Alan Portner - Page 3

“Judgement at Nuremberg” at Metropolitan Ensemble Theatre’s (MET) Warwick Theatre is a fictional rendering of the 1947 Judge’s War Crime Trial held at Nuremberg, Bavaria, Germany. “Judgement at Nuremberg” is a painful remembrance of an attempt to both punish those accountable for the barbarisms committed in the name of the German state and to be consciously impartial in the administration of an accused’s trial rights. Eighteen million people died at the hands of the Third Reich and its National Socialist (NAZI) leaders. Six and a half million of the dead comprised two-thirds of Europe’s Jewish population. It was a determined and deliberate stated goal of genocide of a people. Post war, many of Europe’s surviving Jews fled places they had lived for millenniums in favor of reestablishing a sovereign state in their ancestral homeland where they could finally feel safe. It is ironic that this play opened in Kansas City on the very day that South Africa brought an accusation of genocide against the descendants of the survivors, today’s Israelis, at the International Court of Justice. The play centers on three main characters. One is Dan Heyward, a retired American District Court Judge called to lead a panel of three non-biased jurists in the trial of three NAZI era judicial officials. The second is a renowned German Judge named Ernst Janning. Janning had once sat in the chair similar to America’s Attorney General during pre-NAZI days. The third character is a youngish defense attorney named Oscar Rolfe, a volunteer defender of the estimable Ernst Janning. Janning initially refuses to recognize the authority of the court. It is two years since the end of the war in Europe. The scope of the evil that was done has become clear. The question facing the court is how far down into the German Bureaucracy must consequences for the German people reach? Usual suspects have already been tried, convicted, jailed, executed, or committed suicide. What is left to adjudicate are those who have allowed the worst to happen and why they allowed it. Were they true believers? Were they people who went along in hopes the system would self-correct? Is there any defense for crimes against humanity? Judge Heyward is our eyes as we attempt to understand how this monstrosity that was the Third Reich could have ever happened. “Judgement at Nuremberg” by Abby Mann is sixty-three years-old, yet it mirrors the Donald Trump era in exquisite detail. The arguments put forward in the staged court and from Judge Heyward’s investigation are heard in today’s legal briefs almost word for word. This makes “Judgement” frightening and important for 2024 audiences to see. When you see this play, you will recognize modern, living associates of the past administration mouthing dialog written before they reached their majority. MET has done an excellent job of casting. Director Karen Paisley has choreographed an exquisite twenty-four scene, two-act play in precise detail using minimal, yet effective set pieces. The few conceits adopted for this production work exceptionally well. Most acting is restrained and understated; except for two or three explosions from wholly appropriate characters when needed. Ms. Paisley has incorporated vintage documentary film from the era and what almost seems like a motion picture score backing up the action. “Judgement” is the third iteration of this story by Abby Mann, born Abraham Goodman, a son of Russian Jewish immigrants to the United States. The story first appeared as a television episode of Playhouse 90 in 1957, a feature film in 1961, and this version, a Broadway play in 2001. The Broadway version of “Judgement” was performed a total of fifty-six times. The expanded filmed version recently became available on “Prime Video.” The leading cast members in the MET production are John Clancy as Judge Dan Heywood, Tim Ahlenius as Ernst Janning, and Michael Dragen as Oscar Rolfe. They are backed up by a fine supporting cast. All the characters in this play are products of the playwright’s imagination. They are inspired by similar, real life people. True, historic situations influenced the plot and the legal arguments. “Judgement at Nuremberg” continues at the Warwick Theatre through January 21. Tickets are available at https://www.warwickkc.org/ or by telephone at (816) 569-3226.

The sheer spectacle of “Tina” is amazing.  Emphasizing the fact that Tina Turner was one of a kind, the gravely-voiced, sexy, full out singing style of Tina is so stressful on the performer’s voices, this show uses two actresses to play her on alternate evenings. 

Staging the Future is a philanthropic outreach program of The American Theater Guild (ATGuild), the surprisingly mammoth Broadway presenter headquartered in Kansas City. ATGuild is the nation’s largest non-profit presenter of Broadway tours.

Since 2010 Central Standard Theatre has been producing thought inducing, innovative theatre.  Based in Kansas City, CST offers an international angle to the local theatre scene.  With productions touring Britain, Ireland, Canada and Australia, CST offers the world a unique view of who we are in the Heartland by showcasing our culture at theatre festivals around the world. CST also brings the world to Kansas City.  Annually, The Invasion features the best solo work from International theatre artists.

“Catch Me If You Can” at New Theatre Restaurant is a comedic turn on the Murder Mystery genre. It will keep you guessing from the opening curtain until the big reveal at the end of the show. San Francisco Marketing Consultant Daniel Corbin (Ross Hellwig) has sneaked away for a holiday weekend with his new bride. Following a honeymoon spat, Bride Elizabeth mysteriously vanishes. Who done it? And what did they do?

Last night, November 21, 2023, a Kansas City tradition, the 42rd annual (almost) Kansas City Repertory Theatre production of Charles Dickens’ “A Christmas Carol” opened at the Spencer Theater on the UMKC campus for an extended run through Christmas Eve. Except for the Covid year when the live production was replaced by a video version, audiences have gathered for “A Christmas Carol” since 1980. The house lights dim and a cast of Victorian holiday carolers appear complete with an onstage costumed orchestra. Our Storyteller (Nedra Dixon) also dressed in stunning early Victorian garb, welcomes us. Ms. Dixon is elegant and charming in this her first stint as the Storyteller.

The Kansas City holiday season officially begins on November 21st with the forty-second annual iteration of the Kansas City Repertory Theatre Production of Charles Dickens’ 1843 novella “A Christmas Carol.  Director Jason Chanos is excited about this new mounting of the annual classic. Chanos is both the director of this production and the Associate Artistic Director of Kansas City Repertory Theatre.

A new production of the 1990 award winning stage adaption of “Grapes” by Frank Galati plays now through November 19 at the new Arts Asylum in the lower level theater of their new facility at 824 E Meyer Boulevard in the Brookside neighborhood of Kansas City.  The play won the 1990 Tony Award for Best New Play.

Now being performed at the Kauffman Center and concluding this weekend is a wonderful rendition by the Lyric Opera of Kansas City of Rodgers and Hammerstein’s final composition together, “The Sound of Music”  This production is as good as it gets. Framed by massive settings by Peter J. Davison and glorious costumes by Alex Valasek, “Sound of Music” is the incredible, mostly true tale of the Von Trapp family singers and their escape from the Nazis taken from the Matriarch Maria Von Trapp’s 1949 memoir.

Imagine the Grimm bedtime stories presented on steroids buttressed by the occasional homage to animated motion picture favorites.  This is the basic recipe for “Into The Woods,” an imaginative and odd musical mashup of the Grimm’s tales with music, libretto, and lyrics from Stephen Sondheim and James Lapine performed at the Jewish Community Center’s fine White Theatre.

Aaron Sorkin’s 2018 stage re-imagination of the classic Harper Lee novel “To Kill A Mockingbird” opened Tuesday at the Kansas City Music Hall for a one week run.  It is one of the finest touring companies of any play I’ve been privileged to witness in many years.  “Mockingbird” stars well-known actor Richard Thomas in a stellar turn as the lead character of Atticus Finch.

Seldom does an entertainment attain a level of fiendish absurdity that affords audiences belly busting hilarity after more than forty years.  The indoor space at Theatre in the Park’s Johnson County Heritage Center offers a super production of 1982’s “Little Shop of Horror.”

A new production of a light comedy called “Always a Bridesmaid” is about a week into a three month run at New Theatre Restaurant.   The show (by playwrights Jessie Joes, Nicholas Hope and Jamie Wooten) is a frothy, light, and entertaining look into the lives of three female high school  buddies from a Central Virginia town.  The central attraction is TV and Motion Picture actress Morgan Fairchild as Monette, the many times married mantrap and her three long-time friends.

Kansas City Actors Theater last week opened their new production of “Skeleton Crew” a relatively new (2016) play by Dominique Morisseau on the City Stage located on the lower level of Union Station.

“Grand Horizons” is the tongue-in–cheek moniker given the senior development to which the fifty-year, mostly amicable marriage of Bill and Nancy French has recently been downsized. “Buckle your seat belts… it is going to be a bumpy (and funny) ride.”

“A Chorus Line” from Music Theater Heritage is a not-to- be missed interpretation of a challenging show. Tickets are available online at www.musictheaterheritage.com online or by telephone at 816.221.6987.

Shawnee Mission Park’s “Theatre in the Park,” marks the season with an oddly appropriate July production of “Irving Berlin’s White Christmas.” The item up for view and review is a very nice production of Irving Berlin classic songs and the familiar tale based on a 1954 movie of the same name.  There is significantly more Irving Berlin music in the staged musical than in the 1954 film. 

The point of musical theater (for most people) is pure entertainment, and the New Theatre & Restaurant original production of 1981’s DREAMGIRLS hits the bullseye. DREAMGIRLS is directed by Jerry Jay Cranford and stars a comparatively large, twenty-one member cast backed by an eight-piece orchestra.  Cranford has assembled a cast of Broadway belters and fine dancers to tell the tale of a Supremes-like black female singing trio around 1960 and in the decade to follow.   The show is flashy and impeccably costumed.  The set, while relatively simple, is technically superior. LED screens are used across the background to simulate locations.  Not much was spared when the producer was asked to fund this production.  Choreography by Courtney German is frenetic, well drilled, and perfectly appropriate for this genre.  The musical score is spectacular by Henry Krieger and Tom Eyen.   Several numbers (including the title track) became number one hits outside the show.

Broadway veteran Carrie St. Louis is Starlight’s Elle Woods.  She is super in the role.  St. Louis is cute and bubbly, but no dumb bunny with a huge mezzo-soprano voice that dominates a theater with eight thousand seats.  She is also a determined and skilled dancer.

The White Theatre at the Jewish Community Center closes out its eighteenth season with an excellent production of a story ripped from the scrolls of Genesis, chapters 37-50. It is an early sung-through musical collaboration by Tim Rice and Andrew Lloyd Webber, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT.