Chris Gibson - Page 8

TELL ME ON A SUNDAY has an interesting history, being conceived by Tim Rice as a TV series initially. Frequent collaborator and composer, Andrew Lloyd Webber, later took the project to lyricist Don Black, and a lovely one act musical resulted. Though changes have occurred over the years with how it's been utilized (acting as the first part of the show SONG AND DANCE), and with song choices that have come and gone, this production by New Line Theatre is probably the closest you'll find to its original vision. Sparked by some of Webber's most gorgeous material (it occasionally reminds me of vintage Burt Bacharach at times, and I mean that in the best possible way), and laced with Black's amusing and often biting lyrical content, it radiates perfection under Mike Dowdy-Windsor's direction, and in the process, provides actress Sarah Porter with an excellent vehicle to showcase her exceptional talents.

On a beautiful summer evening, under a half moon sky, and with a gentle breeze wafting through the air, nothing could compare to seeing the final show of the season at The MUNY. They close with yet another stellar selection that's filled with flair and grace. This was especially important and evident when a 25 minute interruption of the proceedings occurred during a Black Lives Matter protest, and a remembrance of the Ferguson shooting of Michael Brown. A huge thank you should be awarded to actor Ken Page, along with Michelle Williams as they came out to address the protests which took place as the second act was set to begin. Page's eloquent and thoughtful speech allowed the action to continue on stage without further incident. All that aside, this is an absolutely vibrant production of AIDA, which sparkles like it never has before. An excellent cast, led by Michelle Williams, formerly of Destiny's Child, and an orchestra that can more than deftly handle the shifts in style the score presents. bring considerable energy and enthusiasm to Elton John's music and Tim Rice's lyrics. And, while the book and music may drift away from versions you've seen before this playful, and sometimes anachronistic, approach to this tale of tragic, star-crossed lovers, is decidedly engaging and entertaining. You'll be enthralled by its majesty!

Set during a period of great turmoil just prior to the Russian revolution (1905), FIDDLER ON THE ROOF is a joyous celebration of life in times of uncertainty. Most versions I've seen have been scaled down considerably, focusing on the more intimate scenes. That's certainly not the case here. The MUNY's spectacular production gives us the full breadth and scope of Joseph Stein, Sheldon Harnick and Jerry Bock's thoughtful and heart warming take on themes of family and tradition. Anchored by a particularly strong cast and top notch staging this, is quite simply, perfection!

You say that you're feeling a little blue, or maybe just experiencing some 'non-specific' sadness? Then a sure cure for your condition can be found by attending STAGES St. Louis' scintillating presentation of THE DROWSY CHAPERONE. This is an incredible and uproariously funny show that pokes gentle fun at the very core of musical theatre conventions. Everything is fair game in Bob Martin and Don McKellar's witty script, which even manages to lampoon opening blackouts and intermissions. This revival is a much welcomed and thoroughly enjoyable experience, and I can't remember the last time I've laughed so hard!

We're so lucky to have the privilege of having the St. Louis Actors' Studio present the Labute New Theater Festival each year. Submissions come from around the country, are whittled down to a few, and then presented in two parts, with each section receiving a full two week run. In addition, there are staged readings of the High School finalists who also submit their new works. While I was unable to attend the first part, I did get a chance to see the second, and was pleased with the results of this years' choices. It was a good mixture of styles and approaches, and it continues to be something our region should be very proud of.

I've seen MAMMA MIA! many times, and I've always enjoyed the way it utilizes so many of ABBA's marvelously catchy, and so obviously theatrical in nature, tunes to tell its simple story. With the band cranking out a righteous sound, and back up singers filling the night air with harmony, The MUNY reminds you of why its just so unique and amazing. It has the ability to make a show seem larger than life. That's exactly what happens here in spectacular fashion. Go see it and enjoy this perfect show for a summer's evening under the stars!

I did some creative work for First Run Theater during their early years, underscoring some shows, and even directing a couple of one acts. I admired the fact that they provided a testing ground, a full staging, of works by local playwrights. That's an opportunity that goes far beyond a staged reading, and actually brings an author's vision to life with an immediacy that's filtered through the talent that presents it. I went back to a theater I hadn't stepped a foot in in years, and saw what I think is one their finest productions, TRICK AND ANOTONIA, written by Jenn Ciavarella. Although it could still use a bit of tightening, its a compelling tale, the actors all do solid work, and Landon Shaw's direction and scenic design is very thoughtfully conceived and executed.

I grew up looking forward to the weekend, because that's when channel 30 would broadcast 'Chiller Theater', providing a burgeoning horror fan like myself with the chance to view all the creepy classics that sprang from the loins of Universal Studios during the 1930's and 40's. I was a preteen when YOUNG FRANKENSTEIN played at the Westport cinema for a year! Yeah, movies used to actually do that. So, it was a genuine treat to see one of my favorite monsters lovingly parodied by Mel Brooks and Gene Wilder. And, it was with much anticipation that I looked forward to seeing the musical version of this beloved comedy from my childhood on the grand stage of The Muny. I think it's an extremely entertaining show, filled with a plethora of familiar gags, as well as some outstanding performances. This well cast and delightfully staged production is full of gorgeously spooky scenery and fun musical numbers, and I highly recommend that everyone catch this particular presentation, because it's far and away more humorous and spirited than the touring show that came through several years ago.

If you've seen the Maysles brother's documentaries GREY GARDENS and THE BEALES OF GREY GARDENS (which are actually collaborative efforts between David & Albert Maysles,Ellen Hovde, Muffie Mayer & Susan Froemke) then you have to see Max and Louie Productions' brilliant staging of the musical based upon these larger than life figures. If you haven't see either, then you desperately need to. Seriously, they're on HULU, watch them! Eavesdropping on Edith Bouvier Beale (big Edie) and Edie Beale (little Edie) in these films is an immersive experience, filled with snippets of songs, stories of missed opportunities and lost loves, a dilapidated estate, lot of cats, and more than one raccoon. Their love for one another is, somehow, crystalline clear, but lying beneath layers of scars that a life unfulfilled can produce. The musical tells it all, with a one act flashback to 1941 that fills in the blanks (book by Doug Wright) that led years later to their seclusion in squalor. This is masterfully achieved by the combined efforts of an exceptional cast and expert direction. I'll say it more than you once; you must see GREY GARDENS.

Meredith Willson's classic musical, THE MUSIC MAN, gets a lively and engaging workout on the stage of The MUNY. It's a show near and dear to my heart since I played the lead in a high school production many moons ago. It's also why I especially wanted my son to see it. Happily, he thoroughly enjoyed the show, and while there were some mistakes here and there, it was still an uplifting charmer that was filled with a slew of memorable songs and moments.

If you missed The Muny's production of 42nd STREET, you missed a show that was an absolutely perfect fit for the wide open spaces its stage presents. The original Warner Bros. 1933 pre-production code film was a blend of behind the scenes melodrama and onstage eye-candy. It gave depression era audiences a chance to escape from their worries with Lloyd Bacon's direction of the story and Busby Berkley's show-stopping musical direction. And, that's the caliber of entertainment you'll find on stage at The MUNY. It's an extravaganza that verges on pure spectacle, with that enormous canvas worked to perfection; a snappy mix of what made the movie and the Broadway version so successful.

Every year you can count on STAGES St. Louis to produce a wonderful season of musicals, and you can always be sure there will be something for the younger set in the schedule as well. And,they make sure that the same care and professionalism goes into the production of each and every show, no matter who it's aimed at. The Westport Playhouse has also proved to be a good venue for these Theatre for Young Audiences presentations, and with each subsequent show here they seem to really be getting more and more comfortable with the very intimate surroundings it provides. Such is the case with their offering this year, DISNEY'S ALICE IN WONDERLAND, a very colorful, engaging, and extremely entertaining musical that manages to pack a lot into around an hours time. It may just be the best show of this type they've ever produced, and I highly recommend it!

It's always fun to take in the many treats available at Shakespeare Festival St. Louis each year in Forest Park, and I'm not just talking about the food and drink stands, but also all the performers, mini-versions of the show, etc, that take place before the main attraction begins (arrive early). And,with the weather just a touch cooler there's no excuse not to attend, Besides, it's truly special watching a classic work by the immortal bard under the stars. This year a most apropos example of his work, A MIDSUMMER NIGHT'S DREAM, takes flight in the wooded confines, exactly the place where the action of this play occurs. It's a match made in heaven, and it's also a work that, as I've stated in other reviews, is a great introduction to the playwright. So, by all means, bring the family and enjoy this fantastic production.

THE WIZARD OF OZ opens The MUNY's 98th season this year, and it's a lively and colorful production that provides an enjoyable experience for kids of all ages. This is an excellent presentation of one of The MUNY's most beloved shows, filled with fine performances and enough action to keep even the tiniest of tykes fully engaged. Yes, I know the unseasonably hot weather we're currently experiencing is a consideration for a lot of patrons, but with the fans running at full blast, you'll find it's a lot more comfortable than you would expect. My son and I had a blast, and this is the fourth production of the musical he's seen, and as he said, easily the best. It's a perfect show to take the family to, and one I know that you'll have an absolutely wonderful time seeing. It's also a larger than life spectacle that fits the expansive MUNY stage like a glove.

STAGES St. Louis celebrates their 30th year with a very funny musical that deserved a much better fate that the short run it had on Broadway, IT SHOULDA BEEN YOU. A play of sorts on the old song 'It Had to be You', this work is difficult to describe simply because there are so many farcical twists and turns that revealing any would spoil the experience. What I can tell you is how terrific this production is. It features a top notch cast that all seem to be having a great time, and why not? It's filled with clever lines and a fine score (music by Barbara Anselmi, book by Brian Hargrove and lyrics by Hargrove, Jill Abramovitz, Michael Cooper, Carla Rose Fisher, Ernie Lijoi, and Will Randall) that's catchy and really fits the show well. I will provide a brief synopsis, but suffice to say, this might be considered the Murphy's Law of shows that feature a wedding. But, you can't go wrong by taking in this superbly rendered presentation, and I heartily recommend that you see it!

It's that time of year again! Yes, right before it's officially Summer, our own town's one-ring circus pops up the big top behind Powell Symphony Hall. Circus Flora is a local tradition, and this years' presentation, PASTIME, also touches on another St. Louis tradition; baseball. It's a delightful mix of humor and athleticism that presents us with a slate full of premium acts, all in an intimate environment, and freed from all the 'scary clown' nonsense you've seen in movies any number of times. No, Circus Flora is guaranteed fun for everyone!

ATOMIC receives it's Midwestern regional debut with New Line Theatre's thoroughly engaging and informative production. While it might not seem typical of the productions you're used to seeing the company present, it falls into a category which they excel at; breathing fresh life into a new show, and in the process, displaying its many artistic merits. As noted in the director's notes, this is a modern Prometheus story in a sense, with physicists creating a sort of Frankenstein's monster as they construct this weapon of mass destruction. The analogy of letting the genie out of the bottle could also apply, since this new technology also led directly to the Cold War and arms escalation that occurred. This isn't just a slice of history that explains how the atomic bomb was created, but more a piece that shows us the emotional impact it had on its creators, Filled with a clever and catchy pop/rock score that drives the angst the characters feel, particularly Leo Szilard, a name passed over in many history books despite his brilliance, feels over how the bomb is going to be utilized. Full of surprising amounts of both humor and heart, this is great theatre, and I could tell from the discussions that happened during intermission, a show that will surely provoke a lot of lively debate. It's essentially must-see entertainment that will have you pondering many of its myriad of aspects and points of view long after the lights have dimmed.

In the grand tradition of MGM's classic That's Entertainment! (parts 1&2) comes the latest release from Severin Films called That's Sexploitation!, which takes us on a journey from silent cinema up to the 1970's when hardcore XXX films rendered them passe. It's a mind-bending excursion into over 2 hours of clips culled mostly from co-producer (the late, great) Mike Vraney's collection, which you can find on the internet under the site name of Something Weird Video. These films, some of which may seem misogynistic and exploitative (duh), are actually so cartoonish that they shouldn't be taken seriously except as examples of a forgotten age. Honestly, while there's certainly some shock value to be had here, you'll probably find yourself laughing hysterically at the more inane things that have been captured. At this point, Quentin Tarantino and his many imitators have picked the bones of grindhouse cinema clean, and to the extent that a lot what you see here is actually quite tame in comparison. The stuff that isn't is so over the top that your jaw will drop in astonishment. It's all here: nudie-cuties, filmed burlesque shows, the "roughies", exotic dancers, acid era body painting, etc. This is definitely on the must-see list of all psychotronic film junkies, and should be required viewing for everyone else.

Apparently, due to legal issues with rights that had to be worked out, this version of YENTL, based on the short story "Yentl, the Yeshiva Boy" written by Isaac Bashevis Singer (book by Leah Napolin and Singer), cannot be referred to in its title as a musical. It all has to do with Barbra Streisand's dreary and dreadful (although some people adore it) 1983 musical film version. But, there's no confusing the two once you see this utterly charming adaptation. It adheres closely to Singer's work, while the film veers off into a direction which not only makes little sense, but also butchers the author's intent. That's a shame, but when you're writing, directing, starring, etc, you can tend to lose sight of the actual story, turning it instead into a nothing more than a self-serving star vehicle. Jill Sobule's music (she composed "I Kissed a Girl", oddly enough) provides a genre-hopping mix of styles that may, at times, seem anachronistic, but which serve the tale very well. The New Jewish Theatre's current production is a delight, and I heartily recommend it.

If you think about it, BULLETS OVER BROADWAY is the perfect Woody Allen film to turn into a Broadway musical, especially since it pokes fun at the process of producing one. Add some particularly well drawn characters (book by Allen, based on the original screenplay written with Douglas McGrath) and a copious amount of humor, and combine that with a score that cherry-picks a wealth of classic period music, and you've got a winning combination. The current touring production, which is stopping briefly at The Peabody Opera House (one night only - May 5, 2016), is a hilariously engaging show, full of flashy song and dance numbers from a bygone era, that shouldn't be missed.