Chris Gibson - Page 40

If you only went to the Muny this week to see a very svelte Jennifer Holliday sing "And I'm Am Telling You I'm Not Going", in the role that virtually made her career, you would already have enough reasons to attend The Muny's production of DREAMGIRLS. But, the fact is, there are so many more things to like about this show, that your attendance is practically mandatory. A superb cast and sharp direction heighten the pleasure of watching this finely rendered presentation.

I missed press night for DISNEY'S ALADDIN: THE NEW STAGE MUSICAL, but I decided to go down this Tuesday and check out the production from the free seats. Armed with a pair of binoculars, which I didn't really need, I was able to take in this wonderfully charming presentation after all. And, I was not disappointed. And, those of you who bring children in tow won't be either. This is a delightfully colorful production that captures the feel of the original movie, while adding quite a few new musical numbers (that were in the original draft of the movie) and wrinkles to it. I highly recommend this spirited show.

Giuseppe Verdi's opera, UN BALLO IN MASCHERA(with a libretto by Antonio Somma) is a fictionalized account of the actual assassination of King Gustav III of Sweden at a masked ball. In this case, the location and names have been changed, but the outcome remains the same. This production by the Union Avenue Opera (playing through July 7, 2012) is an excellent one, graced with splendid performances and intriguing costumes (Teresa Doggett) that initially, with their abundance of long-coats, have a faint "Matrix-like" quality to them. It's a dramatic presentation that embellishes history with a tragic love story, and a fortune teller, whose predictions are ignored.

The musical adaptation of the 1967 animated feature film, THE JUNGLE BOOK, is a sheer delight, perhaps best viewed through the eyes of a child. And, the first production I ever took my young son to see was this same show a few years back. But, he was so small he didn't really remember it that well. So, the opportunity to see it again afforded me the perfect chance to reacquainted him with its many charms. Stages St. Louis's presentation didn't disappoint, providing a crisply paced production that fully captured my son's attention and imagination once again.

If you've only seen the movie version of CHICAGO, and it's a pretty sexy and sleek story on the big screen, you have to do yourself a favor and check out the current production at the Muny. The Muny has such an expansive stage that some musicals can get lost, but not this one. In this case, CHICAGO seems larger than life, and that's appropriate since the story and characters are so bold and brazen. I highly recommend this show, especially if you haven't seen it on stage before, because it's a terrific production that pulls no punches.

The dictionary defines insidious as "proceeding in a gradual way, but with harmful effects". Playwright Ibn Shabazz's work INSIDIOUS certainly follows that line of thinking, with the eponymous title character worming his way into the lives of a engaged couple Kara and Dawud. The play makes allusions to AIDS and to the way homosexuality is looked at in the African American community. But at its heart, it's a pot boiler, a pulpy work that takes a number of twists and turns before resolving itself. The Black Rep's current production is graced with solid performances and direction, and it continues through June 24, 2012.

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.

Tony Award-winning actress, singer and songwriter Idina Menzel, star of Broadway's Wicked andthe original stage production of Rent, will tour North America, performing her brand new live show. Tickets can be purchased through local box offices or www.idinamenzel.com.

When Iago talks about 'Jealousy…the green-eyed monster,' he might as well be referring to himself. It's his envy of Cassio's promotion under the leadership of Moorish general Othello that sets a devious plot in motion that will leave many dead and others wounded. And so it goes, in St. Louis Shakespeare Festival's sparkling production of OTHELLO, which is currently being performed in Forest Park. Be sure to arrive early to enjoy the festivities, and to stake your claim on a prime spot from where you can view this splendidly realized show.

While the cover of "ACTING LIONS: Unleash Your Craft in Today's Lightning Fast World of Film, Television and Theatre" may seem a bit esoteric, the text contained therein is not. In fact, Templeton's tome may well become "the" book for actors. Whether you're just starting out, following a particular method, or are a seasoned professional, there are plenty of tips and tricks that can aid actors in their work. And, though there's not enough space for me to fully catalog all the helpful hints (you'll want to buy the book anyway), I'll keep it brief and try to hit on some of the high points, of which there are many.

One of the first shows I remember reviewing when I became a theatre critic was AIN'T MISBEHAVIN', and it's become a favorite of mine ever since. Although, I've had to wait quite a few years for a group to do a revival of this fascinating revue based on the songs and recordings of the fabulous Fats Waller. To kick off their season, Stages St. Louis is presenting a very fine production of this show, and it features, not only five terrifically talented singers, but also a live band to accompany them. This is the first time I've seen Stages actually utilize a live band, and I must say it works out wonderfully well. There's a palpable intensity in the performers as they feed off the positive energy of these exceptional musicians that makes this a must-see event.

Every year I look forward to going to Circus Flora, which is St. Louis's own one-ring (air-conditioned) circus, with family in tow, knowing that a splendid time is guaranteed for all. And, this year's show is no exception. There are acts of equestrian artistry, magical hijinks with the much beloved Nino the Clown, The Flying Wallendas, the St. Louis Arches, and so much more to see. The theme this year is medieval in nature, loosely chronicling the life and mythology of King Arthur with their production of THE WIZARD: MERLIN AND THE LEGEND OF KING ARTHUR. Come one, come all to this fabulous display of acrobatic splendor that's well worth your time and attention.

When I reviewed New Line Theatre's production of HIGH FIDELITY in 2008, I decided to start off in the spirit of Nick Hornby by giving my readers the top five reasons they should see this wonderful musical. Well, here are the Top Five reasons you should see High Fidelity, either for the very first time, or again, in 2012 (in reverse order, naturally). Number Five: because the cast members that remain the same are still superb in their roles, and the new additions make it even more entertaining. Number Four: because the music of Tom Kitt and the lyrics of Amanda Green are pure ear candy that cribs cool bits from classic rock and soul. Number Three: because this time it's in a different venue that allows for a grander scenic design, as well as a larger area for the fun choreography. Number Two: because seeing the musical still beats sitting through the movie, which didn't really capture Hornby's novel completely. And the Number One reason to see this revival production of HIGH FIDELITY: IT ABSOLUTELY ROCKS!

St. Louis has plenty going on during the summer months, but if it's good theatre you're after, consider these.

Playwright Richard Dresser's work, ROUNDING THIRD, really struck a chord with me since I'm a coach on my son's coach-pitch little league team. Sure, I hope they win every game they play, but much like the character of Michael is at the beginning of the play, at their age I'm just happy to see them have a good time playing. This show is more about older kids playing their last season of little league, so it's a bit different in how winning is approached, but it's a splendid look at two contrasting characters who, by the end of the show, have rubbed off a bit on each other, despite their differences. HotCity Theatre's production is a terrific one, powered by two splendid performances.

If you had the opportunity to see RIVERDANCE at the Fox this past weekend, then you were treated to a fine display of Terpsichore and musicianship. If you didn't, then you may have missed your chance to see it at all, since it was, in all likelihood, the troupe's final trip to St. Louis. It's a shame, because the show is really an entertaining mix of song and dance. I saw it last year, and I took my wife and son with me this year, and we all enjoyed it tremendously. The sheer athleticism of the dancers, backed by the superb interplay of some world class musicians, is not one that should be missed. The audience in attendance certainly responded very favorably to this unique production.

The touring production of MARY POPPINS that's currently gracing the stage of the Peabody Opera House is "practically perfect", featuring eye-popping special effects, a glorious 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. While some of the more beloved elements from the movie are noticeably absent, they've been replaced with sequences that are every bit as magical and engaging. Though the staging is a bit cramped, this is a spectacular show that appeals to both children and adults. And, I should know because I brought along my six-year old son, and he loved it.

Playwright James Sherman has crafted a charming and delightful work with his play JACOB AND JACK. It's a fond remembering of the last days of the Yiddish theatre and it weaves in the modern day with the past with considerable flair. It has farcical elements, including the requisite doors, six in this case, to go in and out of while the action switches back and forth between the two times. The New Jewish Theatre has put together a lovely rendering of this show, and the cast is absolutely superb. This is a brisk-paced comedy that's absolutely worth seeing.

To open their 18th season, the Union Avenue Opera has chosen an English text version (John Gay) of Handel's take on the mythological, with ACIS AND GALATEA (seen April 29, 2012). This is definitely a tale of two acts, with the first being devoted to their love for one another, this semi-divine sea nymph, and her faithful shepherd. But, things take a nasty turn in the second act, even though Galatea is able to resurrect the slain Acis as a river. If that seems a bit fanciful, it is, but that's the charm of Handel's work. It bears the catchy repetition he's famous for, and it's well played by a small cast filled with superior voices. This is deceptively demanding in the amount of coloratura that shapes so many of his phrases.

While it may look through its world through "rose colored glasses", MEMPHIS celebrates a time when race music was beginning to catch on with a white, mostly teenaged audience. It's a crackling, amusing, and fast-paced show (book and lyrics by Joe DiPietro, music and lyrics by David Bryan) that takes you on a musical journey through the eyes of young Huey, a wannabe DJ, who gets his wish, and may get his girl, if they can survive the glare of the fifties, when mixing of the races was against the law. Does this all sound heavy? Well it's not, not by a long shot. Instead, it's a bouncy and bluesy production that's easy to take and listen to. It's currently playing the Fox Theatre (through May 13, 2012), and there's a reason this show is so successful, it's just edgy enough to appeal to the jaded, and it lightens the tone of this historical racist behavior just enough to succeed with the masses.