Chris Gibson - Page 10

I've always appreciated live stagings of THE GLASS MENAGERIE far more than the attempts by Hollywood to turn it into a film. They always spoil it by messing with the ending. It's a melancholy slice of playwright Tennessee Williams' life, albeit, one that bears more than a slight resemblance, but which has been fictionalized to a degree. And, you won't find any tacked on 'happy ending' here, which is the way I like it. Williams disowned the first film version, and rightly so. It's not meant to be neatly resolved, and that's why it makes an emotional impact. Upstream Theater's current production is brilliantly staged, cast, and directed. I don't think I've seen a finer presentation, or one that was as engaging as this one. I think it's a must-see, even if you've seen the play many, many times before. This is a fresh and lively take that's well worthy of your time and attention, so go already!

Rodgers and Hammerstein's THE SOUND OF MUSIC is still popular today, and there's really no need to wonder why. The songs are undeniably familiar, and the story and characters go through a number of compelling moments. However, it does require a good, solid cast and sharp direction to live up to the expectations of all those folks who have seen the 1965 film over and over and over again. Thankfully, this touring company currently playing The Fox Theatre (through May 8, 2016) is more than up to the task. This classic still has its many charms. and holds up remarkably well despite its age and overexposure in various forms over the years.

BOSNIAN/AMERICAN: THE DANCE FOR LIFE is a winning little piece, dedicated to educating and informing the public about the immigration of Bosnian refugees who fled to St. Louis, MO, when frequent massacres and religious and cultural persecution became more and more prevalent in their homeland. It's a wonderful thing to have a Bosnian community in our hometown, and hopefully we're representing the true spirit of the melting pot that is America with our welcoming attitude. Surely, this migration has been taking place for a long time, so there are roots now established here. But, there's always that need to be fully recognized as a true part of the community that sometimes goes unfulfilled. Luckily, playwright Deanna Jent has lent her considerable skills to the task with a work that speaks to people of all ages.

Donny Hathaway is the very definition of 'tortured genius', a singer/songwriter with velvety pipes, and melodies that were both memorable and timeless. Just listen to the gritty truths he expresses on his breakthrough tune, 'The Ghetto (pt. 1)', or his collaborations with Roberta Flack, particularly 'The Closer I Get to You' or 'Where is the Love?', and try and not fall right into the mood that each song creates. The tragedy of the whole thing is that Hathaway suffered from schizophrenia, often hearing voices in his head that ultimately led to his terribly untimely demise.This is by no means your typical revue or jukebox musical, but an internal exploration of the demons that haunted Hathaway, and from which he ultimately could not escape.

IVANOV is a formative work in the canon of Anton Chekhov. He was presenting us with the situations and character types we'd come to know and understand, but with the lack of irony that often permeates his material. The St. Louis Actors' Studio has put together a splendid evening of entertainment with their superbly performed and directed production. However, it should be noted that this is a translation by Tom Stoppard, and thus, should be viewed with that in mind. Adaptations are tricky enough on their own, but when you're dealing with a play written in another language, you're often relying on a literal translation in order to produce your take. And, that's precisely what this is. It's Tom Stoppard's IVANOV, full of unexpected humor and nicely etched characterizations, but far afield from Chekhov's early foray, which he himself revised after its initial premier. Either way, this is worth checking out, and surprisingly amusing.

Based on the novel by Robert James Waller, that people seem to either love or loath, THE BRIDGES OF MADISON COUNTY would seem to be a story which relies very heavily on particular imagery conjured up in the readers' mind by the landscape the characters occupy. The film version did make a valiant effort to convey that, even if it had a number of shortcomings. But, that would seem to be a rather large hurdle to clear for a stage production, much less a musical. So, I was pleasantly surprised by how much I genuinely enjoyed this musical adaptation. Jason Robert Brown's music and lyrics (book by Marsha Norman) fit each character and moment like a glove, while dancing around different styles to reflect various moods and emotions. Plus, the story is compelling enough to translate to a wide audience, especially those who like their stories a bit sentimental and bittersweet. The current touring production onstage at The Fox Theatre is certainly well worthy of your time and attention, and you can see it through April 17th, 2016.

John Cameron Mitchell's (text) scathing and kinky rock and roll cabaret, HEDWIG AND THE ANGRY INCH, is given its just desserts with Stray Dog Theatre's memorable production, which is currently running at the Tower Grove Abbey through April 16, 2016. Michael Baird bares his soul as tortured songwriter, Hedwig/Hansel, forever altered and made androgynous by a sex change operation gone horribly, horribly wrong. It's more than that though, and what makes this presentation especially powerful is the way that Baird interacts with the crowd, gamely challenging them to listen to his/her angst-filled lament. With a score by Stephen Trask, this show is just amazing to listen to and react to. Trask finds the right voices in song for the various moods and emotions being touched on at any given moment, and a tight band led by Chris Petersen brings that vision to light. Go see it!

With spring training winding down, and the approach of another baseball season approaching, The Repertory Theatre of St. Louis closes their 49th season with a terrific selection; SATCHEL PAIGE AND THE KANSAS CITY SWING. Set after the end of World War II, at a time when race relations were beginning to show small, incremental signs of progress, this story offers us an entertaining and thoughtful look at a time in our history when a beloved pastime could become one of the catalysts for the civil rights movement that would follow years later. It's a snapshot of an era which also reminds us that we still have issues that remain unresolved or fully addressed. And, it's told through the eyes of legendary pitcher Satchel Paige, who played in the Negro Leagues before making his debut in the majors as its oldest 'rookie'. Full of tension, disappointment, and Paige's own rascally sense of humor, the Rep's lovingly crafted production is a true must-see, and deserves a game ball!

Music has the power to move people in many different ways. As someone who plays a variety of instruments, I can speak firsthand about the ways it's made me feel, and the ways in which I've seen it affect others. I'm certainly no prodigy, and I've always been jealous of those who were born with gifts that I have to constantly work on to improve. Maybe that's one of the reasons The New Jewish Theatre's inspirational production of playwright Jon Maran's OLD WICKED SONGS, resonates so much with me. Full of surprising and moving revelations, this presentation is excellently conceived and executed. Issues of faith and identity abound in a play that absolutely demands your time and attention.

Although activism is still alive and well, one wonders if future generations will be moved to make change due to their increased isolationism. We live in a world where people feel more and more entitled, and have been raised to expect instant gratification. People who make a stand are becoming rarer and rarer to find. Maybe that's why a play like Tammy Ryan's MOLLY'S HAMMER (based on the book Hammer of Justice by Liane Ellison Norman) is so important. The Repertory Theatre of St. Louis has, again, put together an outstanding production that will make you ponder weighty issues that still exist, but that have been replaced by a fear of terrorism that can arrive so suddenly and unexpectedly that we feel helpless against it. Maybe that's why you should take a young adult with you to experience this story. Nuclear weapons are still a threat to our continued existence on this planet, and we must never forget that we have a duty as citizens of the world to speak out and act out against tyranny. This excellent show takes us back to 1980, when a Pittsburgh housewife took just such a stand.

An incredible opportunity has presented itself to the cast of If/Then upon arriving in St. Louis last Tuesday to carry out a 2 week run at The Fabulous Fox Theatre (March 15-27th). After sitting and talking with Anthony Rapp (star of If/Then, RENT), he told us that the Hard Rock Cafe contacted them and offered to donate their space for them to perform in, if they could find a use.

It's interesting to me that IF/THEN is billed as 'a new musical'. It's the use of the word 'new' that I find puzzling. The concept certainly isn't an original one, having been explored on the big screen in the films Blind Chance (1981) and its sort-of remake, Sliding Doors (1998). And, even though neither of those movies were musicals, they both featured the idea of having their lead traverse optional story lines, with Blind Chance even offering up three different scenarios for its protagonist to experience. But, this show is new in the sense that it explores contemporary trends, with the caveat that some audiences may not find much to identify with, and it features a wonderfully fresh and tuneful score (music by Tom Kitt, book and lyrics by Brian Yorkey). All of that just might be enough to make this show worth seeing. Because it does feature a talented cast who have the ability to pull off these roles and the memorable songs provided with considerable conviction. But, the trickery seems a bit cloying at times, and the show does seem to drag at over 2 ½ hours. I guess, like our heroine, Elizabeth, I'm straddling the fence too, at least when it comes to my opinion.

If you look up the definition of the word pulse in a dictionary, or at www.dictionary.com as I did, you find that the third meaning completely resonates with PULSE - A MADCO (Modern American Dance Company) Cabaret Performance, which is a collaborative effort with the UMSL Music Department. The 'rhythmic recurrence of strokes, vibrations, or undulations', captures the spirit and essence of this thoroughly enjoyable experience. While considered a 'work-in-progress', to a degree, I would have to say that it rises well above that plateau to reach considerable heights as an experience into how music and dance intertwine. Music provides the rhythms and sounds that dancers can move or react to, whether balletic, theatrical, or modern, etc, in nature and style. PULSE takes that a step further with a series of five examples of how they can actually interact down to the subtlest note or phrase, and it's set to a score, that was performed with amazing precision, that runs the gamut from classical pieces to newly created ones, to standards, to free-form jazz. A total trip through music and dance itself, divided up into five sections, each featuring a different choreographer, and its own selection of musical choices. It's an absolute success, and it's challenging, playful, filled with moments of both grace and humor, and brimming with athleticism and energy.

I saw the touring production of AMERICAN IDIOT when it played at The Peabody Opera House a while back. I was eager to see it, being a fan of Green Day's music, and this rock opera, in particular. It was a great show, but the one thing that stuck in my mind afterward wasn't the performers, or even the great songs, but instead it was the scenic design. Which brings me to New Line Theatre's intimate production of this extremely tuneful and highly politicized show; a natural for this company to tackle, since they consistently provide fuel-injected presentations of a wide range of material that covers the gamut from neglected newer shows to classics that need some new life pumped into them. It's what they do so extraordinarily well. The disconnect I felt with the touring production vanished in the cozy confines of The Marcelle, and the scenic design wasn't a distraction, instead it became a complement to the anger, frustration, and call to arms that informs this period of terrorism and paranoia in our nation's history. This is a real hit, that genuinely rocks the house! So, get your tickets now.

What began in book writer Douglas McGrath's head as a jukebox musical centered around the relationship between competing songwriting teams Carole King and Gerry Goffin and Barry Mann and Cynthia Weil evolved into something slightly different. This was due to the fact that the show stopped before Carole's ground-breaking, highly personal, and still relevant album, 'Tapestry'. So, the show was altered to place the emphasis on King's story, although there's still a lot of interplay between the couples. And, if you happened to catch the 'American Masters' special on King on PBS, then her story will be familiar to you already, but you'll also catch a few historical inaccuracies here and there. BEAUTIFUL - THE CAROLE KING MUSICAL is a wonderful look at King's rise to fame as a teen who could conjure up melodies that caught the public's ear. It's a sheer delight, packed to the hilt with gorgeous songs that are a part of pop culture history. This is a feel-good, genuinely terrific show that I urge everyone to see immediately!

The title of Lee Blessing's play, ELEEMOSYNARY, refers to the word one of the characters successfully spells, winning a spelling bee in the process, but also to the very definition of it; charitable. It's an intriguing story of three generations of women, all of whom are extraordinarily gifted in one way or another. These individual gifts are both a blessing and a curse to each character, and ultimately greatly affect the way they interact with one another. This is a moving and fascinating story driven by the relationships between these three women, and Mustard Seed Theatre's production is challenging theatre that provides a must-see experience.

Everyone needs someone who's a good listener when they're troubled. And, when you find yourself hesitant or unable to open up to a loved one about something, you can always seek out a therapist to talk to. Therapists offer objective observations that allow their patients to express their feelings without the fear of being judged harshly or over-critically. They're also there to provide assistance in modifying behaviors and thought patterns which are affecting your ability to fully function, at least, if they're any good at what they do. But, they're people too. They have their own lives and their own baggage. Playwright Conor McPherson enters this private world with his work, SHINING CITY, a spellbinding examination of a group of people who all seem to have 'unfinished business', and as director Toni Dorfman notes in the program, 'a need for absolution'. Upstream Theater's production is excellent, and I found myself completely immersed to the point where the play lingered in my memory for days after I'd seen it. That's compelling stuff, and it's the type of work that Upstream does on a consistent basis.

Over the years I've learned a tremendous amount about the Jewish religion and its traditions through the plays and people I've come in contact with at The New Jewish Theatre. But, I have to admit that I never knew the story of the 'wandering Jew', although I'd grown up with parents who loved flora and fauna, and often had the plant growing outside that was nicknamed for the tale. I brought my son along with me to see the show because I want him to be well rounded and know as much as he can about the belief systems of all cultures. Glen Berger's wonderful play, UNDERNEATH THE LINTEL, is a sort of detective story that is truly, as artistic director Kathleen Sitzer described it; a testament to faith. It achieved precisely what I had hoped it would do as well by provoking an interesting discussion between my son and I as we talked on the way home. This is a very well done production that provides must-see entertainment, while also giving its audience plenty to ponder.

Thanks to the developmental work that occurred during The Repertory Theatre of St. Louis' Ignite! Play Festival in 2014 we now have the opportunity to witness the fruit of their labors; the world premier of a very entertaining new musical called GEORAMA. This play tells a fascinating story that is truly a forgotten piece of history that deserves to be celebrated. This production is staged in the Studio Theatre of the Loretto-Hilton, and that adds additional atmosphere and intimacy that makes the story connect in a uniquely vibrant manner. As an avid film fan, I'd read a bit about the history of 'motion pictures', and found countless early examples of flip books, and the like, but nothing prepared me for the sadly neglected tale of John Banvard, who created a virtual recreation of the wonders of the Mississippi River on a scrolling canvas that stretched for miles. That's quite a feat, and so is this staging. I cannot recommend it highly enough! It's truly a show that deserves an audience both young and old to appreciate, or become aware of, something that was truly as magical as the spectacle this artist created.

It's not unusual for movies to be adapted for the stage these days, in fact, it's become rather commonplace. But typically, musicals written for the screen that flop (even though they might have a rather substantial cult following), are usually avoided for obvious reasons. Although, that didn't stop the producers of XANADU from plowing forward, go figure. The Disney film NEWSIES actually seems likes a logical choice to revamp and produce on the stage, and it wound up winning Tony Awards for best score and choreography back in 2012, and becoming quite the hit. So why am I so surprised? I guess because the current touring production, while occasionally dazzling, comes off slightly uninspired and flat. Now, don't get me wrong, there are some really fine performances, an eye catching scenic design, cool effects, and energetic choreography that certainly lives up to expectations. And, like the film, an awful lot of people, both young and old, are guaranteed to truly love this show, as evidenced by the very enthusiastic response from the audience at the performance I attended.