Chris Gibson - Page 38

When a magician reveals how a particular trick is accomplished it often spoils the moment. Once we know how something is done, there's no longer any "magic" associated with it. Which is what makes Circle of Eleven's presentation of LEO so amazing. We actually see two rooms on stage, one projected, showing a tilted camera's perspective, and one normal. And, even though we're privy to how the illusion is being generated, it loses none of its charm and wit. This presentation by the Edison Theatre's Ovation series is surreal and amusing, and the acrobatics and athleticism needed to pull it off are simply superb.

The original cast album of Spring Awakening (music by Duncan Sheik with book and lyrics by Steven Sater) is still in heavy rotation in my iPod, not only because it's a terrifically catchy score, but because of its dramatic power as well. And though some may try to draw comparisons to the touring company that came to the Fox in 2009, there's really nothing to be gained by doing that. Stray Dog Theatre's current presentation is a much more intimate and "in your face" production that may well carry more impact. It certainly affected me deeply, in fact, I could hardly sleep after seeing the show, with the songs and performances spinning around my brain in continual motion. This is a beautiful and haunting rendering that provides must-see entertainment for any theatre-goer.

The West End Players Guild's 2012-13 season - the troupe's number 102- will be all new to St. Louis theatre-goers, featuring four St. Louis premieres.

It's kind of hard to describe the new musical BLOODY BLOODY ANDREW JACKSON (book by Alex Timbers with music and lyrics by Michael Friedman), but only because it's such a phantasmagorical journey through the life and presidency of Andrew Jackson. Parts of it are downright hilarious, while others are amazingly informative. Kind of like what Bill Cosby used to say during the opening credits of The Fat Albert Show: "If you're not careful, you might learn something before it's done". New Line's current presentation of this wild and woolly excursion into history is a rockin' riot, filled with catchy tunes and funny, anachronistic humor that rarely misses the mark.

Nick Lowe performed a solo session at the Sheldon Concert Hall this past week and put on a whale of a good show, mining his catalog for a collection of material both old and new. Though perhaps lumped unfairly in with the New Wave acts back in the late 70's and early 80's, Lowe actually practices a form of rock and roll that owes more to the great songwriters of the 50's and 60's than any synth-driven band from that era. He and his band Rockpile were part of a wave, but it was more of a throwback to simpler times when music was all about the relationship between young boys and girls, and not overly concerned with the latest technology or latest fashion.

With the divorce rate as startling high as it is, it's not uncommon to find plays that deal with this subject matter. However, playwright Donald Margulies examines not only the plight of the couple going through the breakup, but that of their friends as well. With DINNER WITH FRIENDS, Dramatic License Productions has put together a fine cast under sharp direction in their presentation of this timely and thought-provoking work.

Ken Haller's latest cabaret foray, "THE TV SHOW!" is a sheer delight, reveling in tunes that a lot of us grew up with emanating from the boob tube. It's an interesting approach, and Haller doesn't stick to just singing TV themes, but mixes in commercials, as well as tunes that were written for other mediums that reference the world of the cathode ray. All in all, it's a pleasant trip down memory lane with some familiar (and some less so) tunes that have permeated popular culture.

MY ONE AND ONLY is what I like to call a "retrofit" musical, appropriating tunes from the Gershwin brothers (Ira and George, of course) catalog, while creating a book (Peter Stone and Timothy Mayer) that incorporates familiar elements from 1927, the year it's set in. That being said, it's a slick and flashy excursion into fun that's "all talking, all singing, and all dancing". This final production of the season for Stages St. Louis is a terrifically convivial ride utilizing the old "boy meets girl, boy loses girl, boy gets girl back" plot that so many musicals, particularly from that era, rely on.

One of the really cool things that HotCity Theatre does every year is their Greenhouse New Play Festival. It not only gives a voice to new playwrights seeking to have their plays produced, but it also provides something fresh and entertaining for the theatre going public. The winner this time around is GOODBYE RUBY TUESDAY by EM Lewis, and it's a funny and touching slice of life that breezes along at a brisk 75 minutes. It's a splendid way to spend an evening, and a very entertaining play.

It may seem odd that over the course of 46 seasons the Rep has never produced a work by prolific playwright Neil Simon, and yet it makes sense in a way. Simon has actually been overproduced by community theatres around the country, and the Rep is dedicated to seeking out new works, and putting a spin on timeless classics, so it's only logical that they've taken this long to get one of his works produced. Still, they've finally gotten around to him, and their production of BRIGHTON BEACH MEMOIRS is a memorable one, with the laughter and the tears flowing in great abundance. It's a wonderful start to what promises to be an entertaining season.

If you go in thinking you're going to see a pachyderm when you attend GOING TO SEE THE ELEPHANT, then you might be disappointed. However, the metaphor it represents is duly explained early on to avoid any unnecessary confusion. Instead, you'll be treated to a post Civil War tale of four women taking on the harshness of the Kansas prairie. It's a brilliant slice of pioneer life, buoyed by powerful performances and excellent direction. Mustard Seed Theatre's current production is a fascinating look at a bygone era.

Playwright Richard Greenberg's The Violet Hour is an engaging and intriguing mix that combines a play about a publishing house in 1919 with a Twilight Zone twist. It's this twist that makes it rise above the ordinary into something else entirely. A strong ensemble and sharp direction make this a fascinating work that's well worth your time and attention.

I've seen the Union Avenue Opera's current production described as "Wagner-lite", and to a degree, that's true. But, any Wagner has the ability to be stirring and surprisingly cinematic in execution, and this presentation is no exception. Besides I prefer the description of DAS RHEINGOLD by Jonathon Dove who adapted and "reduced" the opera to a more manageable size, bringing the scope and depth of Wagner's to the masses in the process.

Translating an animated feature to the musical stage is a daunting challenge. Really, any film, even with actors who are drawn onto cells, usually makes a rocky transition. That's what makes THE LION KING so disarming and dazzling in its conception and execution. The techniques and ideas pioneered here in the Tony Award-winning show have since been used elsewhere, but they still manage to excite and enthrall an audience, and that's a credit to all the skilled technicians and actors who make these characters come to life. The current production playing the Fox is a magical ride that must be taken, and it's easily an "E" ticket (if you remember those days at the Disney fun parks).

The Muny closes their 2012 season with the revival of a classic Rodgers and Hammerstein musical, THE KING AND I. It's an elegant end to a very entertaining season that's been full of surprises. Here, the only surprise is how well this warhorse has aged, with its "East meets West", or "mismatched mates" device still working to perfection. Of course, it helps if you have quality performances from the leads, combined with the energetic direction of Rob Ruggerio.

There's something lovably crass about THE GREAT AMERICAN TRAILER PARK MUSICAL that makes it a very wild ride, indeed. As an audience, we're accustomed now to the tell-all, show-all, behavior that's seen on daytime (and some times night time)television, especially if you watch Jerry Springer or others of his ilk. Really, these characters ring true enough that they virtually shine in this arena, if only for the length of this crazy quilt of trailer-hood that mixes in a liberal dose of modern Americana. Stray Dog Theatre's latest production throws a helluva lot of jokes against the wall, and luckily, most of them stick.

The latest extravaganza to grace the stage at The Muny in Forest Park is a hilarious re-working of Gilbert and Sullivan's Pirates of the Penzance (although some of the tunes are lifted from other works by the pair). PIRATES! (or Gilbert and Sullivan Plundr'd) is a spirited romp with a storyline more akin to Seven Brides for Seven Brothers than the original plot, and lyrics (revised book and lyrics by Nell Benjamin) and rearranged musical arrangements (courtesy of John McDaniel) that will amuse even the staunchest purists among us. This is just plain goofy, pirate-laden fare that owes as much to the recent Pirates of the Caribbean film series as to it does to Gilbert and Sullivan. And that's a good thing, at least it is in this case.

There are a number of reasons that Rodgers and Hammerstein's THE SOUND OF MUSIC is still so popular today. The songs are definitely catchy and familiar, and the story is compelling. But, it takes a good cast and solid direction to make it work properly, and the troupe that Stages St. Louis has corralled are excellent in their roles. This venerable warhorse of a show is their current production, and its charm still holds up remarkably well after all these years.

If you like your JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT's straight up (no chaser), then the current production playing The Muny may not be your cup of tea. But, if you like it when they give the show a St. Louis twist, then this is your type of musical. I've seen enough productions of this particular show to want something a little different myself, so I was completely charmed by the Muny's take of Andrew Lloyd Webber and Tim Rice's work.

St. Louis Shakespeare's mission is to present the complete works of Shakespeare, and with their current production of CORIOLANUS, they've moved one step closer toward attaining that goal. The trouble is that when you've performed all of the Bard's familiar and popular works, you're left with a few odds and ends that aren't quite as memorable. Still, this production is nicely mounted and very well acted. It's just a pity the script isn't quite up to snuff this time around.