Sabra Sellers

GYPSY is the penultimate stage mother musical, but it's also a look at the decline of vaudeville and the rise of burlesque during the depression, and it's ultimately a look at how the famous stripper, Gypsy Rose Lee, made her debut in show business. Jules Styne (composer), Stephen Sondheim (lyricist), and Arthur Laurents (book) have constructed a sturdy classic that's interesting to watch at a time when reality television has essentially revived the Ted Mack Amateur Hour, and all the baggage that comes with that. Stray Dog Theatre continues their stellar season with a rousing production of this popular standard.

Stray Dog Theatre presents SPRING AWAKENING: A NEW MUSICAL, now playing through October 20, 2012. BroadwayWorld has a first look at the production below.

The original cast album of Spring Awakening (music by Duncan Sheik with book and lyrics by Steven Sater) is still in heavy rotation in my iPod, not only because it's a terrifically catchy score, but because of its dramatic power as well. And though some may try to draw comparisons to the touring company that came to the Fox in 2009, there's really nothing to be gained by doing that. Stray Dog Theatre's current presentation is a much more intimate and "in your face" production that may well carry more impact. It certainly affected me deeply, in fact, I could hardly sleep after seeing the show, with the songs and performances spinning around my brain in continual motion. This is a beautiful and haunting rendering that provides must-see entertainment for any theatre-goer.

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.

Even though three couples are the focus of Richard Maltby (lyrics), David Shire (music) and Sybille Pearson's (book) musical called BABY, there's a very good reason the title is singular and not plural. I mention that only to let you know that the play, as charming and engaging as it is, has some moments of drama present as well. This production by Citilites Theatre is nicely done, with a well cast group of couples, and splendid direction by Nick Moramarco, who also did the musical direction and accompanies the group on piano.

HENRY V may well be the only one of Shakespeare's histories where no one is trying to oust the king of England. Instead, it's all about a plan to overthrow France, and thus we encounter one of my pet peeves; the outrageous french accent. St. Louis Shakespeare has mounted a handsome and rugged production of the play, but a number of Pythonesque accents have slipped in, marring an otherwise decent presentation. The first act is all politicking, but the second act more than makes up for it, helping us to understand why this play had been a rallying point for the British troops during World War II, with it's rousing battle at Agincourt, and the wooing of Princess Katherine.

Avalon Theatre Company closes its sixth season with John Pielmeier's haunting glimpse into science, faith, and even miracles, AGNES OF GOD, April 28 - May 8 at Avalon in ArtSpace at Crestwood Court.

Playwright John Pielmeier has constructed an interesting work with AGNES OF GOD. It's decidedly uneven in tone, and the template for the script is very similar to the one utilized by the far-superior Equus (as a learned colleague of mine pointed out), but it's an engaging and involving show nonetheless. Avalon Theatre Company's current production is certainly a solid one, driven by three fine performances and intelligent direction.

Avalon Theatre Company closes its sixth season with John Pielmeier's haunting glimpse into science, faith, and even miracles, AGNES OF GOD, April 28 - May 8 at Avalon in ArtSpace at Crestwood Court.

Avalon Theatre Company closes its sixth season with John Pielmeier's haunting glimpse into science, faith, and even miracles, AGNES OF GOD, April 28 - May 8 at Avalon in ArtSpace at Crestwood Court.

Citilites West presents their first production - ALMOST,MAINE. Join the citizens of Almost as they find and lose love underneath the magical Northern Lights. In eleven vignettes, a comical range of characters fall in and out of love in unexpected and often hilarious ways on a cold, clear, moonless night. Knees are bruised, hearts are broken. But bruises heal, and hearts are mended, almost, in this delightful midwinter night's tale.

Citilites West presents their first production - ALMOST,MAINE. Join the citizens of Almost as they find and lose love underneath the magical Northern Lights. In eleven vignettes, a comical range of characters fall in and out of love in unexpected and often hilarious ways on a cold, clear, moonless night. Knees are bruised, hearts are broken. But bruises heal, and hearts are mended, almost, in this delightful midwinter night's tale.

Citilites West presents their first production - ALMOST,MAINE. Join the citizens of Almost as they find and lose love underneath the magical Northern Lights. In eleven vignettes, a comical range of characters fall in and out of love in unexpected and often hilarious ways on a cold, clear, moonless night. Knees are bruised, hearts are broken. But bruises heal, and hearts are mended, almost, in this delightful midwinter night's tale.

In a reversal of the traditional Shakespeare style of having an all male cast playing both male and female roles, St. Louis Shakespeare's second offering of their 26th season, Jane Martin's Anton in Show Business, boasts an all female cast playing both genders.

ANTON IN SHOW BUSINESS, written by playwright Jane Martin, has some clever ideas going for it, including taking on the sacred institution of Anton Chekov himself, as well as examining the ongoing conflict between art and commerce. However, it comes off as more a collection of interesting and amusing bits and pieces, than the pure farce it masquerades as. St. Louis Shakespeare has concocted an engaging production of this work that's occasionally hilarious, and definitely worthy of your time and attention.

In a reversal of the traditional Shakespeare style of having an all male cast playing both male and female roles, St. Louis Shakespeare's second offering of their 26th season, Jane Martin's Anton in Show Business, boasts an all female cast playing both genders.

In a reversal of the traditional Shakespeare style of having an all male cast playing both male and female roles, St. Louis Shakespeare's second offering of their 26th season, Jane Martin's Anton in Show Business, boasts an all female cast playing both genders.

St. Louis Shakespeare begins its' 26th season in July with THE TAMING OF THE SHREW, followed by Jane Martin's ANTON IN SHOW BUSINESS in August and THE TEMPEST in October, at the Grandel Theatre in the Grand Center Arts District. In March, SLS returns with CYRANO DE BERGERAC, presented at the Missouri History Museum as part of their Performing Arts Series.