Chris Gibson - Page 24

Here in St. Louis we should never take for granted the fact that we have our very own circus. Of course, I'm talking about Circus Flora, the one ring big top that you'll find around this time every year situated just behind Powell Symphony Hall. And, this is a circus with a great deal of thought behind it. A theme is chosen, the book is written, acts are put together with an original score (composers Miriam Cutler and Janine Del'Arte), and a show is presented that combines all these elements in grand fashion. Take your family to CIRCUS FLORA'S THE PAWN (through June 22, 2014) and they will not be disappointed!

I've always been curious about THEY'RE PLAYING OUR SONG, but I'd never had the chance to see it before. You have to be intrigued by the fact that prolific playwright Neil Simon wrote the book, and also because Marvin Hamlisch and Carole Bayer Sager, who are responsible, together and separately, for some of the biggest hits to come out of the 1970's and early 80's, wrote the score. So, I'm here to report that the current production by Stages St. Louis is a delightful romantic comedy filled with catchy tunes that would make a perfect "date night" for couples.

Looking over a list of New Line Theatre's shows for the past 23 years is a very telling experience. This is a group dedicated to restoring the old and embracing the new. That's why their current production of HANDS ON A HARDBODY shouldn't shock you that it's so damn good (it really is), because this is exactly what they do so well. They take something tuneful and different, perform it enthusiastically in an intimate environment, and the audience is rewarded with a fresh and invigorating experience. Go see HANDS ON A HARDBODY now!

Harold Pinter's THE HOMECOMING has been referred to as one of his early 'menacing' comedies. I suppose that that's an accurate enough description, but I would say that the actual humor is pitch black in nature. It's a twisted tale that Pinter writes, and it's funny in the most unsettling ways. Characters ask questions that are often ignored, leaving long uncomfortable silences that truly speak volumes. The St. Louis Actors' Studio has assembled a superb cast that understands this material has to be played straight to really pay off, and under Milton Zoth's expert direction they excel.

Since the stories and cast of HENRY IV (pts. 1 & 2) and HENRY V intertwine, it's only fitting that I review Shakespeare Festival St. Louis' marvelous productions together. The shows will alternate (every evening except Tuesdays), and there will be special performances the next two weekends where both plays will be performed back to back. It's an amazing feat and since it's free to the public there's no reason not to pack up the whole family for a trip to Forest Park to check out these entertaining history lessons. Artistic Director Rick Dildine has put together an experience that I cannot recommend highly enough. It's truly a triumph.

I hesitated to review the current touring production of THE WIZARD OF OZ (Fox Theatre, through May 18, 2014), which has been adapted by Andrew Lloyd Webber and Jeremy Sams, because even though I thought it told essentially the same tale as the original, I didn't particularly care for it. There's certainly a lot more spectacle than you'd find in your typical production, but the script is so camped up, and the additional songs so mundane, that it comes off as trying that they may have been trying a little too hard when they updated the show. In any event, the flashy and colorful show seemed to appeal to the crowd, but I'm wondering if they're aware of how much it's been pared down technically so that it could tour and play different size venues.

It's impossible to analyze humor, and even if you try to it just takes all the fun out of it anyway. Some say jokes are mostly 'tragedy plus time', and that 'laughter is the best medicine'. Both are true to a certain extent. So, when it comes to reviewing OLD JEWS TELLING JOKES (created by Peter Gethers and Daniel Okrent), I think any kind of critical analysis would be a boring waste of time. And, in a time when show titles can sometimes be cryptic metaphors, it's nice to see something so simple and direct as one that succinctly and accurately sums up the premise of this show. The current production by The New Jewish Theatre is a well-cast, smartly directed show that delivers hearty laughs from start to finish. Everyone could use a good chuckle now and then, so I strongly suggest you check out this hilarious show!

I would've written about Dramatic License Production's presentation of playwright Larry Shue's THE NERD sooner, but my computer crashed. Not once, but twice. It's fixed with the help of some technical assistance, but some things got lost in the process. Kind of like how I've generally felt about most productions of THE NERD that I've seen. The number is astounding since it's a community theatre staple, and yet none have really made me laugh. That's what makes DLP's staging so intriguing and entertaining. I'm finally seeing the play done justice by a sharp cast and finely tuned direction that allows the humor to shine through. So, this is another one of those times where my opinion is that you may have thought you'd seen the play before, but you really haven't.

Though it was written before Andrew Lloyd Webber and Tim Rice's successful Jesus Christ Superstar, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT caught on after Superstar's success as a kind of adjunct sequel. Family friend in tone and full of catchy musical numbers, it's a pleasant and upbeat show with considerable appeal. Oddly enough, the majority of the times I've seen this show the stars have been a married couple, and the current production playing at the Fox Theatre is no exception, with Diana DeGarmo and Ace Young headlining.

I've seen BLUE MAN GROUP live quite a few times, and on this particular occasion I brought along my son for his second go around with the show. What's appealing to me is that there's still a freshness about their performances, even if a lot of the bits are familiar, such as: the camera tour down an audience member's throat, the snarky message board, the various rock poses, etc. There's certainly no denying the fact that they continually draw large, enthusiastic crowds. The current production that played the Peabody Opera House (April 25-27) provided a cool evening's entertainment, for fans and newbies alike.

Upstream Theater continues their fine season with the U.S. premiere of Australian David Milroy's engaging work, WINDMILL BABY. Upstream continues to bring us some of the finest and most thought-provoking plays from around the globe, both educating us and enhancing our perspective on the world around us in the process. This time around we're transported to the outback for a fascinating story that touches the heart and soul. A bravura performance, superb direction and inspired musical accompaniment combine to provide a scintillating evening of theatre that should not be missed.

Another welcome revival hits the local theatre scene with the Stages St. Louis production of ALWAYS...PATSY CLINE at The Playhouse at Westport Plaza. It's an excellent show, full of good humor and packed with a great collection of classic country tunes. It plays out as more than just your typical tribute show, because it actually has a story to tell to go along with its superb music. What really makes this show work are the performances by the cast and band, all of whom do absolutely impeccable work. And, what makes this revival a special sort of success is the sense of intimacy that the cozy confines of this venue provide. It really allows the actors to interact with the audience, and they take advantage of that to get up close and personal. I've said all this before, but this is must-see entertainment, and I can't recommend it highly enough!

It's been a couple of years since playwright Deanna Jent's FALLING debuted here in St. Louis, and since then it's been published, and gone on to receive rave reviews on both coasts. FALLING's impact has been a wonderful thing to witness from afar, and so it's especially nice that we get the opportunity to revisit the play in Mustard Seed Theatre's current production. This was challenging and rewarding must-see theatre when I reviewed it in 2011, and I can assure you that my opinion is even stronger. This is a powerful piece that raises a number of important questions.

I have to thank the Artistic Director of MADCO, Stacy West, for allowing me to see the first full-run through of LIQUID ROADS. I was completely captivated by the union of music and dance I experienced, and found the piece thoroughly entertaining. And, I wondered how it would all come together on stage with a live band accompanying the performers. Well, naturally, it was even better than I'd imagined, adding another level of excitement to the proceedings.

ONCE, the Oscar-winning film ("Falling Slowly"), has a lot of qualities to it that don't immediately make you think it should transition well to the stage. It's a simple story that deals mostly with two main characters, and it doesn't have an "in your face" type of score, or mood about it. And yet, somehow writer Enda Walsh (book) is able to maintain that intimate intensity without sacrificing its charms. It helps that Glen Hansard and Marketa Irglova have crafted a subtle, but fine collection of tunes that really work well to assist in telling the story, even on a big stage. The current production gracing the Fox Theatre is wonderfully directed (John Tiffany), and makes for a perfect "date night" out. This Tony Award winner is deserved of its praise and delivers must-see entertainment.

There's always a risk involved in becoming a test subject for a new drug. It's a necessary process for the pharmaceutical companies since it reveals the benefits and detriments of their latest discovery. But, the people who undertake these studies are often desperate for something that will help them, and there's a definite drive to see them succeed. But, at what costs? That's one of the questions playwright Kate Fodor explores in RX, a kind of romantic comedy that also touches on a serious subject matter. Though it remains a bit uneven in tone, it's likable and engaging as well. The current production by the West End Players Guild is certainly worth checking out, and provides plenty of food for thought.

Stray Dog Theatre tackles another classic musical, bringing Kander and Ebb's CABARET to the stage at the Tower Grove Abbey on this occasion. and It's a splendid rendition that combines a strong cast with incisive direction. Some bench seats have even also been removed to allow for a group of smaller club tables to surround an extended stage that puts the show right in your lap. I like that. I'm always a fan of any presentation where the audience can actually feel the intensity that the actors are putting forth. This production is definitely worth seeing, and judging by the large crowds, tickets will go fast.

Though this review is late in arriving, I wanted to publish it anyway because I found HotCity Theatre's production of playwright Adam Rapp's RED LIGHT WINTER so intriguing. This is a raw and edgy work that doesn't pull any punches. It's adult in its themes, and filled with rough language that initially shocks in its frankness. Though it's tone is often uneven, and some of the relationships seem a bit odd, HotCity's presentation is very well performed and skillfully directed. If you missed it, then you missed a fascinating piece of theatre that manages to get under your skin.

I was lucky enough to be invited to the first full run through of MADCO's (the Modern American Dance Company, led by artistic director Stacy West) latest production, LIQUID ROADS and even in the unfinished state I saw it in, it promises to be a lively and wonderful presentation. Choreographer Gina Patterson has created a 90 minute work that focuses our attention on the music that has traveled the length of the Mississippi River, providing us with a collection of classic blues and original works that captures the flavor of that experience.

Writer Arthur Miller's THE PRICE is a powerful and engaging work that uses a simple set up to discuss the "price" everyone pays for the decisions they make in life. Each choice we make makes an impact on those around us, often deeper than we're aware of. Though emotionally charged and dramatic, this is also a play that is quite funny at times. The current production by The New Jewish Theatre crackles with the kind of bristling energy we've come to associate with Miller's work, and with exceptional theatre. The Price is definitely worth checking out.