Chris Gibson - Page 44

There have been any number of renowned re-imaginings of Shakespeare. But, easily one of the finest to have been conceived is the musical adaptation of Romeo and Juliet, WEST SIDE STORY. One thing that makes it so special is the way that Leonard Bernstein's dramatic orchestral score meshes so perfectly with Stephen Sondheim's lyrical contributions, and how Arthur Laurent's clever book replaces the feuding families of the original work with rival gangs of different races. And, there no denying the ground-breaking choreography and direction that Jerome Robbins brought to the table. The combination of acrobatics, ballet, and modern dance requires exceptional athleticism. Thankfully, the current production playing the Fox Theatre is an exciting and thoroughly entertaining version that's brought to life by an exuberant and talented cast.

Pianist David Lanz, with able assistance from Gary Stroutsos (woodwinds), Walter Gray (cello) and Keith Lowe (bass), has put together a sequel of sorts to his wonderful album of Beatles songs, Liverpool, with a new collection called HERE COMES THE SUN. This time around he includes a terrific cut from the quiet Beatle, the late George Harrison (who was/is actually my favorite of the fab four). It's another masterpiece of subtlety and charm, perhaps even more lovely from than the first. Lanz is going to promote the new work with a small tour, so be sure to catch him live if you have the opportunity.

Dramatic License Productions presented a lovely Valentine cabaret this past weekend (February 10-12) in their space at Artopolis in Chesterfield Mall. Classics from a number of generations on the subject of love and it's foibles mixed gracefully in a sweetly simple production that showcased four talented singers, while perhaps, sparking a bit of romance among it's attending audience.

In a season already packed with hits, the Rep smacks a home run with David Mamet's profanely brilliant play, RACE. Managing to expound not only about race, but also on how the justice system works in some cases, Mamet produces a wonderfully provocative work that seems designed to have tongues wagging after the performance. A splendid cast and smart, incisive direction come together to produce a masterwork. This fast-paced and driving play never lets up for a minute, and leaves the audience with plenty to chew on afterward.

URINETOWN is a satirical musical based on the idea that an ecological disaster could create a situation whereby individuals have to pay for the opportunity to eliminate their wastes in public amenities. If that sounds like an odd concept, you're right, it is. And, with it's grungy atmosphere and grimy costuming, it might seem unappealing. But, Urinetown works because it makes fun of itself, and the conventions of musical theatre, while actually managing to communicate a potent message about conserving our resources and being socially responsible. There's also the clever, dense lyrics and engaging melodies of Greg Kotis and Mark Hollmann. Stray Dog Theatre's current production is excellent and because of it drawing sell-out crowds the run has been extended.

Mustard Seed Theatre continues their season with playwright Athol Fugard's PLAYLAND, and the location of the play affords the company a chance to be very creative with the set design (Courtney Sanazaro). But, this is a dark, although it brightens just as the sun rises, tale of border wars and Apartheid, all wrapped up rather neatly in a pretty package by sterling performances and compelling direction.

A certain generation (namely, my own) is going to really get a kick out of ROCK OF AGES. Those younger than me will still be amused by its wildly over the top antics, but those that are older may be a bit befuddled by the constant barrage of cultural references from the late 1980's, and probably have no familiarity at all with most of the music that's from that era. I think ROCK OF AGES is a gloriously hilarious and completely ridiculous homage to the big hair, hard rock anthem bands that ruled MTV and the radio at that time. This was cruising music when I was in my late teens and early twenties, so I instantly identified with the attitudes presented, and the music that accompanies each melodramatic moment.

A member of the St. Louis Blues and Jazz Hall of Fame returned to his roots this past Sunday bringing a trio of talented musicians in tow. The Freddie Washington Quartet, led by the saxophonist extraordinaire, put on a blistering 90 minute set at the Grandel this past Sunday (1/29/2012) that showcased Washington and his fellow musicians' considerable talents. Though the turn out was less than stellar, you couldn't tell by the music that flowed from this group. This was one evening that a lot of people will be kicking themselves for missing.

David Johnston's translation of playwright Juan Mayorga's WAY TO HEAVEN is an intriguing play with an interesting concept and execution. Told in five acts, the work, at first, seems to suffer from repetition, until you begin to realize just how this moment in history actually took place. The act which begins after the intermission brings it all together in a much more satisfying and conclusive fashion. Getting there is frustrating at times, but well worth the trip. The current production by the New Jewish Theatre is a spellbinding true tale that will linger in your memory long after the curtain falls on this show. The ensemble work is exceptional, and the story itself is heartbreaking, powerful stuff.

A good friend told me about a production of OLEANNA (by playwright David Mamet) that he attended where the audience was actually segregated along gender lines. I can understand how that could be very intriguing and effective given the subject matter and eventual outcome of the piece. It's definitely provocative, like most of Mamet's work, and the latest presentation by HotCity Theatre, which is currently playing the Kranzberg, is a terrific evening of theatre that's buoyed by two fine performances and insightful direction. It might even be required viewing for teachers and students because of the way it blends its pokes at higher education and political correctness. You'll certainly be affected by it no matter which gender you happen to belong to, or identify with, it's that powerful.

It's easy to see some of the elements of A Steady Rain that playwright Keith Huff owes a debt to. There are certainly enough police procedural shows on television that reference enough of same plot points to breed a certain familiarity to the material, including a crucial bit concerning a Dahmer-like serial killer. But there's something more going on here that deserves your attention. Powered by two spectacular performances and crisp, incisive direction, A STEADY RAIN is an emotionally charged storm that never lets up, and you'll find yourself completely enraptured by the Repertory of St. Louis's current studio theatre production.

Playwright Conor McPherson's THE SEAFARER plays like a Irish, whiskey-soaked poke at The Seventh Seal, with cards replacing the chess pieces. It's a wry (or should it be rye?), funny little piece, that's as dingy looking and feeling as it is raw in McPherson's approach to its dialog. The West End Players have crafted an entertaining production where redemption hinges on the vision of a myopic friend. I saw the last performance, but the next play up is an original work by Stephen Peirick, Wake Up, Cameron Dobbs, which will play February 24 - March 4, 2012.

I remember seeing the movie version of ON GOLDEN POND, and though it's very well done, it's awfully mawkish and sentimental. I've kind of avoided the movie ever since, just because I really didn't feel like having a cry fest. But, the actual play by Ernest Thompson is surprisingly amusing and touching, and rarely goes overboard on the sentimentality. The Black Rep's current production is a very entertaining, moving, and funny presentation buoyed by the performances of an excellent cast.

This tense two-man play,PLAYLAND, features Charlie Barron and J. Samuel Davis (seen as Judas and Jesus in Mustard Seed's recent production of Godspell). Barron plays Gideon, a soldier released from the war but not from his bitter memories, who comes to a carnival on New Year's Eve in search of hope. His encounter with Martinus (Davis), the carnival's night watchman, sparks an intense battle of wills. With adult language and situations, this play exposes difficult truths while searching for the spark of human connection that might just change the world.

SUNDAY IN THE PARK WITH GEORGE is a fascinating and visually dazzling examination of painter Georges Seurat and his unique style, which art books call pointillism. Stephen Sondheim has crafted an entertaining score, but it was at the suggestion of book writer, James Lapine, that this artful and delightful production actually came together. While viewing his masterpiece, "A Sunday afternoon on the Island of La Grand Jatte", Lapine remarked that the only thing missing was the painter himself, and so we're blessed with this visually arresting musical recreation of that moment in time. The Repertory Theatre of St. Louis has conjured up a superb rendering, filled with sharp performances and a pair of tableaus, one at the end of each act, that are breathtaking in their beauty.

I remember back in the early 80's when the film adaptation of the original French play, LA CAGE AUX FOLLES, was a cable staple. It's a wonderful little movie well worth your time, and it spawned a sequel, the American remake, The Birdcage, and a cheeky, charming little musical with a book by Harvey Fierstein and a funny and touching score by the legendary Jerry Herman. The production that's currently playing the Fox Theatre is a wonderfully executed and staged version that's a sheer delight. It's filled with terrific performances, and guaranteed to entertain.

I saw over a hundred shows again this year, and have decided to make a list of musicals as well as a list of comedies and dramas, which will be lumped together to form two different top eleven lists (in tribute to Nigel Tufnel of Spinal Tap) of 2011. All of these productions greatly entertained me in one way or another during the past year But, instead of me rehashing every single production, I'll just write up my lists for the year. I saw slightly fewer show than last year, but times are tough and we all should probably expect a certain amount of attrition (all lists are in no particular order) in this rough fiscal year. But, even in the toughest of times there are always the Arts to take us to a different place, away from our worries and strife.

For the past two years I've been attending the Webster Student Cabaret, which this time consists of three talented females and three talented males. This is a Cabaret showcase (I took in the 7:30pm show on 12/13/11) courtesy of the Kranzberg and the Presenters Dolan, which is made possible through the generous work of Jim Dolan. Lara Teeter and Neal Richardson, lending their talents as the director and musical director/arranger/accompanist, and media contact/organizer, respectively had a mixed group that focused on an eclectic collection of standards, show tunes both old and new, and pop, mostly country-fied. All of which lent itself to a breezy night of young adults showing us what they've got on their collective plates to offer for their dreams of stardom.

As a critic, over a relatively short period of time, I've seen several different plays several different times, and with each repeat viewing I've had to start weighing exactly how I felt about a script to begin with against the specific work of a performer (especially during a solo piece) and how they were directed, as would be expected. But, as a writer it's all about making what you've seen before, fresh again. Though, I'd missed my original booking of THE SANTALAND DIARIES, I'd made it a point to come back so I could check out the lead, and although I still prefer my original experience, this was a well done take on the work of David Sedaris, which certainly benefited greatly from a much grander costume and scenic design than the original version.

I lost count with how many "good" messages were being poured into Sarah Brandt (playwright) and Neal Richardson's (music, lyrics, arrangements, and musical direction production of THE ELVES AND THE SHOEMAKER, which is the current holiday offering on the Heagney stage at Nerinx Hall as part of the Imaginary Theatre Company's season in conjunction with the St. Louis Rep. This, like most of their presentations for kids isn't written "down", and operates well at communicating the various morals, or things that should always be remembered like a snippet of dialogue that went something akin to: "Having each other is the best Christmas gift". But, the best morals are a bit more subtle, like the need to help people and be rewarded for your good deed, or cooperate in order to achieve your best work.