humiliation. Although Youth does agree to join the choir, he soon leaves it to start his own rock band. In a hazy marijuana induced epiphany with some of the church kids and a deep conversation with the Reverend's flamboyant son Franklin (John Reed II), Youth decides he needs to find "The Real", so he leaves his middle-class familiars behind, and journeys to Amsterdam and Berlin in a quest to try to experience new things and allow his artistic aspirations to flourish. In Amsterdam he meets up with a group of artistic Bohemians. In Berlin, he meets up with a group of radical Bohemians. In both places, in different ways, snippets of "The Real" are glimpsed, and he eventually learns that as important as love is, sometimes unconditional love -- love without understanding, is as real as it gets. This show wraps up with a sober slap in the face that resonates with everyone -- black, white, gay, straight, whatever. An emotional reminder of what "The Real" is.

Talichia Noah (Mother), Keith Parker (Youth),

John Reed II, Andrea Purnell, Cecil Washington Jr.,

and Jeanitta Perkins.

Photo credit: Jill Ritter Lindberg

PASSING STRANGE features a terrific cast with fine voices, and Scott Miller, New Line's artistic director and director of this show, always seems to elicit the most from them. Charles Glenn is arresting as the narrator, with a smooth rich voice that held the evening together like glue. Resembling the real-life Stew, Glenn fits this role like a glove. Keith Parker's tireless "Youth" is impressive throughout with an excellent voice as well. Talichia Noah is loving and heartbreaking as Mother. Under Miller's rock-solid direction, the ensemble members of PASSING STRANGE were absorbing in all of their characterizations -- whether as a group of conservative church folks, free-loving Dutch hippies, or revolutionary young Germans. They all had their moments to shine, and Jeanitta Perkins was fierce in all of her parts, especially Desi, one of the militant Germans. John Reed II was terrific as the Reverend's pot-smoking son, and incredibly commanding and funny as Venus, the German performance artist. Cecil E. Washington Jr. had some great moments as Hugo and Andrea Purnell was a turbulent Sudabey, a "postmodern pornographer" whose porno films feature "fully clothed men making business deals.” Ha! There is no choreographer listed in the program, but damn these kids can move! (Hard for me to take my eyes off of Cecil Washington Jr. during "Amsterdam").

Cecil Washington Jr. (Christophe), Jeanitta Perkins (Renata),

and John Reed II (Joop).

Photo credit: Jill Ritter Lindberg

The costume designs by Amy Kelly were straightforward with simple accoutrements to effectively distinguish the array of characters. Todd Schaefer's scenic design was clean with a couple of benches, chairs, a table and a brick backdrop with exposed little spaces. This backdrop, when coupled with Kenneth Zinkl's lighting design that illuminated through the open spaces added much to the mood of several visually beautiful scenes, and the New Line band was tight, and handled the score wonderfully.

It's a brilliant show with memorable performances and amazing songs. Actually, I'm buying the cast-recording the second I post this entry. In short, go see it. I'm not kidding.

Charles Glenn (Narrator).

Photo credit: Jill Ritter Lindberg

PASSING STRANGE

Book/lyrics by Stew

Music by Stew and Heidi Rodewald

Directed by Scott Miller, assistant director, Nikki Glenn

Washington University South Campus Theatre, 6501 Clayton Road

through October 15 | tickets: $10 - $15

Performances Thursday to Saturday at 8pm

Cast:

Charles Glenn (Narrator), Keith Parker (Youth), Talichia Noah (Mother), Jeanitta Perkins (Sherry/Renata/Desi), Andrea Purnell (Edwina/Marianna/Sudabey), John Reed II (Rev. Jones/Franklin/Joop/Venus) and Cecil E. Washington Jr. (Terry/Christophe/Hugo).

Creative:

Costume design by Amy Kelly; scenic design by Todd Schaefer; lighting design by Kenneth Zinkl; sound design by Donald Smith; stage manager, Trisha Bakula.

The New Line Band:

Piano/conductor, Justin Smolik; lead guitar, D. Mike Bauer; rhythm guitar, Aaron Doerr; bass, Dave Hall; percussion, Clancy Newell.

THE WINNERS • HotCity Theatre

2011-09-21T18:36:00.007-05:00

So, how does winning a butt-load of cash in the lottery change your life? Or more intriguingly, what temptations and behaviors do new-found financial freedom uncover? That's at the center of THE WINNERS, written by David L. Williams. This play won HotCity's GreenHouse new play competition last year, and it's receiving a full production in its St. Louis premiere in the cozy black-box confines of the Kranzberg.

What's the first thing Cassie (Shanara Gabrielle) and her husband Kurt (Shaun Sheley) do after raking in $337 million? What else? They buy a hooker for the night! See, Cassie used to have the hots for an Asian classmate in college, but she never experimented, so they hire "Tiffany" (Sasha Diamond) a young attractive escort, so Cassie can live out her fantasy. Naturally her husband was all for it. After awkward small talk and money negotiations they get down to business. All of the "action" takes place offstage, but once the first round is over, there's a bit of animosity in the air. Cassie and Kurt seem to do a little "power-tripping" in light of their upper-hand in the situation, and they proceed to run Tiffany through a series of rather humiliating scenarios. Throughout the night, we also hear from a crying Shirley, the couple's daughter, over the baby monitor. Shirley's almost two years old, but not yet able to talk. Weary of always having to go up and check on the baby, Cassie and Kurt have Tiffany go up to check on her to give themselves a break. Geez. Have the hooker do the dishes too while you're at it.

Shaun Sheley (Kurt), Sasha Diamond (Tiffany)

and Shanara Gabrielle (Cassie).

Photo credit: John Lamb

The play takes a major turn in the second act. A turn that seems to come out of nowhere, and a little disjointed from everything else that's going on. This is where it becomes a bit challenging to stay with the ballgame, but you'll have to check it out for yourself, cause I'm not giving anything away. Like I said earlier though, new-found financial freedom can uncover all sorts of responsibility-shirking temptations...

The performances of the three leads were engaging, especially considering some of the situations they had to pull off -- particularly Shanara Gabrielle as Cassie. The action flowed perfectly under Marty Stanberry's direction, and the realistic and warm set (James Holborow) and comfy lighting (Sean M. Savoie) make you feel at home right as you walk into the space. Also nice costume work by Jane Sullivan. Including the lingerie…

This play poses some interesting, if not unexpected questions. But hey, leaving the theatre talking is better than not, right?

Shanara Gabrielle (Cassie)

and Shaun Sheley (Kurt).

Photo credit: John Lamb

THE WINNERS

Written by David L. Williams

Directed by Marty Stanberry

Kranzberg Arts Center, 501 North Grand Blvd.

through September 24 | tickets: $20 - $25

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

Cast:

Shanara Gabrielle* (Cassie), Shaun Sheley* (Kurt) and Sasha Diamond (Tiffany).

* Member Actors' Equity Association

Creative:

Scenic design by James Holborow; lighting design by Sean M. Savoie; costume design by Jane Sullivan; stage manager, Richard B. Agnew.

RED • The Repertory Theatre of St. Louis

2011-09-15T00:32:00.000-05:00

"What do you see?"

That's the first question painter Mark Rothko poses, almost pleads, to his new apprentice Ken in the opening minutes of the Rep's scorching season opener, John Logan's RED.

Mark Rothko's "multiforms" led to the development of Color Field Painting in the 1940's and 50's. Although he is considered a master abstract expressionist, he shunned labels of any kind applied to his style. You know -- that temperamental artist thing.

The play takes place in Rothko's 1950's art studio after he's been given a $35,000 commission (over $2 million today) to paint a series of murals for Manhattan's new Four Seasons restaurant. Ken, an aspiring young artist himself, has been hired as Rothko's assistant. He does everything from fetching Chinese food and preparing Rothko's canvases, to being a sounding board for the master and his intellectual ramblings. Before Ken even has a chance to answer Rothko's initial question, he's given instructions on how to perceive his art -- "Let it work on you. Let it pulsate. Now what do you see?".

Brian Dykstra (Mark Rothko).

©Photo by Jerry Naunheim Jr.

Mark Rothko didn't want his paintings to end up in the houses of people who were trying to keep up with the neighbors or high-brows convinced they should buy a "Rothko" because the New York Times told them they should buy a "Rothko". He required the active participation of the viewer. Having a disdain for natural lighting, Rothko was very particular about exactly how his art was to be displayed, and even who was permitted to see it. He insists to Ken that, "You cannot be an artist until you are civilized", and although he has ensuing diatribes about the nature of art, Nietzsche, Freud and Shakespeare, they don't leave you feeling like you've just been hit over the head with intellectual babble. Under Steven Woolf's incredible direction, it's engrossing.

Brian Dykstra (Mark Rothko) and Matthew Carlson (Ken).

©Photo by Jerry Naunheim Jr.

Ken works for Rothko for 2 years, with Rothko taking little or no notice of the details of Ken's life. There is one tragic aspect of Ken's childhood that he does share, but Rothko immediately suggests that Ken use it as a creative stimulus. Ken doesn't really get many words in edgeways at the beginning, but once he grows to voice his own opinions about art and his admiration of painters like Andy Warhol and Jasper Johns, Rothko's doubts about his own relevance begin to peak out. I mean, let's face it -- as Ken points out, for all of Rothko's talk full of artistic Apollonian and Dionysian comparisons, he was on the verge of providing artwork for a swanky trough for the bourgeois -- the last people prepared to appreciate his work as he intended. It presents Rothko with soul-searching challenges that we get to witness. In addition to these brewing self-conflicts, there is an amazing scene where Rothko and Ken prime a huge canvas together with an aria playing in the background, leaving them exhausted and splattered in red paint. This scene is one that will keep you riveted to the edge of your seat, as will most of this play.

Matthew Carlson (Ken) and Brian Dykstra (Mark Rothko).

©Photo by Jerry Naunheim Jr.

The Rep is one of the first regional theatres in the country to be granted the rights to put on this production that won Tony awards for best play, featured actor, direction, scenic design, lighting design and sound design of a play.

Michael Ganio's scenic design was lovely and evocative. Dark, immersive lighting design by Phil Monat set a beautiful tone, along with spot-on costumes by Dorothy Marshall Englis. The performances by its leads were striking. Brian Dykstra's Mark Rothko is forceful, and pulls our attention at the outset with his gaze and keeps hold of it throughout. Matthew Carlson's Ken shines later in the play once his character questions his boss's long-held beliefs about what art is and bravely presents his opinions about what it could be.

I was ecstatic when I found out the Rep was doing this show, and the production is no less thrilling than it was when I saw it in NYC last year. RED is a vibrant reminder of why we go to the theatre -- engaging, visceral experiences.

Brian Dykstra (Mark Rothko) and Matthew Carlson (Ken).

©Photo by Jerry Naunheim Jr.

RED

Written by John Logan

Directed by Steven Woolf

Loretto-Hilton Center, 130 Edgar Road

through October 2 | tickets: $22.50 - $72

Performances Tuesdays at 7pm, Wednesday to Friday at 8pm, Saturdays at 5pm, selected Saturdays at 9pm, Sundays at 2pm, selected Sundays at 7pm

Cast:

Brian Dykstra (Mark Rothko) and Matthew Carlson (Ken).

Creative:

Scenic design by Michael Ganio; costume design by Dorothy Marshall Englis; lighting design by Phil Monat; sound design by Rusty Wandall; music consultant, Jeffrey Carter; stage manager, Glenn Dunn; assistant stage manager, Shannon B. Sturgis.

FALLING • Mustard Seed Theatre

2011-09-04T15:24:00.006-05:00

With an estimated 1 in 110 kids having an ASD, or Autism spectrum disorder, many of us are familiar with autism to some degree -- in a once or twice removed kind of way. But seeing the challenges of a family with an autistic son up close and personal in Mustard Seed's first show of their season, written by artistic director, Deanna Jent, is a powerful and touching experience.

There's a palpable heaviness in the Martin household that's apparent the minute the lights come up. Josh (Jonathan Foster) is the 18 year old son of Tami (Michelle Hand) and Bill (Greg Johnston). His parents seem to have done their research about this disorder, and there are knowing glances exchanged between them when anything in Josh's life suddenly strays outside of the normal routine. They are in a constant state of readiness to deflect and distract him, if necessary. Sometimes during the day this means a box of feathers. Other times, it means bringing out his marble collection or one of his favorite DVDs. Tami and Bill's adolescent daughter Lisa (Katie Donnelly) is also well acquainted with the code words, routines and triggers and she's been forced to shift the focus of her own life to her brother's, and take on the role of a co-care-taker. Josh's autism can tend to be aggressive, and the growing strain on the family is doubled when Bill's God-fearing mom, Sue (Carmen Russell), comes into town for a visit. She thinks prayer and an on-hand bible will help take care of Josh's disorder, but again, there are glances exchanged between the parents that make it clear that they are veterans in "extreme parenting", and grandma is a newbie, with no real understanding of the situation. They've tried prayer -- it doesn't make anything go away, and Sue isn't used to the cloud of tension that the parents have become accustomed to living with every day.

Michelle Hand (Tami Martin), Jonathan Foster (Josh Martin)

and Greg Johnston (Bill Martin).

Photo credit: John Lamb

It's very eye-opening to see how Bill and Tami have come up with little bets and prizes for each other, and a day without a phone call from their son's special needs school is a cause for quiet celebration. But Sue soon becomes aware of the anxiety of their lives when the barking of a dog is all it takes for Josh's aggressive unease to explode, and it's a scene that is violently captivating.

There is a "theatrical conceit" (<-- I think that's the correct term. Probably not though) that happens about 3/4's of the way in that I won't disclose here, but it does leave the audience with the pleasure of thinking this family might have gotten a break, only to find out that no, the reality of autism doesn't easily just disappear, and it leaves you feeling a little guilty -- wishing, for the family's sake, they had gotten a break.

Under the impressive direction of Lori Adams, the cast was strong all the way around. Michelle Hand was funny and effectively heartbreaking as Josh's mom Tami, who always has a bottle of red on hand if she needs a glass, or a shot of bourbon when the pressure becomes more difficult to handle. Greg Johnston was wonderful as Bill, whose approach was a little more relaxed, but it was clear he was not unaffected by his son's influence on the household. Nor was he unaffected by the strain his son has inflicted on his marital relationship with his wife. Katie Donnelly as Josh's sister, Lisa, was touchingly believable as an adolescent, "totally over" the family life, and ready to move in with Grandma to escape the stress of her own home. Carmen Russell was intriguing as Grandma Sue, taking on the role as an outsider looking in, like the audience, and Jonathan Foster as Josh was believable and commanded your complete attention.

Greg Johnston (Bill Martin), Carmen Russell (Sue Martin),

Michelle Hand (Tami Martin) and Jonathan Foster (Josh Martin).

Photo credit: John Lamb

Also great work by the technical crew, including John Stark's set, Julie Mack's lighting, Zoe Sullivan's sound design and Shaun Sheley's movement & combat choreography.

This show has extended for another week, so now there are 2 more weekends to check this out. Honestly -- I wasn't planning on seeing it, but I'm so glad I did. The performances alone make it well worth seeing.

FALLING

Written by Deanna Jent

Directed by Lori Adams

Mustard Seed Theatre, 6800 Wydown Blvd.

through September 24 | tickets: $20 - $25

Performances Thursday through Saturday at 8pm, Saturdays & Sundays at 2pm

Cast:

Jonathan Foster (Josh Martin & Lawrence Malerry), Michelle Hand (Tami Martin), Katie Donnelly (Lisa Martin), Greg Johnston (Bill Martin) and Carmen Russell (Sue Martin).

Creative:

Scenic design by John Stark; costume design by Deanne Jent; lighting design by Julie Mack; sound design by Zoe Sullivan; movement & combat by Shaun Sheley; stage manager, Adam Flores.

THE CONVERSATION • The Black Mirror Theatre Company

2011-08-21T11:05:00.004-05:00

There's a new theatre company in town folks, and THE CONVERSATION, written by St. Louisan Dennis Corcoran, is The Black Mirror Theatre Company's inaugural performance.

This play focuses on a discussion between Queen Elizabeth I and Gráinne Ní Mháille, or Grace O'Malley. Grace was an Irish pirate and chieftain of the Ó Máille clan. In the 16th century when England was in the process of trying to gain rule over Ireland, many Gaelic chieftains were handing over their land to the monarch and adopting fancy English titles, but Grace was a thorn in England's side -- a "bleeding ulcer" who refused to submit. Her notorious exploits on the sea also posed a threat to England's purse. When Grace's son and half-brother were imprisoned by Queen Elizabeth's armies, she sailed to English soil to seek favor and petition their release.

I was particularly interested in this show because a few years ago I saw THE PIRATE QUEEN, a 2007 musical about Grace O'Malley starring Broadway crush numero uno, Stephanie J. Block. Yes, she was brilliant. The show itself? Not so much. In this not so well received production, the exchange between these powerful women was a short scene with the two silhouetted behind a scrim, so I was excited to see a play devoted to this notable visit.

Katie Robinson (Grace O'Malley of Ireland)

and Gwynneth Rausch (Elizabeth I of England).

The play begins with the Queen (Gwynneth Rausch) preparing to meet with Grace (Katie Robinson). Although Elizabeth's advisor, Sir William Cecil (Brian J. Rolf), is highly suspicious of Grace, the Queen is open to meeting with her, not only to try to get her to win over the Irish hold-outs, but also seemingly out of curiosity about this female Irish pirate. The two women find out that in addition to being fluent in latin, they have many more things in common than they might have thought -- mainly their sense of being shackled to their people. Their styles are different, but their responsibilities are very similar. Although Grace proves a tough nut to crack, the two achieve a mutual respect for one another along with a cautious friendship. This account of their dialogue is fictional (nobody really knows the details of the actual conversation), but this play gives us a credible look at the way things may have gone down.

Dennis Corcoran's play is written well, but Michelle Rebollo's direction seemed a little slow -- a lot of pregnant pauses and staring off into space. Katie Robinson's Grace O'Malley was wily and smart with a convincing Irish brogue while Gwynneth Rausch's Elizabeth I of England seemed a little more tentative. Their discourse, while intriguing, lacked the fire and bite that you would expect from a show that primarily concentrates on this meeting of determined personalities. The set, costumes and lighting, along with the lovely pre-show music, set the mood beautifully.

Although this production is a pretty short run, with only a couple of performances left, I look forward to seeing what this new company does next!

THE CONVERSATION

Written by Dennis Corcoran

Directed by Michelle Rebollo; assistant director - Bethany "Duke" Dukett

The Focal Point, 2720 Sutton Ave.

August 21 | tickets: $10

Performances Friday the 19th at 7pm, Saturday and Sunday at 5pm & 7:30pm

Cast:

Gwynneth Rausch (Elizabeth I of England), Katie Robinson (Gráinne Ní Mháille or Grace O'Malley of Ireland) and Brian J. Rolf (Sir William Cecil, Chief Advisor to Elizabeth).

Creative:

Costume design by Sharon Corcoran; scenic design, lighting design & sound design by Megan E. King; makeup design by Derek Robertson.

Pre-show music:

Friday @ 7pm - Molly Krippene

Saturday @ 5pm - Shannon Kelly

Saturday @ 7:30 - Kate Nellis

Sunday @ 5pm - Natalie O'Loughlin

Sunday @ 7:30 - Mariah Mullins

RESTORATION • St. Louis Shakespeare

2011-08-09T19:29:00.000-05:00

Ah, the class system. It never really goes away, does it? Whether you're in 18th century England or 21st century America, injustice is a timeless subject that Edward Bond considers in RESTORATION, currently on stage at the Grandel presented by St. Louis Shakespeare.

Michael Brightman (Lord Are) and Nicole Angeli (Ann).

Photo credit: Patrick Huber

Okay -- so first we've got the rakish Lord Are (Michael Brightman), powdered wig, makeup and all, who needs to find a woman of means (seeing as how he's pissed away all of his own money), and self-absorbed Ann Hardache (Nicole Angeli), a wealthy yet common woman in search of a title. Naturally, a marriage is arranged between the two, even though they seem to abhor each other. If there were a preening contest between these two, I’m really not sure who would win. Then, on the "lower class" side, we've got Bob (Luke Lindberg), Lord Are's footman, married to Rose, a black servant. When Ann ends up dead at the breakfast table (through a very amusing set of circumstances), Lord Are pins this accidental murder on Bob. Are convinces Bob that even though he has been jailed, because of his association with the higher classes, Bob will be pardoned. Poor Bob is gullible enough to believe him, but his wife Rose doesn’t believe it for a second (you know... she's black, and knows better) and tries in vain to remove the wool from the eyes of the low-born – wool placed there by the high-born.

Luke Lindberg (Bob), Nicole Angeli (Ann)

and Michael Brightman (Lord Are).

Photo credit: Patrick Huber

The comedy in the first act sets up an almost 180 degree turn in the second, where the play slows a bit, and things get grim. And a bit didactic at times. There are intervals when a character will take center stage and address the audience about the social ills and injustices of the day. This is where Bond's commentary on the class system becomes piercing. Bob’s wife Rose does manage to wrangle a written pardon from Lord Are’s mother (Gwynneth Rausch), but then Are gets his hands on it, and it is unwittingly destroyed by Bob’s mother (Donna Weinsting). Yeah. It’s pretty effed up.

Donna Weinsting (Mother)

and Delisa Richardson (Rose).

Photo credit: Patrick Huber

It was a little hard for me to get my head around certain parts of this one (Brechtian type things admittedly tend to frighten me…), but as is typically the case with St. Louis Shakespeare, the cast, skillfully directed by Milt Zoth, was strong and the production was very well done. Michael Brightman was superb at the helm as Lord Are and Nicole Angeli’s facial expressions as Ann Hardache were priceless. The scenes involving these two provide most of the hilarity in the first act and were my favorites. There were also strong performances by Luke Lindberg as Bob, Delisa Richardson as Rose and Donna Weinsting as Bob's mother. The rest of the cast was very nicely rounded out by Bradley J. Behrmann, Tim Kidwell, Eric White, Kimberly D. Sansone, Gwynneth Rausch and Brittni Lombardo.

Gwynneth Rausch (Lady Are)

and Delisa Richardson (Rose).

Photo credit: Patrick Huber

Patrick Huber’s lighting followed the action and intensity wonderfully, and Cristie Johnston designed the lovely set. The lavish costumes by Wes Jenkins were beautiful -- Lady Are’s get-up alone was worth the price of admission. Only one more weekend to see this one!

RESTORATION

Written by Edward Bond

Directed by Milt Zoth

Grandel Theatre, 3610 Grandel Square

through August 14 | tickets: $15 - $25

Performances Fridays and Saturdays at 8pm, Thursday at 7:30pm, Sundays at 2pm

Kimberly D. Sansone (Mrs. Wilson), Delisa Richardson (Rose),

Luke Lindberg (Bob), Bradley J. Behrmann (Frank),

Nicole Angeli (Gaoler) and Eric White (Parson).

Photo credit: Patrick Huber

Cast:

Michael Brightman (Lord Are), Luke Lindberg (Bob), Bradley J. Behrmann (Frank), Nicole Angeli (Ann), Tim Kidwell (Hardache), Eric White (Parson), Donna Weinsting (Mother), Kimberly D. Sansone (Mrs. Wilson), Gwynneth Rausch (Lady Are), Delisa Richardson (Rose), Nicole Angeli (Gaoler) and Brittni Lombardo (Messenger).

Creative:

Costume design by Wes Jenkins; scenic design by Cristie Johnston; lighting design by Patrick Huber; stage manager, Amy J. Paige.

THRILL ME: THE LEOPOLD AND LOEB STORY • Max & Louie Productions

2011-08-07T00:06:00.006-05:00

Let me just start off by saying, there is some interesting pre-show chatter that goes on sometimes. "My cousin's uncle got him out of jail". "Yeah, and the prosecuting attorney was my aunt's brother-in-law". This was the kind of small talk going on before Max & Louie's opening night performance of Stephen Dolginoff's THRILL ME: THE LEOPOLD AND LOEB STORY. This musical is based on the true story of Nathan Leopold and Richard Loeb, "thrill killers" who were sentenced to life plus 99 years for the murder of a young boy. With songs like "Nothing Like a Fire", "Way Too Far" and "Ransom Note", the dark nature of this "crime of the century" seems unlikely material for a musical, but as director Brooke Edwards points out in her notes, this show concentrates less on the crimes and more on the relationship between these two young well-to-do law students from Chicago.

The story opens at Nathan Leopold's fifth parole hearing in 1958, and the story unfolds in a series of flashbacks. Once the story shifts back to 1924, and we see these two childhood friends meet up, it's obvious that while Nathan is obsessed with Richard, Richard is obsessed with petty crimes for kicks. Richard's penchant for Nietzsche heightens his need to prove that he and Nathan are "Supermen" -- above society and too clever for the law. Arson and burglary soon give way to aspirations of committing the superior crime of murder, and Nathan, hopelessly smitten, seems willing to do just about anything Richard wants. A contract between the two is typed up, and in exchange for Richard's scraps of affection, Nathan agrees to be his accomplice. The rest of the play documents their attempt to commit the perfect crime along with some twists along the way.

Blake Berry Davy (Richard Loeb)

and James Bleeker (Nathan Leopold).

Photo credit: Brooke Edwards

This hour and a half show sucks you in with admirably credible performances by its two leads. This show wouldn't work without chemistry between them, but James Bleeker (Nathan Leopold) and Blake Berry Davy (Richard Loeb) have it, along with solid voices. Under Brooke Edwards' shrewd direction, Bleeker and Davy characterize the needy Nathan Leopold and the calculating Richard Loeb completely. I was particularly impressed with the way Bleeker's Nathan Leopold appeared so young and impressionable in the flashbacks, but more wearied and wise in the scenes of his parole board hearing. The songs are eerie but alluring with accompaniment by a wonderful Henry Palkes at the piano. The costumes by Cynthia Lohrmann are perfect, and the scenic design by Will James Stacey is simple but effective and works well to accentuate John Blunk's potent lighting. You know I love me some "in your face" theatre, and the intimate stage of the Gaslight adds to the power of this musical. The piano on occasion was a little overpowering, but that's a minor quibble in light of the rest of this well done production.

This show provides an intriguing look at domination, seduction, betrayal and how far people are willing to go in the name of love. Or at least pliant infatuation. It's worth checking out.

Blake Berry Davy (Richard Loeb)

and James Bleeker (Nathan Leopold).

Photo credit: Brooke Edwards

THRILL ME: THE LEOPOLD AND LOEB STORY

Book/music/lyrics by Stephen Dolginoff

Directed by Brooke Edwards

Gaslight Theater, 358 North Boyle Ave.

through August 14 | tickets: $25 - $30

Performances Thursday to Saturday at 8pm, Sundays at 7:30pm

Cast:

James Bleeker (Nathan Leopold), Blake Berry Davy (Richard Loeb), Tj Nicol (Parole Board Voice #1), and Brian Beracha (Parole Board Voice #2/Radio Announcer).

Creative:

Scenic design by Will James Stacey; lighting design by John Blunk; costume design by Cynthia Lohrmann; sound design by Brian Beracha; musical direction by Lynn Thompson; pianist, Henry Palkes.

THE MERRY WIVES OF WINDSOR • St. Louis Shakespeare

2011-07-20T15:56:00.002-05:00

In the latest production from St. Louis Shakespeare, Mistresses Ford and Page are up to mischief in Windsor.

Sir John Falstaff (Martin Casey) is broke when he visits Windsor, and plans to woo Mistresses Ford and Page (Suki Peters & Jamie Marble) to get at the wallets of their husbands. Fellas, if you're gonna write a nearly identical love letter to two women, make sure they don't find out about it, please. That's the mistake Falstaff makes. Once the Mistresses find out, they are bent on making a fool of him -- not really a difficult task. Master Page (Chris Jones) doesn't give this buffoon much thought, but Master Ford (Ben Ritchie ) is jealous like crazy, so he disguises himself as "Master Brook" to try to get to the bottom of the "Fat Knight" and exactly what his intentions are. Mistresses Ford and Page have a great time causing Falstaff to endure all kinds of humiliation as payment for his sloppy flirtations -- everything from being submerged in a filthy mess of smelly laundry to being poked and prodded by the local townsfolk. Poor Falstaff. In the end though, everything turns out fairly well.

Suki Peters (Mistress Ford) and Jamie Marble (Mistress Page).

Photo credit: Kim Carlson

This play may not be known as Shakespeare's best, but once it finally takes off (which takes a while), it's an enjoyable little romp. There's a synopsis in the program book, which is helpful for those who may not be all that familiar with the plot. *Points at self*…

This production, directed by Todd Pieper, was bolstered by a top-notch cast all around. Suki Peters and Jamie Marble were a joy to watch as Mistresses Ford and Page. Emily Adams was another standout as Mistress Quickly along with Ben Ritchie as the jealous Master Ford and Martin Casey as Sir John Falstaff. Jennifer "JC" Krajicek's costumes were absolutely beautiful and there was nice work by James E. Slover's lighting and Cristie Johnston's scenic design. Shakespeare lovers will want to check this one out for a nice production.

Martin Casey (Sir John Falstaff) and

Suki Peters (Mistress Ford).

Photo credit: Kim Carlson

THE MERRY WIVES OF WINDSOR

Written by William Shakespeare

Directed by Todd Pieper

Grandel Theatre, 3610 Grandel Square

through July 24 | tickets: $15 - $25

Performances Fridays and Saturdays at 8pm, Thursday at 7:30pm, Sundays at 2pm

Cast:

Suki Peters (Mistress Ford), Ben Ritchie (Master Ford), Jamie Marble (Mistress Page), Marissa Barnathan (Anne Page), Chris Jones (Master Page), Casey Boland (Doctor Caius), Emily Adams (Mistress Quickly), Phillip Dixon (John Rugby), Paul Devine (Sir Hugh Evans), Carl Overly (Host of the Garter), Martin Casey (Sir John Falstaff), Ruman Kazi (Nym), Austin Pierce (Fenton), Tim Callahan (Shallow), Ben Watts (Slender), John Wolbers (Pistol), Joshua Nash Payne (Simple) and Emily Jackoway (Robin).

Creative:

Costume design by Jennifer "JC" Krajicek; scenic design by Cristie Johnston; lighting design by James E. Slover; stage manager, Lydia Crandall.

THE CRUMPLE ZONE • Citilites Theatre

2011-07-11T19:15:00.005-05:00

Ah, the holidays. Supposedly a time of mirth and merriment for families and friends right? Well, not always. If there's one thing this play about infidelity, love and friendship demonstrates, it's that the holiday season can be just as unfulfilling for gays as it can be for straight folks. Sounds like an engaging play though, right? Well, not really.

Set in a small apartment in Staten Island, our cast of characters includes Terry (Keith Thompson), the incredibly lonely and neurotic unemployed actor who has a tremendous crush on Buck (Troy Turnipseed). But Buck is the lover of Alex (Seth Ward Pyatt), Terry's roommate. He's working as a Santa Claus at the Staten Island Mall. Then there's Matt (Anotnio Rodriguez), Alex's long-term boyfriend who is out on the road touring with a musical adaptation of "Salem's Lot". There's also Roger (Devin Przygoda) who is picked up by Terry on the Staten Island ferry.

As the play opens, Buck and Terry are stringing popcorn for the Christmas tree, waiting for Alex to come home and listening to lovelorn messages on the answering machine from Matt to Alex. Terry is going on and on about his disgust with the happy ending of "The Grinch Who Stole Christmas" when Alex enters with stories of being peed on by obnoxious children. Buck spends much of his time trying to convince Alex that he should move in with him, while Terry spends most of his time with long diatribes bemoaning the fact that he is alone. Naturally, Matt unexpectedly shows up at the end of the first act.

In the second act Terry and Buck try to convince Matt that they are together, but Matt knows better. What follows is drunkenness and a little truth-telling. Alex, after telling Matt that it's over, leaves to be with Buck, and Terry is left to try to console Matt with a story about crash test dummies. Yes, here's where the title comes in.

Devin Przygoda (Roger), Troy Turnipseed (Buck)

and Keith Thompson (Terry).

Photo credit: Juan Castillo

Written by Buddy Thomas and directed by Marsha Hollander Parker, I had a couple of problems with this one. First, it was just kind of boring -- your basic love triangle with some gay guys thrown in. Secondly, the pacing is a little off. The character of Terry seems like the one that should have garnered our sympathy and laughs, and he does get most of the best lines, but many don't quite land. Although Keith Thompson's Terry is full of skittish energy and has some funny moments (particularly one scene where he tries to seduce Buck with a lip-synced version of "Nevertheless, I Love You"), he pitches the majority of his lines at the same rhythm and tone, so when the jokes do come, they're hard to differentiate from the delivery of anything else. It was also hard for me to feel anything for any of the characters, really -- they were all pretty underwritten. Alex and Matt are a major part of this love triangle, but we never learn much about Matt, and I never really got the sense that Alex was torn between Buck, his new lover, and his boyfriend, so if he doesn't care, why should I? I also felt like I could "see" most everyone acting. Not good. Troy Turnipseed came off as the most realistic for me. On the technical side, the set by GP Hunsaker, lighting by Steven J. Miller, costumes by Alexandra Scibetta Quigley and sound by Seth Ward Pyatt and Heather Tucker all worked well.

Maybe the performances will come together later on in the run, but still, this rather generic play lacks what it needs to make it truly memorable.

THE CRUMPLE ZONE

Written by Buddy Thomas

Directed by Marsha Hollander Parker

Gaslight Theater, 358 North Boyle Ave.

through July 24 | tickets: $15 - $20

Performances Thursday to Saturday at 8pm, Sundays at 7pm

Cast:

Keith Thompson (Terry), Troy Turnipseed (Buck), Seth Ward Pyatt (Alex), Devin Przygoda (Roger) and Anotnio Rodriguez (Matt).

Creative:

Costume design by Alexandra Scibetta Quigley; scenic design by GP Hunsaker; lighting design by Steven J. Miller; sound design by Seth Ward Pyatt & Heather Tucker; choreography by Janet Strzelec; stage manager, Lisa Beke.

THE VISIT • Stray Dog Theatre

2011-06-17T03:29:00.001-05:00

After seeing this play, I could hardly wait to rush home and google Tragicomedy. This 1956 play in three acts by Swiss playwright Friedrich Dürrenmatt presents some pretty absurd ideas, but getting sucked into how irrational ideas eventually become rationalized during the course of a story like this is chilling, but uncomfortably familiar at the same time.

As the play begins, the town of Güllen is gathered at the train station planning a grand welcoming for Claire Zachanassian (a commanding Julie Layton). She's a billionaire home town girl who has scheduled a visit to her old stomping grounds. With the loss of the town's industries, Güllen is drowning in its own poverty, and they hope that Claire might throw some bank their way. Anton Schill (R. Travis Estes), who runs the general store, has been assigned the task of buttering her up. She arrives early and catches the townsfolk off-guard. After a blustery welcome by the Burgomaster (Jan Niehoff), Claire announces her intentions -- she is willing to offer 1 billion marks, half to the town and half to the citizens, in exchange for the life of one of the most popular guys in town. That's right -- Anton Schill. See, Anton and Claire were sweethearts back in the day, but Anton got her pregnant when she was 17. Claire lost a paternity suit against Anton and turned to prostitution for awhile to get by after being forced out of town, so Claire's looking for some revenge. I mean uh, justice. The town is appalled and rejects her offer, but Claire asserts that she'll wait.

Bob Harvey (Bobby), R. Travis Estes (Anton Schill),

Julie Layton (Claire Zachanassian),

Kevin Boehm (Pedro) and Jan Niehoff (The Burgomaster).

Photo by John Lamb

Claire, dressed in bright red from head to toe with matching fiery red hair, travels with quite an entourage. In addition to husband number eight, Pedro, and Bobby the butler (an ex-magistrate now in her service), there's also a black panther, Kobby and Lobby (a couple of bizarre blind eunuchs, who long ago committed perjury in Claire's paternity suit -- now also in her service), a couple of muscular guys who cart her around in a sedan chair, and a coffin.

After awhile, Anton notices that folks are buying some pretty expensive items at his store, and they all request that their purchases be put on credit. The citizens, day by day, are changing. They're sporting new shoes and buying expensive cigars -- all on credit. As Claire's influence on the town becomes more and more apparent, Anton becomes less and less sure of his safety. The local police and the Burgomaster dismiss Anton's concerns about Claire's threat on his life, and the priest is more consumed with admiring the brand new church bell. Once the town has run up enough debt to choke a horse, The Doctor and The Teacher go to Claire and ask for her assistance. They urge her to forget her quest for revenge, I mean, justice, and invest in the town instead. When Claire informs them that she practically already owns the town, the last two hold-outs for Güllen's humanity are swayed.

(Clockwise)

Stephen Peirick (The Station Master),

Shane P. Mullen (The Policeman),

Colleen M. Backer (Frau Burgomaster),

Julie Layton (Claire Zachanassian),

C.E. Fifer (The Conductor)

and Jan Niehoff (The Burgomaster).

Photo by Dan Donovan

It's a little unnerving to see how far people are willing to go for a buck, but under the bold and skillful direction of Gary F. Bell, it's hard not to get caught up in this dark tale of greed, revenge and corruption. Julie Layton as Claire Zachanassian is compelling -- sinister and a little frightening. R. Travis Estes is engaging as the doomed Anton Schill. He comes off as the most human with the most to lose, yet powerless to alter his own future. This was a talented cast all-around with strong performances by Jan Niehoff as The Burgomaster, Sarajane Alverson as The Teacher and Stephen Peirick as The Station Master. The peculiar tone of the play is consistent throughout. From the unusual movements of the cast, to Alexandra Quigley's fanciful costumes and Sarah Orloski's stylized makeup. Tensions are heightened with Tyler Duenow's wonderful lighting and Justin Been's imaginative sound design.

If you're up for a little Theatre of the Absurd, this production is definitely worth checking out.

THE VISIT

Written by Friedrich Dürrenmatt
Adapted by Maurice Valency

Directed by Gary F. Bell

Tower Grove Abbey, 2336 Tennessee Ave.

through June 25 | tickets: $18 - $20

Performances Thursday to Saturday at 8pm

Julie Layton (Claire Zachanassian)

and R. Travis Estes (Anton Schill).

Photo by John Lamb

Cast:

Julie Layton (Claire Zachanassian), R. Travis Estes* (Anton Schill), Bob Harvey (Bobby), Kevin Boehm (Pedro), Eric White (Max/Athlete/Reporter), C. Blaine Adams (Mike/Athlete/Camera Man), Jan Niehoff (The Burgomaster), Ryan Glosemeyer (The Pastor), Sarajane Alverson (The Teacher), Melissa Harris (The Doctor/The Fourth Man), Shane P. Mullen (The Policeman / The Second Man), Katie Puglisi (The Painter/The Photographer/The Radio Reporter), Stephen Peirick (The Station Master/The First Man), Jenni Ryan (Frau Schill/The First Woman), C.E. Fifer (The Son/The Conductor/Kobby/The Truck Driver), Olivia Light (The Daughter/Lobby) and Colleen M. Backer (Frau Burgomaster/Second Woman/Third Man).

* Member Actors' Equity Association

Creative:

Scenic design by Jay V. Hall; scenic artist, Teresa Dennis; sound and projection design by Justin Been; lighting design by Tyler Duenow; makeup/hair design by Sarah Orloski; costume design by Alexandra Scibetta Quigley; dramaturg, Janet Howe; stage manager, Justin Been.

TONY AWARDS AFTERGLOW

2011-06-13T03:16:00.003-05:00

In celebration of the big winner tonight… Oh… last night… I felt compelled to post another song from THE BOOK OF MORMON -- the opening number called "Hello!". Congratulations to all of the Tony Award nominees and winners!

Yay, theatre!!

WAR HORSE • Vivian Beaumont Theatre

2011-06-12T02:45:00.003-05:00

Well, here on the day of the 65th Annual Tony Awards, I've finally gotten around to posting about this show -- my favorite from this past NYC trip.

I rarely cry at the theatre. It's happened twice -- once during WICKED's "For Good" (I was seeing it with by best friend so… you know…) and then once during the first 10 minutes of THE LION KING because it was just so visually beautiful. But during WAR HORSE? I cried like a little bitch.

This play with music was adapted from a children's book of the same name that was written by Michael Morpurgo. There's also a Steven Spielberg film in the works. Admittedly, the book for this play has received some criticism for its simplicity, but whatever. The real draw of this production is the life-sized horse puppets (along with a very animated little puppet goose) developed from the creative talents of the Handspring Puppet Company. Kind of like AVENUE Q, after awhile you don't even see the puppeteers. The team of 3 or 4 operating the horses disappear, and you're looking at a horse on stage. The twitching ears, head shaking, the subtle movements of the front legs and hooves, the flutter of the tail, that spark in the eyes -- theatre magic, baby…

Photo credit: Sara Krulwich-The New York Times

A foal is purchased by Albert's financially irresponsible father, Ted (Boris McGiver). Albert (Seth Numrich) is charged with taking on all of the responsibilities of raising this horse, whom he names Joey. The audience is then sucked in with scenes of Albert and Joey forming a connection, and as anyone who has a pet knows, developing a form of communication with each other. Albert creates a way of making Joey rear up on his hind legs. It takes awhile for Joey and Albert to get this trick down, but once it's cemented, they use this move (with the help of Paule Constable's brilliant lighting) to beautifully transition from Joey the colt, to Joey, the majestic full-sized steed, and that moment alone evokes spontaneous applause. After a couple of years, this dirt-poor family decides that Joey needs to earn his keep, so Albert trains Joey to plow.

Photo credit - Paul Kolnik

Then, World War I comes. Albert's drunken gambling father looks for a way to earn a few more bucks and sells Joey into the army to the horror of his wife, Rose (Alyssa Breshnahan) and Albert. At this point in the play, Joey traipses up one of the aisles of the theatre. Chills… So now poor Joey, separated from Albert, is subjected to an unfamiliar setting, gunshots and war. The tragedy of this show is the fact that when the calvary entered the Great War, tanks, barbed wire and machine guns had been introduced. Calvary horses were as much a casualty as soldiers with about 8 million horses losing their lives. Yeah. Tissues, anyone?

Joey soldiers on and makes friends of his own -- namely a veteran war horse named Topthorn -- a gloriously sleek dark mount of one of the top officers. Once Albert finds out that the officer riding Joey has been killed (some very dramatic action where the officer is blown off of Joey in slow motion), Albert lies about his age and enters the army in an effort to find his horse. Albert and Joey are both left with their share of scars -- literally and figuratively.

Photo credit - Paul Kolnik

The puppeteers provide the sounds of the horses -- everything from whinnying to that gentle snorting sound that they make. The set (Rae Smith) was very simple with a backdrop of what looks like a torn piece of paper. Images are projected onto this to beef up what's going on onstage to gorgeous effect, and incredibly striking lighting by Paule Constable reminds you of how much of an impact good lighting can make. I can't say enough about the Handspring Puppet Company and their accomplishment of bringing some pieces of wire, leather and fabric to life. The music by Adrian Sutton and songs by John Tams are just enough to add a little atmosphere, and evoke tears. I sincerely hope this play wins everything it's nominated for. It was truly an astounding production that left me teary eyed and deeply moved. If you're in NYC and you see this show, and you don't tear up, there is something wrong with you. Ha! Just kidding.

Kinda…

Here's a trailer for the show!

WAR HORSE

Directed by Marianne Elliott and Tom Morris, based on a novel by Michael Morpurgo, adapted by Nick Stafford

Vivian Beaumont Theatre, 150 West 65th St. New York, NY

open run | tickets: $75 - $125

Performances Tuesdays at 7pm, Wednesday to Saturday at 8pm, Wednesdays and Saturdays at 2pm, Sundays at 3pm

Photo credit - Paul Kolnik

Cast:

Seth Numrich (Albert), Stephen James Anthony (Ensemble, Baby Joey), Zach Appelman (Ensemble, Sgt. Fine), Alyssa Breshnahan (Ensemble, Rose Narracott), Richard Crawford (Ensemble, Sgt. Thunder), Sanjit De Silva (Ensemble, Taff), Matt Doyle (Ensemble, Billy Narracott, Understudy Albert), Austin Durant (Ensemble, Chapman Carter), Joby Earle (Ensemble, Joey, Topthorn), Joel Reuben Ganz (Ensemble, Topthorn), Ariel Heller (Ensemble, Joey, Topthorn), Peter Hermann (Ensemble, Friedrich Muller), Alex Hoeffler (Ensemble, Joey, Topthorn), Brian Lee Huynh (Ensemble, Captain Stewart), Jeslyn Kelly (Ensemble, Joey), Ian Lassiter (Ensemble), Tom Lee (Ensemble, Topthorn), Jonathan Christopher MacMillan (Ensemble, Topthorn), Jonathan David Martin (Ensemble, Joey), Boris McGiver (Ensemble, Ted Narracott), Prentice Onayemi (Ensemble, Joey), Bhavesh Patel (Ensemble, Bone), David Pegram (Ensemble, David Taylor, Baby Joey), Katy Pfaffl (Ensemble, Song Woman), Stephen Plunkett (Ensemble, Nicholls), Leenya Rideout (Ensemble, Baby Joey), Liam Robinson (Ensemble, Song Man), Jude Sandy (Ensemble, Joey, Topthorn), Hannah Sloat (Ensemble, Understudy Emilie), T. Ryder Smith (Ensemble, Arthur Narracott), Zach Villa - Ensemble, Joey, Topthorn), Elliot Villar (Ensemble, Klausen), Cat Walleck (Ensemble, Paulette), Enrico D. Wey (Ensemble, Joey, Topthorn) and Madeline Yen (Ensemble, Emilie).

Creative:
Sets, costumes and drawings by Rae Smith; puppet design, fabrication and direction by Adrian Kohler and Basil Jones for Handspring Puppet Company; lighting design by Paule Constable; director of movement and horse sequences, Toby Sedgwick; animation and projections by 59 Productions; music by Adrian Sutton; songs by John Tams; sound design by Christopher Shutt; music director, Greg Pliska; associate puppetry director, Mervyn Millar; stage manager, Rick Steiger.

THE IMMIGRANT • The New Jewish Theatre

2011-06-08T01:14:00.002-05:00

Not all Jews who escaped the pervasive violence in Russia ended up in Manhattan's Lower East side. About 10,000 ended up in Galveston, Texas through a resettlement program called the Galveston Movement. The New Jewish Theatre closes its season with THE IMMIGRANT, directed by Edward Coffield, a play that serves as a tribute to the playwright's grandparents, Haskell and Leah Harelik and their migration to Hamilton, Texas.

The set (Josh Smith) draws you in -- a warm, rustic cedar paneled framing and a thrust stage. In addition to the title being projected onto the back of the set, the play begins with projections that set up the story that include real photos from the Harelik family album as well as photos from the harrowing journey to America.

Michelle Hand (Leah) and Robert Thibaut (Haskell).

Photo credit: John Lamb

When Haskell (Robert Thibaut) finally arrives in the small town of Hamilton, barely able to speak any English, he's forced to try to scratch out a living selling bananas to the locals. One of the locals, a devout Baptist named Ima Perry (Peggy Billo), wants to try to help this poor guy, but her husband Milton (Gary Wayne Barker), the local banker, is a little leery. She eventually wears Milton down, telling him that they "should behave like Christians", and he agrees to let Haskell stay with them for a few days. Once Ima finds out that Haskell is Jewish -- the only one in town -- she starts to cool to the idea, but her husband insists that a deal's a deal, so Haskell takes a room upstairs. While Haskell secretly sends money home and writes to his wife back in Russia, Milton takes an interest in trying to help Haskell's business grow, and with a little financial help, Haskell goes from selling bananas to selling vegetables to opening a small goods store. After some time, he's joined by his wife Leah (Michelle Hand), to the Perrys' surprise. It takes her longer to settle in to her new environment, and she's fearful about the fact that Haskell has allowed some of their Jewish traditions to slip. Haskell becomes more successful and they move out of the Perrys' house and into the attic above the store. Leah still feels like a fish out of water, yet their friendship with the Perrys continues to grow, although it does so with a little awkwardness every now and then. They still manage to uncover similarities between them and a kind of understanding, especially among the women. When Leah is pregnant with the first of three children, there's a nice scene between her and Ima where they discover their shared belief in superstition when they both simultaneously throw salt over their shoulders.

Peggy Billo (Ima), Robert Thibaut (Haskell),

Michelle Hand (Leah) and Gary Wayne Barker (Milton).

Photo credit: John Lamb

Several years go by before an argument arises during the Hareliks' Sabbath dinner. It stems from Haskell and Milton's opposing views about whether or not the United States should join allied forces against Hitler. There's a reason they say don't talk politics at the dinner table…

Here's where the play gets a little uneven for me. For one thing, it seems as though it's the Perrys first time over to the Hareliks' for Sabbath dinner, even after years of friendship. Also, the ensuing blow-up seems to kind of come out of nowhere. I can understand political views remaining largely unknown until the subject is forced, but still. Maybe it goes to show that although people can, and do develop relationships despite obvious differences, perhaps there are some cultural differences that just can't quite be bridged in Hamilton Texas, "Where the world ends at the city limits…" Anyway, the rift leaves a scar on the friendship of the men, although the play ends on a hopeful note.

Robert Thibaut (Haskell),

in back Gary Wayne Barker (Milton) and
Peggy Billo (Ima).

Photo credit: John Lamb

Strong and sincere performances from the Perrys -- Ima, a very funny Peggy Billo, and Milton, a stoic Gary Wayne Barker. Robert Thibaut gives Haskell a ton of heart and is very likable, and it was satisfying to watch the development of Michelle Hand's Leah during the play. They all inhabit their characters beautifully. Josh Smith's set and lighting create an inviting tone, and the costumes by Michele Siler nicely informed the characters. Great job by the dialect and Yiddish coaches too, Nancy Bell and Thelma Edelstein respectively. It's going on at the New Jewish Theatre until the 19th.

THE IMMIGRANT

Written by Mark Harelik

Directed by Edward Coffield

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

through June 19 | tickets: $32 - $34

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

Cast:

Robert Thibaut (Haskell), Michelle Hand (Leah), Gary Wayne Barker* (Milton) and Peggy Billo* (Ima).

* Member Actors' Equity Association

Creative:

Scenic design by Josh Smith; lighting design by Josh Smith; sound design by Josh Limpert; costume design by Michele Siler; wigs by Tara McCarthy; projection coordinator, Mark Wilson & Tyler Linke; dialect coach, Nancy Bell; Yiddish coach, Thelma Edelstein; dramaturg, Andrea Braun; stage manager: Champe Leary*.

BARE • New Line Theatre

2011-06-05T01:58:00.002-05:00

Some themes are universal. The high school years tend to expose many of these coming-of-age themes -- especially at a co-ed Catholic Boarding School -- where you might happen to be gay. With about 33 songs and very little dialogue, BARE (or alternatively, BARE: A POP OPERA) is truly a pop opera. When this show was first presented in 2000, there were some comparisons to RENT, but I think I liked this one better.

The kids are getting ready to put on the school play, ROMEO AND JULIET. Within this framework, we see the struggles of Jason and Peter's attraction to each other -- Peter willing to be "out", and Jason, trying to stay "in".

This show pretty thoroughly defines familiar high school archetypes, including Jason (a convincing Jacob Golliher), the popular hunky jock heartthrob, who is secretly carrying on with Peter, (a starry-eyed Mike Dowdy). Jason's sister Nadia (an impressive Charlotte Byrd), is the overweight kid "with such a pretty face" and her nemesis and roommate Ivy (Terrie Carolan) is popular with the fellas -- an eventual victim of her own "hot girl" reputation. Ivy, cast as Juliet in the school play, has a thing for Jason (can't blame her) who has been cast as Romeo. Meanwhile, Matt (Jonathan Foster) is hot for Ivy (can't blame him, either). When he catches Jason and Peter having a moment, he keeps it in his head -- for the time being. Things reach a boiling point with Peter and his feelings about Jason, so he consults the priest (solid New Line fave Zachary Allen Farmer) for comfort and direction, but typically, Peter is advised to just try not to think about it. The cat is eventually let out of the bag, along with some other developments, and the ending takes you by surprise.

The cast of New Line Theatre's "BARE."

Photo credit: Jill Ritter Lindberg

I was immediately struck with how good this ensemble sounded together. Great voices, namely Mike Dowdy as Peter and Charlotte Byrd, who knocks it out of the park as Nadia. Byrd also has a nice turn at the cello. Nikki Glenn adds a humorous spark as Sr. Chantelle, and has some very nice moments -- particularly as one of the few people who is on Peter's side. Alison Helmer also gives a sincere performance as Peter's mom, wanting to be there for him but horrified at the realization that her son is gay. Rahamses Galvan as Lucas, the school drug dealer, also does a fine job in his big number, "Wonderland". The entire cast displays that New Line energy that director Scott Miller always seems to draw out, and the New Line band sounded great. The contemporary score for this show has a lot of interesting music -- unpredictable and surprising melodies that made me want to buy the recording, and the cast and band handled it all beautifully. The costumes by Thom Crain and lighting by Kenneth Zinkl were perfect and the set by Todd Schaefer is simple, efficient and draws you in, with a lit cross tilted towards the audience.

Jonathan Foster (Matt), Terrie Carolan (Ivy), Jacob Golliher (Jason),

Mike Dowdy (Peter) and Charlotte Byrd (Nadia)

Photo credit: Jill Ritter Lindberg

Check it out for some great music and memorable performances.

BARE

Written by Jon Hartmere, Jr. and Damon Intrabartolo

Book by Jon Hartmere Jr. and Damon Intrabartolo

Lyrics by Jon Hartmere Jr.

Music by Damon Intrabartolo

Directed by Scott Miller

Washington University South Campus Theatre, 6501 Clayton Road

through June 25 | tickets: $10 - $20

Performances Thursday to Saturday at 8pm

Cast:

Jacob Golliher (as Jason), Mike Dowdy (Peter), Terrie Carolan (Ivy), Charlotte Byrd (Nadia), Jonathan Foster (Matt), Rahamses Galvan (Lucas), Nyssa Duchow (Diane), Zachary Allen Farmer (Priest), Nikki Glenn (Sr. Chantelle), Alison Helmer (Claire), Chance Kilgour (Zack), Andréa Kimberling (Kyra), Sarah Porter (Rory), John Michael Rotello (Alan), and Michelle Sauer (Tanya).

Creative:

Costume design by Thom Crain; scenic design by Todd Schaefer; lighting design by Kenneth Zinkl; dance captain, Michelle Sauer; stage manager, Trisha Bakula.

The New Line Band:

Piano/conductor, Justin Smolik; lead guitar/flute, D. Mike Bauer; rhythm guitar, Aaron Doerr; bass, Dave Hall; percussion, Clancy Newell; keyboard, Sue Goldford.

SLEEP NO MORE • The McKittrick Hotel

2011-05-30T11:30:00.001-05:00

I'm not really sure where to even start with this one.

SLEEP NO MORE is currently being presented in the Manhattan neighborhood of Chelsea by Punchdrunk, a British theatre company. Their audiences don't sit and watch -- they roam. Punchdrunk deals in the realm of site specific productions, and after running this show abroad, they've brought their latest to the Big Apple. Even their website is cool.

Punchdrunk has claimed a couple of downtown warehouses and transformed them into a truly immersive theatre going experience. This presentation combines the story of MACBETH, a little Alfred Hitchcock thrown in, and as far as I can tell (by googling the names from the program), the Paisley witches, supposed Scotland witches tried in Paisley, Renfrewshire, in 1697. Who knows what else might have been in there that I missed.

What follows is bound to contain spoilers galore, but everyone's experience with this show is bound to be different.

As you enter The McKittrick Hotel everything goes pitch black. You eventually check your bags, receive a special playing card, and are ushered into this bar area where you can hang for a few minutes and have a drink. Once the Master of Ceremonies calls your card number, you're escorted into an elevator, but not before you receive a mask that you're instructed to put on and keep on through the entire experience. And no talking. The mask really adds to the feeling of walking through someone else's head trip. Once you're let off of the elevator, it's just kind of like, "Okay. GO!" However, you are advised that "Fortune favors the bold." Oooo…

Sweet Shop Photo credit- Sara Krulwich-The New York Times

I lost count of how many rooms I visited, but I'd guess there were easily over 40. You are basically left free to wander around in these impeccably decorated spaces. There's a witches apothecary, a ballroom, a banquet room, a hospital room, bedrooms, writing rooms, living rooms, a forest and a cemetery. And then some. They are all dimly lit and quite creepy. There are at least 5 floors to the place, and at least one of them is set up like a "main street". You explore, examine objects, rifle through suitcases, look through books (a lot of old yellow paged psychology books abound) and try to catch characters in action. And if you stumble across the Sweet Shop on the "street level", help yourself to some lemon drops!

Sophie Bortolussi as Lady Macbeth and Nicholas Bruder as Macbeth.

In the masks are audience members.

Photo credit- Sara Krulwich-The New York Times

Once you find a character, you can choose to follow their track, or wander off to another area. One of the scenes I caught was between Macbeth and Lady Macbeth. I assume this because they were in a bathtub and Lady Macbeth was washing blood from Macbeth. And yes, there is male and female nudity. The dialogue between the characters is pretty sparse, but if you pick out any of the lines, it's clear there's some Shakespeare going on. I followed Lady Macbeth around for awhile and watched her interact with many of the characters as well as a young woman writing a letter and then packing a suitcase. Then there was a woman (One of the Scotland witches maybe?) mixing a potion that she later gives to Lady Macduff in the ballroom where all of the characters are dancing together. Whaaaaat? At one point as I was walking around, one of the witches bumped me and brushed past so I anxiously followed her up a couple flights of stairs to be derailed by another character who led me back down a few flights through a closed doorway revealing a brilliantly lit chapel styled stained glass display, and then down another flight of stairs to the small quarters of a tomb where the body of a man was laid out on a platform with a backlit cross at the back of the room. He becomes reanimated, and the female character (honestly not sure who), interacted with this man in a wordless intriguing back-and-forth. SERIOUSLY?! I was sweating like a pig but loving every minute.

Photo credit: Sara Krulwich-The New York Times

The whole thing seems to be intricately staged to an audio track that I'm guessing is about an hour long. Everything is timed. During one scene that involved Macduff and a pregnant Lady Macduff struggling, their movements were mesmerizing. They were obviously carefully choreographed, but dreamlike -- in perfect unison with the music that was playing, and careful to accommodate the onlookers. The music was sometimes like a 1930's jazz type feel, sometimes a little electronica, and sometimes a spooky droning, and according to what I've read, some of it was lifted from Hitchcock films. When I explored the "outside" area of the cemetery, the temperature got cooler and the music faded, replaced with the sounds of crickets and thunder.

If you choose to stick with one of the various characters, you eventually wind up in the banquet hall. Here, the characters assemble for what is an obvious scene from MACBETH. The speed of their movements alternates between normal and slow motion, again, in perfect time with the music, and then we see the bloodied ghost of Banquo. Here, all of the action goes slo-mo. I'm telling you, it's the most awesome thing I've ever seen. This feeling of being exhausted because you've been chasing characters up and down stairs, wearing the mask, and not knowing what will be around the next corner -- GENIUS!

Photo credit: Alick Crossley

That was my experience, for the most part. Everyone walks away with something different. This show hasn't been broadly advertised -- it's getting business through word of mouth, and has quietly extended through September. The very nature of it makes you want to go back and see it again. Truly unique. If you're going to be in NYC before September (unless they extend again) bring some comfortable shoes and see this. For real.

SLEEP NO MORE

Written by Emursive

Directed by Felix Barrett and Maxine Doyle

The McKittrick Hotel, 530 West 27th St. New York, NY

through September 5 | tickets: $75 - $85

Performance Monday to Saturday; Entry times at 7pm, 7:15pm, 7:30pm, 7:45pm, 8pm, 11:00pm. 11:15pm, 11:30pm, 11:45pm & 11:59pm

Photo credit: Alick Crossley

Cast:

Phil Atkins (Duncan), Kelly Bartnik (Catherine Campbell), Sophie Bortolussi (Lady Macbeth), Nicholas Bruder (Macbeth), Ching-I Chang (Sexy Witch), Hope T. Davis (Bald Witch),John Sorensen-Jolink (Macduff), Stephanie Eaton (Nurse Shaw), Gabriel Forestieri (J. Fulton), Jeffery Lyon (Banquo), Careena Melia (Hecate), Jordan Morley (Boy Witch), Matthew Oaks (Porter), Rob Najarian (Malcolm), Alli Ross (Lady Macduff), Paul Singh (Speakeasy Barman), Tori Sparks (Agnes Naismith) and Lucy York (Matron).

Creative:

Design by Felix Barrett, Livi Vaughan and Beatrice Minns; choreography by Ms. Doyle; sound desisgn by Stephen Dobbie; lighting design by Mr. Barrett and Euan Maybank; costume design by David Israel Reynoso; production manager, Bradley Thompson.