Chris Gibson - Page 14

The 1980's were an interesting time for movies with teen comedy/dramas seemingly appearing everywhere, and one of the most intriguing aspects of these pictures was the absence of many adult characters. The late John Hughes was responsible for several "brat pack" films that established a distinct tone for this genre, but it was near the end of this cycle that director Michael Lehmann and screenwriter Daniel Waters put together something that took those established tropes in an entirely different, and decidedly dark, direction with the movie HEATHERS. The musical version had a run Off-Broadway in 2014, and now you can see it in all its pitch black glory with New Line Theatre's amazing production, which opens their 25th season. Not only is it a fantastic and edgy show, but it also marks their first presentation in their new venue, the Marcelle Theater (lovingly designed by Rob Lippert). This is a dazzling and intense show that features a smartly crafted book and score, courtesy of Laurence O'Keefe and Kevin Murphy, as well as an excellent cast and expert direction. This is beyond must-see entertainment. This is an accomplishment you absolutely have to check out. You'll be dazzled by its brilliance, and completely floored by the wonderful performances you'll be witness to.

When you're a creative person it's very important to have other people check out your work, not just for validation, but to give you good, honest feedback. It's a vital part of the process, because it's a way for you to tweak the things that are good to make them better, and also to cut the things that just don't work for whatever reason. Playwright Theresa Rebeck applies this notion to fiction writers in her work SEMINAR. The St. Louis Actors' Studio is currently presenting a production of this play, and it's an interesting, if only fitfully amusing, look at how a group of writers react to the various criticisms they receive once they've signed up and paid for seminar with someone who's achieved a modicum of success in his given field. I think this will mostly appeal to those prospective authors who are curious about how such a seminar would function, and I think the general public will find it fairly entertaining, but not nearly as funny, or serious, as it could be.

Taking it's name from the campaign slogan Lyndon B. Johnson would utilize for his run for the presidency in 1964, playwright Robert Schenkkan has crafted a brilliant, compelling, and very informative work with ALL THE WAY that picks up right after the assassination of President John F. Kennedy in November of 1963. Schenkkan has actually written another play (THE GREAT SOCIETY) that follows subsequent events in Johnson's life from 1964-1968. But, here the focus is on that tumultuous period when the nation was basically in shock as they witnessed their iconic fresh-faced president being gunned down, and with it their dreams of a 'new frontier'. However, they didn't realize they were in the hands of a career politician who knew that the road to something more than an 'accidental' presidency lay in his ability to make sweeping changes in our society, no matter what the cost. The Repertory Theatre of St. Louis opens their season with a masterful production of this intriguing play, and I think you'll be blown away by revelations that have been glossed over in history books. A very strong cast and crew bring this story to life with amazing results that are thought-provoking and fascinating.

If you've seen the movie version of the THE FULL MONTY, and even if you haven't, you should make it a point to see STAGES St. Louis' current production of the musical version, because it's a fabulous show. Sometimes it's silly, sometimes it's serious, but one thing is certain, it's a show that tugs at the heart and has you rooting hard for these unemployed steel workers to pull off the scheme one of them hatches in order to earn some real cash. The show is wonderfully cast, and smartly directed, and more importantly, features a splendid, catchy score (music and lyrics by David Yazbek), and a top notch script by Terrence McNally that retains a lot of the more significant issues that made the movie so special to begin with. At its core it's a story of hope and following your dreams in the face of adversity, something we could all use more of, and that alone makes it an absolute must-see event.

The sheer breadth of material from the 1950's to the 1990's covered in TELL ME SOMETHIN' GOOD is just staggering. With the inclusion of over 60 tunes, Ron Himes has conceived a revue that plays like a musical history lesson, transporting us back to the humble beginnings of R&B, and revealing the lasting impact that these songs have made. The Black Rep opens their season with a classic from their repertoire, and it features an enthusiastic and talented cast that are perfectly capable of recreating these vintage numbers for a new generation to enjoy.

As playwright Jessica Dickey reveals in her notes in the program, THE AMISH PROJECT is a fictionalized realization of an actual event that occurred in Nickel Mines, which has an Amish community. There, several female children were senselessly gunned down in their school room by a very troubled man who then killed himself. There is more to the story, and a simple search on the internet will reveal even more gruesome details. In fact, you'll find out that school shootings have, sadly, been going on for hundreds of years. This is not a new phenomenon, but a disturbing one nonetheless. Dickey explains that the schoolhouse no longer exists, but was razed by the Amish community and designated as a grazing area with three maple trees being the only reminder of the place where the tragedy happened. To maintain their anonymity, Dickey creates characters who are meant to represent various individuals, and gives us an unflinching glimpse into the scene that took place, while also respecting their privacy and helping us to better understand the surprising sense of forgiveness and acceptance that the Amish practice, even if others still find their ways to be unusual in this modern age we live in. Mustard Seed Theatre opens their season with this intensely powerful and moving work, and it's required viewing for any fan of exceptional theatre.

One of the things I truly enjoy about being a critic is not just the fact that I get to cover the St. Louis theater scene, but also that I receive countless opportunities to review other mediums within the artistic world of creation. I've had the request to deliver my thoughts and opinions on concerts, CDs, DVDs, art, and books. The printed word is something I've always enjoyed, and when that book concerns music, theater or film, it touches on subjects that are especially near and dear to my heart. So, when I was contacted by Ascot Media Group about Alex Sheremet's ebook, Woody Allen: Reel to Real (Take2 Publishing), I naturally jumped at the chance. Not only because I've always admired Woody's movies, but because I feel he's never been given a truly honest and thorough examination of his vast body of work. Writer Alex Sheremet has taken on the task, and since it is truly a digi-dialogue, it will be an ever evolving piece that will continue to grow as Allen continues to make films, and as discussions occur concerning their validity and worth.

I had the distinct privilege of being invited to attend Cheers! STAGES St. Louis' Annual Summer Cabaret last week, and it was a unique and fun experience that I was able to share with my young son. It's a yearly event that's designed to raise funds for STAGES' educational and artistic programs, and it featured a number of very interesting and entertaining performances, as well as some tasty appetizers and desserts prepared by Michael Brightman's With Love Catering. To say the event was a success is an understatement. What made this particular presentation especially memorable was the world premiere of a work-in-progress production of THE STORY GOES ON, which is a brand new revue of the songs of Richard Maltby, Jr. and David Shire.

It's most certainly a renowned and respected classic of musical theatre, and the fact is that it's so popular that you're likely to find a production playing somewhere in the world at any given moment. One of my early reviewing assignments was covering the show back in 2007, the last time it played here. Of course, I'm talking about Rodgers and Hammerstein's iconic OKLAHOMA!. This lovingly rendered production breathes new life into a show that's an absolute natural for the outdoor setting that The MUNY's stage provides. See it, and be enriched by a vibrant presentation that's a perfect way to introduce your family to the considerable charms of this musical, as well as the venue staging it!

Each year The MUNY makes it a point to present a full-blown musical that's aimed at the younger set. This year it's BEAUTY AND THE BEAST, which was given the patented Disney treatment when adapted for the stage from their own 1991 animated film. So, it retains plenty of the elements that made the film so successful, while also featuring some additional songs by Alan Menken, Howard Ashman and Tim Rice, some of which were cut from the movie. There's no denying the appeal of this material, and it's a perfect way to introduce kids to the wonders of live theatre in such a lovely setting, and on such a grand scale.

When you've been reviewing shows for a while you're bound to see a few more than once or twice. And, while I've had the opportunity to see ANYTHING GOES a couple of times before, I can honestly say this is the finest production I've been privileged to attend. Packed with a slew of memorable tunes (music and lyrics by the late, great Cole Porter), a clever and very amusing script (new book by Timothy Crouse and John Weidman), high energy dancing, and a top notch cast, this ranks as one of my favorites shows of the year. Stages St. Louis consistently delivers quality entertainment, but this presentation far exceeded my already high expectations, and I honestly consider it to be a must-see! It's a genuine crowd pleasing experience that will make you want to come back for more. But, get your tickets now, because it will surely sell-out quickly!

When an audience gives a group of performers a standing ovation before they've even played a single note you know you're in for a very special evening. Such was the case this past Monday (July 20, 2015) at The Sheldon Concert Hall, as Ricky Skaggs, Sharon White, Ry Cooder and company took to the stage to perform a memorable and moving collection of classic gospel, country, and bluegrass tunes. It really doesn't get any better than this if you're a fan of the roots of country music. Not too far removed in execution from the terrific performance earlier this year by Marty Stuart and His Fabulous Superlatives, this is a group of musicians who seek to keep the fire burning for tunes that seem to have a life all their own, even if a lot of them have been overlooked, underplayed, and overshadowed by the pop sensibilities that have overtaken a great deal of modern country music. If you missed it, then you should be kicking yourself - this was pure bliss from start to finish.

I purposely avoided the recent film version of INTO THE WOODS because I really didn't find the previews or the stunt casting appropriate. For me, it's a work that requires an audience to use their imagination to a great extent, and movies tend to give form to those things that are much better left conjured up in your own mind. That's why my son and I absolutely loved The MUNY's current presentation of the show. Let's face it, a woodland setting created utilizing green screen technology and a few key set pieces is nowhere near as effective at conveying the atmosphere desired, especially when you already have those actual elements growing freely at the back of this marvelous outdoor stage. Stephen Sondheim (music and lyrics) and James Lapine (book) crafted a brilliant mash-up of several fairy tales and fables that is smart, funny, and, ultimately, touching. When I asked my boy what he thought of the show at the end of the night he neatly summed it up: 'I thought it was awesome!' I agree wholeheartedly. Superbly cast and conceived, this is a production that's simply tailor made for The MUNY. Go see it, and take your kids with you! It may have a few moments that are a bit gruesome or adult in content, but they'll have a wonderful time, and so will you!

The St. Louis Actors' Studio is presenting the first part of their annual LABUTE NEW THEATER FESTIVAL, where a group of one act plays are chosen from a group of submissions, and includes a new work by Neil Labute himself. I wish I could say they were all exciting pieces, and maybe the second part will showcase some real gems, but the first group is a mixed bag. But despite this, I think it's an important festival our town should be very proud to be hosting. And, I think there are moments that definitely make this worthy of your time and attention, particularly if you like seeing fresh new works.

If you've seen director Robert Aldrich's 1968 film version of THE KILLING OF SISTER GEORGE you're probably going to be greatly surprised when you see the actual play it was based on (written by Frank Marcus). The film was initially rated 'X' due to the era in which it was released, as well as the inclusion of a two minute sequence that's much more titillating than anything present in the original work itself. But, things are different these days. Television shows broadcast during what used to be referred to as the 'family hour' are far more racy with their content and dialog than anything you'll encounter watching Max & Louie Productions' superb staging of this play. Marcus crafted a brilliant, pitch black comedic farce that may have just been a bit too subtle for the motion picture industry, which, at the time, was just beginning to explore alternative lifestyles in a more graphic fashion. The film is good, but the play is much better. See it for yourself. It's required viewing as far as I'm concerned.

I think that nearly every review of the MUNY's extraordinary production of BUDDY - THE BUDDY HOLLY STORY will probably make mention of Don McLean's song 'American Pie', which is lyrically centered around the tragic plane crash that claimed the lives of three of music's rising stars one very cold day in February of 1959. In fact, 'the day the music died' has become a rather morbid catchphrase of sorts that has been utilized far too often by the media whenever an iconic musician passes on. I also believe I'm not alone in my assessment that this early'jukebox' musical is an absolutely terrific show that's immensely entertaining. I not only highly recommend this excellent show, but am branding it as a must see production!

I remember as a kid always getting the movie HOLIDAYINN confused with the movie White Christmas, usually because they played them back to back, and of course, both feature the tuneful music of Irving Berlin, as well as a splendid performance by Bing Crosby. A few years back, when I first started reviewing theatre I covered The MUNY's early production of the stage version of White Christmas, and here I am years later taking in only the second presentation of HOLIDAYINN. I think this is a terrific show filled with eye-popping choreography, big splashy numbers, and enough romantic entanglements to please any fan of the original film. If you're looking for a perfect example of how an old wartime flick can be transformed into a lively and fun stage musical, then look no further, the MUNY has you covered with their highly enjoyable production of Holiday Inn.

The MUNY continues its season with an exuberant and colorful staging of HAIRSPRAY, the musical based on filmmaker and author John Waters' most accessible, and mainstream, movie. Of course, the master of bad taste allowed some of the rougher edges to get smoothed over in the process, but the core messages of understanding and acceptance in the face of prejudice and intolerance is still present, and that's what's truly important. Get out while the weather is gorgeous and take in the MUNY's fabulous production of HAIRSPRAY!

With the complete commercialization (a score of TV commercials, a new movie coming out, etc.) of Charles Schulz's creation, Peanuts, it seems only fitting that there should be some kind of satirical look at these classic characters. I'm not convinced that Bert V. Royal's script for DOG SEES GOD: CONFESSIONS OF A TEENAGE BLOCKHEAD is completely successful at offering us a look at the teenage version of them, but it does tell a very poignant and moving story amidst a barrage of debauchery and unexpected behavior. I'm just not sure this story couldn't have been told just as effectively without them as reference points, but it does make the proceedings more interesting, to say the least. Stray Dog Theatre's current production makes the most of this uneven work by giving us committed performances that overcome their shallow stereotypes to actually make us feel true emotion. It's a surprising response that I was not prepared for. Go see this show and experience something much more thoughtful than what was, perhaps, intended.

MY FAIR LADY is a classic musical, and a perfect opening show for The Muny's 97th season. Even the threat of rain couldn't dampen the high spirits of this show, and in most unlikely fashion, the skies cleared and provided us with a terrific evening of song, dance, and romance. Based on G.B. Shaw's superb play Pygmalion, whose basic story has been reworked for all manner of media, there's no denying how well the concept still holds up. The incredibly memorable score (book & lyrics Alan Jay Lerner, music by Frederick Lowe), in combination with a marvelous cast, makes for a full evening of wit and charm. The Muny's production is truly an elegant must-see presentation!