Chris Gibson - Page 30

MY FAIR LADY is a venerable warhorse of the stage, and though it used to be performed with a frightening degree of regularity, it's been a while since I've seen it, other than catching the film version on TCM recently. I must say I'm impressed with the current production by Stages St. Louis. It manages to maintain an intimacy that's lost in some of the larger stagings the work has received. In the cozy confines of the Robert G. Reim Auditorium we're able to appreciate the story as well as the staging, and being based on G.B. Shaw's superb play Pygmalion, it's important that that actually come through. It does. Marvelously so. Couple that with the insanely memorable score (book & lyrics Alan Jay Lerner, music by Frederick Lowe) and you have an full evening of wit and charm ahead of you. This is an elegant must-see!

Playwright Joe Orton's writing career was brief, ending abruptly when he was bludgeoned to death in 1967. In a very short span he wrote a handful of plays that are still being performed to this day, and one wonders what he would have created if he'd lived longer. You can catch one of his early plays at HotCity Theatre as they are currently presenting his darkly cynical work ENTERTAINING MR. SLOANE. A fine cast does a splendid job of bringing these peculiar characters to life.

St. Louis is home to dozens of theatre companies, most of which have the same problem; finding a venue in which to perform. The Black Rep, which utilized the Grandel Theatre for many years, is now faced with this same issue. But, thankfully, they were able to find space at Washington University, using the A.E. Hotchner Studio Theatre for their latest presentation, playwright Danel Beaty's one-man show, EMERGENCY. For this particular show they've found a perfect fit. In fact, this must-see performance from actor Ron Conner is required viewing.

Elizabeth Van Meter's The Purpose Project: Thao's Library is a true story that genuinely touches the heart. Utilizing a multimedia presentation, Van Meter details the events that occurred that convinced her to attempt and reach out to a person who was born with disabilities due to the spraying of the toxic defoliant agent orange during the Vietnam war. A poignant picture of a young woman in a wheel chair, named Thao, made an impression on Van Meter and, when she found out this person was attempting to amass a library for her village, she decided to help her with her dream. This is a powerful story that changed both of their lives for the better, and it's receiving a wonderful production by Mustard Seed Theatre.

Playwright Nicky Silver's Broadway-break through, THE LYONS, is a black comedy that focuses our attention on the titular dysfunctional family. Although it's characters may be a bit one dimensional at times, this play has a lot of amusing twists and turns, and there are also several moments that occur that we can all identify with for better or worse. Max & Louis Productions has put together a smartly acted and directed presentation that showcases the intimate and humorous nature of this show.

Playwright Cormac McCarthy has crafted an intriguing work with THE SUNSET LIMITED, and even though he skimps on fully developing his characters, there is still plenty to chew on here. It's also the inaugural production of Theatre Lab, and I'm always happy to welcome a new company to the local theatre scene. This particular piece may be especially light on action and heavy on dialogue, but Cormac's use of wit keeps things humming along without becoming too static. The Theatre Lab has put together a strong production powered by two excellent performances.

The current production of MARY POPPINS that's playing at The Muny is 'practically perfect', featuring some nice special effects, a wonderful set, and terrific performances that manage to capture the spirit of the 1964 Disney film, as well as the P.L. Travers books that inspired it. The original and familiar tunes of Richard and Robert Sherman mesh seamlessly with the new material created by composers George Stiles and Anthony Drewe, and it's all lushly orchestrated and performed. Additionally, Julian Fellowes has crafted a book that incorporates bits plucked from the movie as well as from Travers' original stories. This intermingling of the old with the new is surprisingly refreshing. This is a spectacular show that appeals to both children and adults.

Stages St. Louis continues their 2013 season with the musical adaptation of the 2001 Reese Witherspoon vehicle, LEGALLY BLONDE. It's a pleasant romantic comedy that, like a lot of modern musicals, pokes fun at itself, but it also features a positive message about believing in oneself. The clever compositions of Laurence O'Keefe and Nell Benjamin are a nice complement to Heather Hach's reworking of the screenplay (based on the novel by Amanda Brown). Together, they create a bubbly and enjoyable atmosphere that's as light and fluffy as a cloud, and Stages St. Louis follows that lead with a perfectly charming and delightful production.

I love horror movies, especially the kind of cheesy stuff from the 1950's and 1960's that director Roger Corman was famous for. It's been said that he shot the cult favorite, The LITTLE SHOP OF HORRORS, in four days, and it certainly has a look that would suggest as much. But, underneath its filthy veneer is a bizarre black comedy that deserved a far better fate than the faded copies that clog up discount DVD bins. So, Howard Ashman (book and lyrics) and Alan Menken (music) dusted off the basic premise of this crazy little film, and crafted a clever and funny off-Broadway musical which, in turn, spawned a motion picture. Stray Dog Theatre closes their tenth season on a high note with a very imaginative and well cast production of this creepy classic.

Victor Hugo's novel, LES MISERABLES, was re-imagined in the early 1980's as a very successful musical (lyrics by Herbert Kretzmer (adapted from the French text by Alain Boublil and Jean-Marc Natel) and score by Claude-Michel Schonberg)) that has continued to captivate audiences. Although I wasn't especially fond of the touring show that passed through last year, The Muny's current production is a revelation. The scope of this work is an ideal match for The Muny's expansive stage, and I highly recommend this terrific presentation.

Rodgers and Hammerstein's SOUTH PACIFIC is a lavish and impressive show filled with gorgeous melodies, many of which have become standards that you'll find yourself humming on the way home from The Muny. From an intellectual standpoint, the social issues that this Pulitzer prize winning drama tackles were groundbreaking for their time, and they still manage to make an impact today, despite how far along we may have come in our thinking. Hammerstein and original director Josh Logan crafted a solid book that pulls elements from James Michener's Tales of the South Pacific, while still following the usual musical theatre conventions of the time. In particular, there are the parallel love stories that thread throughout this World War II based tale, both building in their passion until they're undone by deep-seated racial prejudices that have to be overcome before either can move forward.

It's only fitting that while we're celebrating Independence Day there's a production of the musical 1776 being staged by a local theatre group. After all, it's not has-been bands at local fairs and fireworks displays that we're supposed to be honoring on this particular occasion, but rather the principles which this country was founded upon. And, 1776 is an entertaining and informative show (book by Peter Stone, and music and lyrics by Sherman Edwards) that attempts to set this historical event to music. Although it's often uneven in tone, it's an engaging ride nonetheless, and Insight Theatre Company's current production is a solid interpretation driven by some fine performances.

Knowing full well it's popular reputation, but having seen only one production, I had moderately high expectations for The Muny's take on Dan Goggin's musical comedy, NUNSENSE. I'm not Catholic, so I assumed that some of the humor might be lost on me. Through osmosis alone, I've probably absorbed enough knowledge of the religion's rites, rituals and dogma to get the gist. There are some amusing bits to be found here and there, and this version makes sure to throw in some local humor as well, but the songs aren't especially memorable, and the jokes often fail to hit the mark. Maybe the real problem is the fact that this is a small, and sometimes even intimate, show that gets lost on The Muny's vast stage. However, there are some fine performances from a terrific cast deserving of your time and attention.

Nearly everyone is familiar with the tale of CINDERELLA. You've either been read the story as a child, or perhaps viewed one of the many movie versions. It's just one of those things that seems to creep into our subconscious through osmosis. In fact, variations continue to pop up in books and films to this day. It's even become part of our language; the so-called 'Cinderella stories',which find people (often athletes) triumphing over adversity. The classic was brought to life in an animated feature with music (compositions by Mack David, Al Hoffman, and Jerry Livingston) by Walt Disney in 1950, and it continues to enchant audiences as evidenced by the rapt attention the young crowd gave the current version being presented by Stages St. Louis.

The original animated film Shrek was a kind of adult fairytale, though it was obviously aimed squarely at the youth market as well, successfully spawning a franchise with sequels and merchandising galore. So, it should come as no surprise that Dreamworks would opt to try their luck on stage with a musical version of their blockbuster hit. Happily, like the original, it's a cute and amusing production that will play equally well to children and their parents, who will certainly appreciate some of the more grown-up humor. Jeanine Tesori's score serves the play well, and is undeniably tuneful in execution, but the real treat here is David Lindsay-Abaire's clever book and lyrics, which peppers the dialogue and songs with a remarkable amount of wit. The current production of SHREK THE MUSICAL, which is playing at The Muny at Forest Park, is a cleverly mounted and thoroughly enjoyable show.

Shakespeare's KING LEAR can be interpreted in any number of ways. But, at it's heart, it's the tale of two families that are torn apart when their patriarchs misjudge their own offspring. King Lear turns the division of his kingdom into a test of love among his three daughters, while the Earl of Gloucester carelessly allows a note forged by his bastard son Edmund to destroy his relationship with his other son, Edgar. St. Louis Actors' Studio is presenting a slightly more scaled down and intimate production of this work that focuses our attention keenly on the story, as well as on the fine performers who populate this excellent cast.

Torrential rains beforehand, a late start, and even technical issues couldn't dampen the enthusiasm of the cast SPAMALOT, which is currently playing The Muny. I brought my young son along to the show since he'd enjoyed the movie, Monty Python and the Holy Grail, that it's based on, and I'm happy to report that he laughed at the silliness on display repeatedly. I myself have issues with this hodgepodge of scenes cobbled from the cult film, and in fact, it is the additional elements that book writer and Python member Eric Idle included, along with a couple of fresh songs he's written with frequent collaborator John Du Prez, that really stand out to me in this parody/homage. One thing's for sure, a game cast led by John O'Hurley delivered a hilarious presentation under less than ideal conditions this past Monday at the Muny.

Stray Dog Theatre returns to their roots during their 10th anniversary season by presenting the first play they ever produced; John Guare's SIX DEGREES OF SEPARATION. Since this is a play set in 1990, it's particularly interesting to view it through the lens of the information age that we live in today. Guare's work emphasizes the importance of making personal connections with others, and we've definitely overachieved in the sheer volume of connections we have the ability to make these days, we've just managed to make them less personal, which really defeats the purpose. And, that's is why this work is still so vital and engaging.

ALWAYS...PATSY CLINE is a wonderful show, brimming with good humor and a great selection of classic country tunes. More than just a tribute show, this musical offering actually has a story to tell to go along with its superb collection of material covered by the iconic singer. But, what really makes this show successful are the performances by the cast and the band, all of whom do absolutely impeccable work. With the entire run sold out, or nearly so, this review is just confirmation of what a lot of you already know; this is exceptional, must-see entertainment produced by Stages St. Louis.

While I'm well acquainted with L. Frank Baum's classic tales of the land of Oz, and I've certainly seen numerous stage adaptations of his work, I'd never had the opportunity to see THE WIZ, unless you count the film version (and I don't), until now. After viewing the Black Rep's splendid production I'm happy to report that it's a tune-filled spectacle that's brimming with color and movement. It has an Afrocentric, funky mid-1970's era vibe (book by William F. Brown, most of the music and lyrics by Charlie Smalls) that actually makes it seem more hip than you would expect.