Chris Gibson - Page 6

An incredible opportunity has presented itself to the cast of If/Then upon arriving in St. Louis last Tuesday to carry out a 2 week run at The Fabulous Fox Theatre (March 15-27th). After sitting and talking with Anthony Rapp (star of If/Then, RENT), he told us that the Hard Rock Cafe contacted them and offered to donate their space for them to perform in, if they could find a use.

It's interesting to me that IF/THEN is billed as 'a new musical'. It's the use of the word 'new' that I find puzzling. The concept certainly isn't an original one, having been explored on the big screen in the films Blind Chance (1981) and its sort-of remake, Sliding Doors (1998). And, even though neither of those movies were musicals, they both featured the idea of having their lead traverse optional story lines, with Blind Chance even offering up three different scenarios for its protagonist to experience. But, this show is new in the sense that it explores contemporary trends, with the caveat that some audiences may not find much to identify with, and it features a wonderfully fresh and tuneful score (music by Tom Kitt, book and lyrics by Brian Yorkey). All of that just might be enough to make this show worth seeing. Because it does feature a talented cast who have the ability to pull off these roles and the memorable songs provided with considerable conviction. But, the trickery seems a bit cloying at times, and the show does seem to drag at over 2 ½ hours. I guess, like our heroine, Elizabeth, I'm straddling the fence too, at least when it comes to my opinion.

If you look up the definition of the word pulse in a dictionary, or at www.dictionary.com as I did, you find that the third meaning completely resonates with PULSE - A MADCO (Modern American Dance Company) Cabaret Performance, which is a collaborative effort with the UMSL Music Department. The 'rhythmic recurrence of strokes, vibrations, or undulations', captures the spirit and essence of this thoroughly enjoyable experience. While considered a 'work-in-progress', to a degree, I would have to say that it rises well above that plateau to reach considerable heights as an experience into how music and dance intertwine. Music provides the rhythms and sounds that dancers can move or react to, whether balletic, theatrical, or modern, etc, in nature and style. PULSE takes that a step further with a series of five examples of how they can actually interact down to the subtlest note or phrase, and it's set to a score, that was performed with amazing precision, that runs the gamut from classical pieces to newly created ones, to standards, to free-form jazz. A total trip through music and dance itself, divided up into five sections, each featuring a different choreographer, and its own selection of musical choices. It's an absolute success, and it's challenging, playful, filled with moments of both grace and humor, and brimming with athleticism and energy.

I saw the touring production of AMERICAN IDIOT when it played at The Peabody Opera House a while back. I was eager to see it, being a fan of Green Day's music, and this rock opera, in particular. It was a great show, but the one thing that stuck in my mind afterward wasn't the performers, or even the great songs, but instead it was the scenic design. Which brings me to New Line Theatre's intimate production of this extremely tuneful and highly politicized show; a natural for this company to tackle, since they consistently provide fuel-injected presentations of a wide range of material that covers the gamut from neglected newer shows to classics that need some new life pumped into them. It's what they do so extraordinarily well. The disconnect I felt with the touring production vanished in the cozy confines of The Marcelle, and the scenic design wasn't a distraction, instead it became a complement to the anger, frustration, and call to arms that informs this period of terrorism and paranoia in our nation's history. This is a real hit, that genuinely rocks the house! So, get your tickets now.

What began in book writer Douglas McGrath's head as a jukebox musical centered around the relationship between competing songwriting teams Carole King and Gerry Goffin and Barry Mann and Cynthia Weil evolved into something slightly different. This was due to the fact that the show stopped before Carole's ground-breaking, highly personal, and still relevant album, 'Tapestry'. So, the show was altered to place the emphasis on King's story, although there's still a lot of interplay between the couples. And, if you happened to catch the 'American Masters' special on King on PBS, then her story will be familiar to you already, but you'll also catch a few historical inaccuracies here and there. BEAUTIFUL - THE CAROLE KING MUSICAL is a wonderful look at King's rise to fame as a teen who could conjure up melodies that caught the public's ear. It's a sheer delight, packed to the hilt with gorgeous songs that are a part of pop culture history. This is a feel-good, genuinely terrific show that I urge everyone to see immediately!

The title of Lee Blessing's play, ELEEMOSYNARY, refers to the word one of the characters successfully spells, winning a spelling bee in the process, but also to the very definition of it; charitable. It's an intriguing story of three generations of women, all of whom are extraordinarily gifted in one way or another. These individual gifts are both a blessing and a curse to each character, and ultimately greatly affect the way they interact with one another. This is a moving and fascinating story driven by the relationships between these three women, and Mustard Seed Theatre's production is challenging theatre that provides a must-see experience.

Everyone needs someone who's a good listener when they're troubled. And, when you find yourself hesitant or unable to open up to a loved one about something, you can always seek out a therapist to talk to. Therapists offer objective observations that allow their patients to express their feelings without the fear of being judged harshly or over-critically. They're also there to provide assistance in modifying behaviors and thought patterns which are affecting your ability to fully function, at least, if they're any good at what they do. But, they're people too. They have their own lives and their own baggage. Playwright Conor McPherson enters this private world with his work, SHINING CITY, a spellbinding examination of a group of people who all seem to have 'unfinished business', and as director Toni Dorfman notes in the program, 'a need for absolution'. Upstream Theater's production is excellent, and I found myself completely immersed to the point where the play lingered in my memory for days after I'd seen it. That's compelling stuff, and it's the type of work that Upstream does on a consistent basis.

Over the years I've learned a tremendous amount about the Jewish religion and its traditions through the plays and people I've come in contact with at The New Jewish Theatre. But, I have to admit that I never knew the story of the 'wandering Jew', although I'd grown up with parents who loved flora and fauna, and often had the plant growing outside that was nicknamed for the tale. I brought my son along with me to see the show because I want him to be well rounded and know as much as he can about the belief systems of all cultures. Glen Berger's wonderful play, UNDERNEATH THE LINTEL, is a sort of detective story that is truly, as artistic director Kathleen Sitzer described it; a testament to faith. It achieved precisely what I had hoped it would do as well by provoking an interesting discussion between my son and I as we talked on the way home. This is a very well done production that provides must-see entertainment, while also giving its audience plenty to ponder.

Thanks to the developmental work that occurred during The Repertory Theatre of St. Louis' Ignite! Play Festival in 2014 we now have the opportunity to witness the fruit of their labors; the world premier of a very entertaining new musical called GEORAMA. This play tells a fascinating story that is truly a forgotten piece of history that deserves to be celebrated. This production is staged in the Studio Theatre of the Loretto-Hilton, and that adds additional atmosphere and intimacy that makes the story connect in a uniquely vibrant manner. As an avid film fan, I'd read a bit about the history of 'motion pictures', and found countless early examples of flip books, and the like, but nothing prepared me for the sadly neglected tale of John Banvard, who created a virtual recreation of the wonders of the Mississippi River on a scrolling canvas that stretched for miles. That's quite a feat, and so is this staging. I cannot recommend it highly enough! It's truly a show that deserves an audience both young and old to appreciate, or become aware of, something that was truly as magical as the spectacle this artist created.

It's not unusual for movies to be adapted for the stage these days, in fact, it's become rather commonplace. But typically, musicals written for the screen that flop (even though they might have a rather substantial cult following), are usually avoided for obvious reasons. Although, that didn't stop the producers of XANADU from plowing forward, go figure. The Disney film NEWSIES actually seems likes a logical choice to revamp and produce on the stage, and it wound up winning Tony Awards for best score and choreography back in 2012, and becoming quite the hit. So why am I so surprised? I guess because the current touring production, while occasionally dazzling, comes off slightly uninspired and flat. Now, don't get me wrong, there are some really fine performances, an eye catching scenic design, cool effects, and energetic choreography that certainly lives up to expectations. And, like the film, an awful lot of people, both young and old, are guaranteed to truly love this show, as evidenced by the very enthusiastic response from the audience at the performance I attended.

Although I've seen the successful 1968 film version of THE LION IN WINTER, I'd never had the opportunity to watch the actual stage play which it's based upon, until now. Maybe it was the washed out prints that turned me off to it initially, but it's an absolute revelation to see The Repertory Theatre of St. Louis' superb production. What always seemed too stage bound and static in the film is vibrant and intense in person. Forget the movie and enjoy the brilliance of James Goldman's script which is brimming with intensity and passion, and full of clever twists and turns. An excellent cast and expert direction make this must-see entertainment that demands your time and attention.

My lists for the best plays/musicals in St. Louis is in chronological order. I'm not limiting myself to any specific number of entries either. These are simply the best productions and performances in various categories that I witnessed during a packed year filled with companies closing and new ones opening. It continues to be a great time to be a theater-goer in our town, with many, many choices of quality shows available for your viewing pleasure on any given day or evening. My favorite show among all thesel selections just might be Upstream Theater's THE RIME OF THE ANCIENT MARINER. My son and I attended, and were simply delighted by the mix of music and drama occurring on stage. It was a magical experience that I was able to share with my then nine year old little boy, and we both highly recommend that you check out the band Sleepy Kitty.

Each December Stray Dog Theatre chooses an unconventional show to celebrate the season. It's always something unusual, and often something somewhat shocking. I like that idea of going against the grain, and giving audiences relief from the Christmas overload that all forms of media utilize at this time of year. To close out 2015, they've chosen the campy and wildly over the top DEVIL BOYS FROM BEYOND, a sort of mash-up of ideas plucked from 1950's and early 60's science fiction fare like Mars Needs Women and Invasion of the Body Snatchers. There's also an early effort from the UK called Devil Girl from Mars, which may have provided inspiration for authors Buddy Thomas and Kenneth Elliott (music and original sound design by Drew Fornarola). Whatever the case, this is a truly nutty, whacked-out comedy that has something to offend everyone, but somehow rises above its initial shock value with allusions to equal pay for women, and the need for the acceptance of alternative lifestyles. Stray Dog Theatre's latest yuletide foray is a delightfully twisted blast from the past!

When it comes to classifying THE GIN GAME, it's a bit of a sticky wicket. On the cover of Donald Coburn's play it says it's a tragicomedy, and yet it won the Pulitzer Prize for Drama. No wonder my fellow critics and I felt a bit confused as to where it should fall categorically. Personally, the amount of humor present leads me to side with way the play was published. Probably the most famous couple to play the leads in this two person play were Hume Croyn and Jessica Tandy, but many, many others have revived the play over the years. Luckily for you, the current production of this engaging and entertaining work features two of St. Louis' finest actors; Linda Kennedy and Peter Mayer. Under the guidance of director John Contini, this pair provide a wonderful experience that deserves your time and attention. Go see it.

In his director's notes Ken Page mentions that he had a conversation with a dear friend where they were trying to define 'the place that exists beyond ordinary relationships or sexual discovery.' That became the name of Page's latest play, SUBLIME INTIMACY. And, it's an apt title for this artistic endeavor that is lovingly crafted and executed. Page, a playwright, director, and an actor on stage and on screen, has produced another unusual and compelling work, much as he did with an earlier work, CAFE CHANSON. Both are decidedly different, but each turns a number of theatrical conventions on their heads with their mix of narrative, music, and in this case especially, dance. Max & Louie Productions have given us a rare treat that could only come from the mind of someone who is a genuine artist in the broadest sense. The result is a very engaging and magical show that features fine performances, some terrific paintings, and sharply honed direction that pulls together cherished memories to illustrate (sometimes literally) the emotional power that 'a poet of the body' can have on various individuals.

WICKED is pure spectacle, or to quote Glinda the Good Witch herself, it's a 'thrill-ifying' experience that both dazzles and delights, backed by terrific performances and eye-popping scenic design and special effects. It's a prequel of sorts to L. Frank's Baum's Wizard of Oz series of books, that is unexpected, and infused with a positive message about accepting people for who they are and not how they appear. The current touring production playing currently gracing the stage of The Fox Theatre is always a cool show to see, especially if you bring along a youngster who's familiar with the story, but always had questions about why there were good and bad witches

There are some St. Louis connections in this current production of PETER AND THE STARCATCHER. There's local author Ridley Pearson who, along with Dave Barry, crafted a terribly interesting and arresting 'prequel' to the story of Peter Pan with their entertaining novel Peter and the Starcatcher. The stage version of this tale, written by Rick Elice, is an equally imaginative and inspired effort that utilizes a relatively small cast, with just about everyone playing multiple roles, that takes off at a frenetic pace that captures the same qualities that distinguished the original work. I'd seen a touring version over a year ago, but this production by The St. Louis Repertory Theatre is absolutely amazing. It just seems fresher, more touching, and more joyful. I highly recommend this show, as it appeals to families with humor and heart that anyone old or young can enjoy!

A special concert for Voice for Veterans, which seeks to give aid and housing to homeless veterans, took place at The Peabody Opera House on Sunday night (December 6, 2015), and it was a simply joyous experience. Sometimes benefit shows can be a rather somber affair, but that was not the case at all with the pairing of international singing star Mario Frangoulis and the legendary Smokey Robinson. In fact, it was a very enjoyable evening that showcased the talents of both artists who each made the point that homelessness and veteran are two words that should never be associated. These are, after all, men and women who serve our country with the knowledge that they may never make it back, or if they do, may find themselves disabled, or without a place they can call home. If you attended, then you know this was a great cause that featured superb talent giving their all to bring this issue to the forefront, while delivering entertaining and moving sets.

Neil Goldberg who created and directed CIRQUE DREAMS HOLIDAZE, wanted to create a Cirque show that was not only family-friendly, but one that could tour the country. His ideas, based partly on his own ornament collection, came to fruition with this unique holiday extravaganza. It's filled with music (some original by Jill Winters and David Scott, as well as Lance Conque and Tony Aliperti), but also a number of familiar seasonal favorites), incredible circus performers (sans animals, of course, although some performers portray different ones, like rope-skipping reindeers), and a colorful staging that's incredibly busy with movement. This eye-popping show is currently playing The Fox Theatre through December 6, 2015.

Playwright Joshua Harmon has created an intensely dark comedy/drama with his work BAD JEWS. It's a stunning piece that never runs out of steam, even though it maintains a high level of emotional upheaval throughout its 90 minute running time. It's certainly humorous, but it also has a serious tone that leaves audiences with plenty to ruminate on, long after the cast take their bows and the lights come up. That's good theatre in my book. It makes you think, to the point where you may even feel a bit guilty about the laughs it provides. But, that's part of its charm. You may even find yourself moved by an ending that comes about rather unexpectedly. The New Jewish Theatre is currently producing an extremely well cast and directed presentation of this recent (2012) play, and it's one I highly recommend.