Chris Gibson - Page 32

TALKING HEADS started life as a series of BBC television monologues before it became a play (actually a couple of them), and if you're expecting a rather static work you'll be pleasantly surprised by these compelling, poignant, and sometimes hilarious vignettes. Author Alan Bennett (as both writer and performer he was a member of the famous Beyond the Fringe revue, which included the late Peter Cook and his partner in crime, Dudley Moore) has put together a fascinating career that includes stage plays, screenplays, novels and radio plays, and this particular collection showcases his ability to craft intriguing and engaging situations and characters. The St. Louis Actors' Studio's current production is distinguished by a wonderful cast and fine direction, making it a must-see presentation.

SCHLEMIEL THE FIRST is a giddy delight, with songs and laughs barreling along at a frenetic pace. Based on the play by Isaac Bashevis Singer (conceived and adapted by Robert Brustein), this Klezmer musical (composed by Hankus Netsky and Zalmen Miotek, with lyrics by Arnold Weinstein) is guaranteed fun from start to finish, and The New Jewish Theatre has put together an exceptional production that is well worth your time and attention.

With his work, MAPLE AND VINE, playwright Jordan Harrison presents an interesting choice for the modern family struggling to cope with the modern world. They are given a chance to let go of all their connections to the information highway and head back in time to 1955. For some, this is the opportunity to start life anew, albeit, in a time that's fraught with issues of its own. HotCity Theatre is presenting an excellent production of this Serling-esque piece, and it's the kind of must-see experience that I always recommend; one that makes you laugh and think.

I'm still not sure exactly how I feel about the Black Rep's latest premiere production, SMASH/HIT!, although there is certainly a lot of potential to the story, and various elements that make up the plot, it's not completely cohesive. There's an awful lot to digest here in this drama that contains music, which might be better served as a complete musical (or as a less musical drama), instead of winding up neither fish nor fowl. But, I can't honestly say that I can't recommend this show, because it is engagingly acted, contains some catchy tracks, and has fine overall direction. It's a mixed bag, but it's a mixed bag worth seeing for yourself.

It's true that on December 4, 1956, Sun Records was host to an incredible meeting of four gentleman (Elvis Presley, Carl Perkins, Johnny Cash and Jerry Lee Lewis) who would go on to lay the foundation for Rock 'n' Roll, but a listen to the actual recording made that day prove that it was a much simpler affair than what's presented in the stage musical MILLION DOLLAR QUARTET. Still, the inspiration that story provides (book by Colin Escott and Floyd Mutrux) makes for a rockin' good time, and this award-winning show is fun from start to finish.

I'm a big fan of the St. Louis Actors' Studio because they always seem to manage to mix the old with the new in intriguing fashion during their theme based seasons, and you can wind up catching a classic like WAITING FOR GODOT along the way. It's always a fun and engaging ride no matter what they offer up, and this time around they're presenting the absurdly profound work I just mentioned. Playwright Samuel Beckett's wacky characterizations and dialogue, along with it's see-through symbolism, is given a wonderful presentation by the company, with excellent performances and expert direction.

Playwright Julie Beckman does wonderful work in adapting Charlotte Bronte's novel, JANE EYRE, for the stage. It's so literate that the characters even voice their thoughts, giving way at times to some much needed humor for this sad, but hopeful Gothic tale of loss and romance. Mustard Seed Theatre's production of this play is superb, with excellent performances buoyed by incisive direction and lush interior design.

GYPSY is the penultimate stage mother musical, but it's also a look at the decline of vaudeville and the rise of burlesque during the depression, and it's ultimately a look at how the famous stripper, Gypsy Rose Lee, made her debut in show business. Jules Styne (composer), Stephen Sondheim (lyricist), and Arthur Laurents (book) have constructed a sturdy classic that's interesting to watch at a time when reality television has essentially revived the Ted Mack Amateur Hour, and all the baggage that comes with that. Stray Dog Theatre continues their stellar season with a rousing production of this popular standard.

Oren Neeman's CONVICTION, as translated and adapted by actor/writer Ami Dayan, is a brilliant tour de force. This tale, told in historical flashbacks, is an intriguing piece that focuses our attention on a priest who forsakes his vows to return to the roots of his true faith and be with the woman he loves. This staging, in the round by director Joe Gfaller, keeps us on our toes as characters weave their way through this fascinating and engaging story. The New Jewish Theatre's current production is a smartly played treat that's another example of must-see theatre.

THE WHIPPING MAN is a fascinating and intriguing look at religion and the aftereffects of emancipation that's set in the days following the end of the Civil War. It examines a subject unfamiliar to most, and that's the fact that there were slaves on plantations that were raised in the Jewish faith. This interesting twist gives this engaging and powerful story an educational depth that both informs and entertains. Playwright Mathew Lopez's work gets its St. Louis premiere with an excellent production by the Black Rep.

The Repertory Theatre of St. Louis closes their season with a bang, literally, presenting a dramatically atmospheric production of novelist James M. Cain's classic work, DOUBLE INDEMNITY (lovingly adapted by David Pichette and R. Hamilton Wright). It's a script that overflows with double entendres, and is populated by the kind of hard boiled characters you would expect from this famous piece of pulp fiction. It even manages to outdo Billy Wilder's film noir version to a degree because it doesn't have to deal with the censor's deep cuts that left the movie a lot less racy and edgy than the book. Suffice to say, this is an incredibly cool, and surprisingly amusing, presentation that is another example of the kind of must-see theatre the Rep consistently produces.

Nick Stafford's adaptation of the novel, WAR HORSE, by Michael Morpurgo is an awe-inspiring and jaw-dropping spectacle brought to life by the Handspring Puppet Company. It's a fascinating and heart-wrenching tale that follows a horse named Joey and a boy named Albert, who will go to great lengths, even joining the Army, to try and locate him. The stagecraft employed for this production is remarkable. The combination of a kind of puppetry where the puppeteer is nearly invisible, dramatic projections for backdrops, and a sharp cast and director, add up to a total theatrical experience that's well worthy of your time and attention. The current touring company now playing the Fox Theatre (through March 24, 2013) is definitely up to the task at hand.

VENUS IN FUR is currently being presented in the Studio Theatre by the Repertory Theatre of St. Louis, and it's an erotically-charged, sizzling presentation that's powered by incisive direction and exceptional performances. I can't speak highly enough of this smoldering tale. It unfolds with a myriad of twists and turns that serve to heighten the dramatic tension considerably. I can only say that this is an effort that demands to be seen, and I recommend it wholeheartedly.

Playwright Daniel Damiano's DAY OF THE DOG is a quirky little dramatic comedy that explores a fractured family's dysfunction through their relationship with an aggressive canine. There are a number of good laughs, and a lot of therapeutic interactions, that occur as this premiere production by the St. Louis Actors' Studio unfolds. It's still a work in progress in some regards, but it's done well, with an excellent cast doing a fine job interpreting their roles, and solid direction.

Playwright Marc Camoletti's BOEING, BOEING (translated by Beverly Cross) has had its share of success over the years, running for nearly 20 years in Paris, and being turned into a Jerry Lewis and Tony Curtis film in 1965, before being revived on Broadway in 2008. Now, Dramatic License Productions is presenting their take on this swingin' sixties farce, and they've put together an excellent presentation. The cast is terrific, the story is cute, and the direction is sharp as a tack. This amusing play is well worth your time and attention.