James Lindhorst - Page 9

The Muny's Bring It On is electrifying musical theatre for people of all ages. The biggest surprise is Jeff Whitty’s clever book. His story is filled with laughs, unexpected surprises, and a lot of heart. The young exuberant cast’s lively performances are punctuated with high-intensity dancing and explosive gymnastics. The Muny’s vibrant production of Bring It On soars and is highly recommended. 

It is odd to call a story about a terminal cancer patient likeable, warm, and witty. Director Robert Ashton and his cast have staged a bittersweet production of Colder Than Here that is filled with vulnerable performances. Laura Wade’s affectionately droll and delightfully strange dark comedy conveys how laughter can be a cathartic force that disarms grief. 

STAGES St. Louis has a hit with their zany Muder for Two. Director Michael Kostroff keeps the fun coming for the entire 90-minutes in a fast-paced audience pleasing comedy. The script is goofy and the lyrics witty, but it is the comedic physicality of two immensely talented actors, singers, pianists, and entertainers who fearlessly earn every laugh. Ian Fairlee and Jeremiah Ginn make a sharp comedic duo who mine plenty of giggles, chortles, guffaws, and thigh-slapping laughter. 

Satterfield and McIntire’s blunt script carries a lot of unflinching truths about being overweight. Heavy takes on weighty topics. There are several frank adult themed discussions and overt sexuality. It is bold writing with a lot of humor and has much to say about life as an obese person. Heavy is entertaining overall even with the second act plunge into sentimentalism.

The New Jewish Theatre production of The Heidi Chronicles is an entertaining revival of Wasserstein’s seminal work thanks to Ellie Schwetye’s storytelling expertise. Schwetye’s direction and sound design builds the narrative through the chronological timeline she creates. She, and projection designer Kareem Deanes, walk the audience through two-and-a-half decades using projections of memorable newsworthy events and music from the 1960s, 70s, and 80s. It is pure nostalgia for Baby Boomers and some older Gen Xers.  

Often a modern take on a classic will go awry, but Michael Sexton’s brilliant vision creates a phenomenal retelling of Hamlet. His collaboration with his actors and designers gives this production it very cool retro and jazzy vibe. The show’s running time clocks in at just under three hours. It is well paced, moves along expediently, and is masterful storytelling. This is an excellent production that is entertaining for the masses, not just for the Bardolators.  

POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive is filled with absurd sight gags, whacky dialogue, and absurdly comedic performances from an all-in ensemble.

The Black Rep has provided St. Louis audiences many opportunities to see the works of August Wilson. This is an entertaining, well-acted production of Radio Golf. It’s not only an aesthetically pleasing production, but it is a once-in-a-lifetime chance to witness a part of theatrical history with two actors reaching a personal theatrical milestone having now performed in all ten of Wilson’s century cycle plays. Wilson’s works give voice to the black experience in 20th century America with themes that are relatable to all theatergoers. This is an outstanding opportunity to see Wilson’s final and most contemporary play staged by a skilled director and a cast of five extraordinarily talented actors.

Up next at New Jewish Theatre is Wendy Wasserstein’s Pulitzer Prize and Tony winning play The Heidi Chronicles, a semi-autobiographical story of Wasserstein’s life experiences over three decades. The play is considered groundbreaking for its examination of feminism, the changing roles of women, relationships, social consciousness, and shifting cultural norms. The comedic drama premiered Off-Broadway in 1988 before transferring to Broadway where it played 622 performances.  

Mythophiles will find Baer and McLaughlin’s work fascinating and captivating. Lewy’s direction is crisp. Their pacing moves the plot along effortlessly. Strom, Baer, Ferrari, and Lantsberger’s offer arresting portrayals of the nymphs and the script's metaphysical concepts. The technical aspects are first rate, especially Baer’s set design and the large tree centerstage. Erin Riley’s lighting design accentuates Baer's intentional designs. While the production is polished and entertaining, those without significant knowledge of the subject matter may find themselves struggling to keep up with the relationships between the nymphs, nature, and the gods.

The STAGES St. Louis season opens at the end of May with the hilarious musical whodunit Murder for Two. A famed novelist is killed at his surprise birthday party and everyone attending is a suspect. A small-town police detective, piano playing Marcus Moscowitz, arrives to investigate and question all 12 suspects. The 12 suspects are all played by one piano playing actor. The zany music-filled murder mystery unfolds as Detective Moscowitz interviews the eccentric party guests.   STAGES St. Louis artistic director Gayle Seay knew she had to find the perfect team to lead this madcap comedic thriller. Casting two actors who are piano playing virtuosos, plus standby actors for each role was hard enough, but she immediately knew who she wanted to direct. Enter Michael Kostroff.  

On Wednesday, the Tony Awards Administration Committee announced that The Muny is the recipient of the 2025 Regional Theatre Tony Award. The honor recognizes a theatre company that displays a continuous level of artistic achievement that has contributed to the growth of theatre nationally. Immediately following the announcement, Broadway World had the opportunity to sit down with The Muny’s Artistic Director & Executive Producer Mike Isaacson, and the Muny’s President & CEO Kwofe Coleman, to get their reactions.  

This week St. Louisan Joan Lipkin was inducted into the College of Fellows of the American Theatre in ceremonies held on April 26 – 27, 2025 at Arena Stage in Washington, D.C. Lipkin is a internationally renowned theatre artist, playwright, educator, and activist who works in the intersection of performance and civic engagement to create dialogue about pressing issues. Lipkin called the cohort inducted this year “wonderful.” She was humbled to be included with the esteemed group of theatre professionals who were also inducted including Tony winner André De Shields, playwright and songwriter Caridad Svich, playwright and screenwriter Kristopher Diaz, author Daniel Banks, author J. Ellen Gainor, and Tony and Pulitzer Prize winning Playwright August Wilson who was inducted posthumously on what would have been his 80th birthday.  

When the Tony nominations were announced this morning St. Louisian Jack Lane was nominated for the eighth time for producing shows on Broadway. This season he is part of the producing team for the smash hit Sunset Blvd that is currently wowing audiences at the St. James Theatre on Broadway. 

JOHNNY TAYLOR IS GONE is an entertaining, delightful, and nostalgic story about times gone by in St. Louis. It is a story about both holding onto and letting go of the past. The play is enjoyable despite some of the amateurish technical elements. Seating is general admission, so it is advisable to arrive early and sit near the front so you can hear all the dialogue.

Fly North Theatricals Little Miss Sunshine has a lot of laughs thanks to Healy’s creative direction and the breakout performances from young talented actors.

This Will Be: The Spirit & Soul & Music of Natalie Cole played to two sold out houses at The Blue Strawberry. Hanrahan, Healy, Kidd and the rest of the company may have found another cabaret concept musical with long running potential.