Chris Gibson - Page 34

I remember seeing NEXT TO NORMAL at the Fox Theatre a while back and being impressed by the show, especially since so many things that happened to the lead character were/are taking place in my own life. But, New Line Theatre, for me, sets the local standard for musical theatre in our burgeoning arts community, and they've put together a superior staging of the play that hits even closer to the bone, and part of this is due to intimacy of the theatre itself, but a major reason is the fact that it's blocked and staged in a manner that brings the message of the play clearly in focus. New Line Theatre's production of NEXT TO NORMAL is easily the best show I've seen this year so far. It has a terrific cast, a top notch band which is augmented with strings, and brilliant direction. This is a show you must see, even if it may hit home a little deeply with its subject manner.

It would be easy to be either immediately won over by the hype surrounding this show before ever seeing it, or to be disappointed once you had, because it couldn't possibly live up to it. That's why I go into these things with reasonable expectations. I'm already a fan of Trey Parker and Matt Stone (South Park, Team America, Cannibal! The Musical, etc) and Robert Lopez (Avenue Q, Phineas and Ferb, etc), and I can certainly appreciate the work they did creating the book, music and lyrics for this show, THE BOOK OF MORMON. But, I do think you have to be attuned to their particular brand of humor in order to fully appreciate it. Poking fun at religion is certainly nothing new for any of them, and they've always brought a sense of the conventions of musical theatre to whatever art form they've tackled, and with THE BOOK OF MORMON they've produced something which is both terribly funny and catchy as well.

CONNECTED, by Lia Romeo, is a fascinating look at the cyber world we live in today and how it directly affects our younger generation. They're growing up in a world where anything that can be captured on video can go viral, for better or worse. Romeo's work plays out in four vignettes, all of which touch on themes of loneliness and deception. Alternately amusing and heart-breaking, CONNECTED features a young and talented cast playing multiple roles.

Playwright Charles Busch has created a number of entertaining and offbeat works, and PSYCHO BEACH PARTY is no exception. Focusing on the exploits of the Gidget-like 'Chicklet Forrest', the play combines elements that evoke the psychological horrors of Alfred Hitchcock, while also poking fun at teenage surfer films and the slasher genre. It's a zany and outlandish potpourri that's a compelling laugh riot.

Director/Playwright Jon Jory has neatly adapted Jane Austen's SENSE AND SENSIBILITY, maintaining the crux of the novel while streamlining it for the stage. It's a compelling and engaging presentation that utilizes a single set to tell its tale, and there are a number of noteworthy performers gracing the stage. All in all, this literary classic is well served by an excellent cast and sharp production.

I'm a big fan of the works of playwright David Mamet, and with his play, SPEED THE PLOW, he takes aim at the cutthroat world of Hollywood. It's a fascinating look at what sells and what doesn't when you're talking about the big screen. And, it also shows how friendships can be pushed to the brink by perceived betrayals. Marked by solid performances from the cast, the play is funny and telling in equal measure. The current production by The New Jewish Theatre is nicely constructed and executed, as well as providing ample food for thought.

Playwright Edward Albee has a knack for writing intriguing and provocative works, and THE GOAT OR, WHO IS SYLVIA? certainly fits the bill. It's subject matter is controversial, affecting, and powerful, inviting much conversation and discussion like great theatre should. Full of disconcerting moments and betrayals, it's just another example of the author's brilliance in provoking a response from anyone who views it. The St. Louis Actors' Studio has assembled an excellent cast to bring this show to life, and sell-out crowds are proof that this is an absolutely must-see production.

Part of my job is to be a critic, so I criticize positively, and sometimes negatively, the shows that I get to see. But part of my job is also to report, and when an audience responds enthusiastically to a show, whether I find fault with it or not, I have to be honest and make mention of that fact. Such is the case with the musical remake of the 1994 movie PRISCILLA, QUEEN OF THE DESERT, which I think is a great film. Here, it's been turned into a so-so jukebox musical, filled with familiar tunes, mostly from the disco era, but also including some country tunes, a few 80's numbers, and a couple of 60's songs.

With this fourth foray into his Pittsburgh cycle, playwright August Wilson crafts another masterwork with THE PIANO LESSON. Wilson's play, once again, captures an era rich in detail in African American history, and ponders the meaning of the word legacy, and how it applies to different individuals. The Black Rep's current production is very nicely crafted and performed, and if you haven't seen it yet, there's still time. It's certainly a journey well worth taking.

Conceived, written and directed by renowned actor/writer/director Ken Page, CAFE CHANSON is a memorable production that's affecting and intriguing. It acts as both a tribute to the soldiers who have served our country with valor and conviction, as well as positing the idea of an afterlife that allows the dead to relive an experience from the past life before they pass over to the other side. This is a haunting and beautifully imagined work that cannot be recommended highly enough by me. Upstream Theater has, once again, provided an unusual and fascinating theatrical event that goes above and beyond the norm.

Though at first it may seem like an odd pairing of one acts, there's actually a connection between playwright Christopher Durang's introductory work, MRS. SORKEN and David Mamet's THE DUCK VARIATIONS. Towards the end of Mrs. Sorken, a direct reference is made to the the plays of David Mamet, and his frequent use of the "f word". It's an ironic one, since this is one of the few pieces in which Mamet doesn't use that particular curse word. Mustard Seed Theatre's production of these two plays is very well done, and it features three incredibly good performances that make this pair well worth seeing.

While watching playwright Amy Herzog's wonderful play, 4000 MILES, I kept being reminded of my own relationship with my grandmother (on my mother's side of the family) who passed away many years ago (unfortunately, I never met my grandmother on my father's side). I secretly wished that I had been able to speak with her with the same amount of candor and openness that the character of Leo is able to in the play, but I was simply much too young, and she was far too reserved for that to have ever happened. That being said, the experience of watching these two interact was tremendously affecting, and something that will stay with me for a very long time. The Repertory Theatre of St. Louis has put together a great show that's both hilarious and extremely touching, and it features a terrific cast. I found it to be a marvelous production, and I highly recommend it.

The last time STOMP came to the Fabulous Fox Theatre I made sure to bring along my son. I made a point of taking him this time as well, because their antics seem to absolutely delight him. I can understand why. If you've ever drummed on your steering wheel to a song on the radio, or absentmindedly tapped your pencil on your desk, creating your own rhythmic accompaniment, then you already grasp the concept at the heart of STOMP. Over the course of an hour and a half, a group of performers demonstrate how you can make music with just about anything, and in doing so, create a genuinely joyful noise. It's akin to taking the guy in office with the annoying habit of pounding on things, and elevating what he does to high art; but, it works like a charm.

It's a bit disconcerting when you see a play or musical that's set in an era you lived through. Kind of makes you feel a little older than you'd like to feel. In this case, it's the midwest premier of FLASHDANCE THE MUSICAL. I remember when director Adrian Lyne's film came out in 1983, and it was at a time when I was purchasing lots of cassettes (remember them?). So, I'm very familiar with the tunes that made up that soundtrack, and it's a little bit weird for me to be sitting through a new musical version of that movie. In some ways, it has a perfect plot for a musical, but unfortunately the characterizations are just too thin, and the musical itself too long, to be completely successful.

Sometimes bad things happen to good people. It's just the way life is. Things aren't always "fair" or even equitable, but that's just something we all have to understand and accept. In these tough economic times that we live in, it's a hard fact that everyone needs to be made aware of, and playwright David Lindsay-Abaire examines this issue in his brilliant play GOOD PEOPLE. I think it's a tremendously engaging work that absolutely demands to be seen. Thankfully, the Repertory Theatre of St. Louis has staged a must-see production of this play at a time when it's especially relevant, and I cannot recommend it highly enough. The casting and direction are spot on, and the message, told with humor and drama in a remarkably even balance, is one that is very important to all of us.

In case you didn't know it already, Bartolomeo Cristofori was the inventor of the piano, and in 1988 David Lanz paid tribute to him with his rich album, Cristofori's Dream, itself a lovely album of considerable grace and beauty. But, that work was enhanced by other musicians who built up the overall sound. Here, with CRISTOFORI'S DREAM...RE-ENVISIONED, Lanz revisits this seminal piece and attacks it with his solo piano skills. It works as more of a tribute in this way, bringing to the fore the true sound of invention and the joy of discovering it.

I'm lucky enough to see over a hundred shows every year, and I'm happy to report that 2012 was an excellent year for theatre in St. Louis. So, here I am again, offering up my lists for the best productions of 2012. While I'm not going to include the touring companies that came through town this year in my listings, I'd like to give them a shout out just the same.

I'm a big fan of the Repertory Theatre of St. Louis's Imaginary Theatre Company because their productions are consistently entertaining and they never fail to send a positive message to their audience. This is important to me as a parent, because there are plenty of Christmas plays for children, but they rarely convey the kind of moral I'd like my child to be getting, or else they're ham-handed in the way that they present it. Playwright Sarah Brandt, along with composer Stephen James Neale, has concocted a nice little gem for the holiday season called A GNOME FOR CHRISTMAS, and it's engaging and informative, teaching a valuable lesson about accepting others for who they are and what they can accomplish, rather than how they appear.

Performing a one-person show can be a daunting task. After all, even in a two-person show there's someone else to guide you should you go astray, or come up suddenly blank. Of course, you also need a good script or, at least a sturdy framework, to allow the actor to succeed. But, when both of these things click, it's a wondrous thing to experience. That's exactly what occurs in Stray Dog Theatre's brilliant production of FULLY COMMITTED, as sharp direction (Gary Bell), impeccable acting (Greg Fenner), and a funny play (Becky Mode) come together in must-see fashion.

WICKED is pure spectacle, or to quote Glinda the Good Witch herself, it's a "thrill-ifying" experience that dazzles and delights, with terrific performances and eye-popping scenic design and special effects. The plot gives a back story to L. Frank's Baum's Wizard of Oz, that is unexpected, and infused with a positive message about accepting people for who they are and not how they appear.