Chris Gibson - Page 14

FORGET ME NOT by playwright Tom Holloway explores a story torn from the tragic practice of "child migration" that was utilized during times of war and unrest in Great Britain since the 1600s. This is a poignant, touching and, ultimately, heart-breaking tale of one family's journey to reconnect. The acting and direction are simply superb, and you'd have to be a pretty tough person not to be moved by it. Upstream Theater's intimate production will linger in your memory long after the lights come up.

Playwright Matthew Lopez's THE WHIPPING MAN is a genuinely intriguing look at religion and the aftereffects of emancipation that is set in the days following the end of the Civil War. It examines a subject unfamiliar to most, and that's the fact that there were slaves on plantations that were raised in the Jewish faith. Informative and powerful, it's been given a wonderful staging by the New Jewish Theatre.

I've seen a great deal of cabaret shows over the years, and some are lively and enjoyable, while others are so serious and studied that it's sometimes work just to sit through them. But, New Line Off Line's Cabaret, WHAT THE HELL ARE WE DOING HERE?(January 25th at the Kranzberg), is a kind of cat indeed. It's a cabaret with attitude. Fresh and full of cool, the show offers a plethora of offbeat material that deserves to be heard by an audience. In director Mike Dowdy's more than capable hands, performers Ryan Foizey and Marcy Wiegert blasted their way through about an hour of songs and personal patter to the absolute delight of a sold out crowd.

Playwright Sharr White has concocted a mesmerizing and brilliant piece of work with his play THE OTHER PLACE. It's a mind-bending, non-linear narrative that's purposely disorienting, and absolutely hypnotizing to watch. The Repertory Theatre of St. Louis has constructed an amazing production of this work that's marked by top notch performances and direction. In other words, this is must-see theatre!

While THE RIDE DOWN MOUNT MORGAN might not be considered one of playwright Arthur Miller's best works, there is still plenty to chew on here. The subject matter, bigamy, is certainly a touchy one, but what makes it even more so is the way it's handled. The St. Louis Actors' Studio has assembled a fine cast to bring this interesting, and surprisingly amusing, piece to life, and the direction is top notch as well. And, while I don't necessarily agree with Miller's point of view as expressed by the lead character (Lyman Felt), it's an intriguing argument that's sure to spark debate, and that's what good theatre does.

As a rather humble musician myself, I can appreciate the patience and perseverance it takes to keep a group of musicians together for any outstanding period of time. I can also understand how changing one member can effect the dynamics of both the music and the people playing it. That's what makes playwright Michael Hollinger's OPUS so fascinating to me. Over the course of about 90 minutes you're taken backstage and onstage in various places,with a full access to the emotions and passions that come forth from, in this instance, a string quartet. The Repertory Theatre of St. Louis has put together a brilliantly spellbinding production that hits just the right note on every occasion.

It's amazing how many Hollywood comedies, cult and otherwise, have been turned into musicals, some successfully, some not so much. Which brings us to ELF, freely adapted from the amusing Will Ferrell vehicle of the same name, but lacking his particular comedic talents. That's not to say there isn't an audience for this show. Packed houses with families in tow seem to be eating up the playful nature of this holiday fare, and it's understandable. I brought my son along and he had a jolly good time as well.

One of the worst things that can happen to a theatre group is to lose its venue, and that's precisely what happened to The Black Rep. But, it's the season to give thanks, and in that spirit, we celebrate the fact that Harris-Stowe State University has graciously offered up the Emerson Performance Theatre as a place for the Black Rep to stage their current season. The first production in their new digs is the wonderful BLACK NATIVITY: A HOLIDAY CELEBRATION.

While most everyone is familiar with the tragic tale of Anne Frank and her family, fewer know the story of HANNA SENESH, although there have been books, movies and plays made about her extraordinary experiences. Hannah was a woman driven by her passion for life, and she was also a writer, having written both poems and plays, as well as a detailed journal. Playwright David Schecter (in collaboration with Lori Wilner) has done an exceptional job of turning these seemingly disparate elements into a thoroughly engaging work, and The New Jewish Theatre is currently presenting a very special production that demands your time and attention this holiday season.

The Fox Theatre has been home to an annual presentation of Nebraska Theatre Caravan's A CHRISTMAS CAROL for the past 9 years. It's easy to see why. The current version on display is a wonderfully crafted and picaresque take on Charles Dickens' holiday tale.

I wasn't sure how I was going to feel about The Butterfingers Angel, Mary and Joseph, Herod the Nut and the Slaughter of the 12 Hit Carols in a Pear Tree. I mean, for sheer title length it deserves some kind of acclaim. But, it's written by William Gibson. You know, the guy who wrote The Miracle Worker and Two for the Seasaw. So, I wasn't sure what to expect. And that's a good thing. Yes, it's kind of a mixed bag at best, but I have to applaud the efforts of Stray Dog Theatre for bringing it to my attention. It's definitely worth checking out.

MEDAL OF HONOR RAG reminds us all of the sacrifices made by those who fought for their country. Though it's set in 1971, it's relevance to today's audience is a moot point. The only shortcoming here is a certain degree of familiarity that permeates the work, and it's probably a direct result of the amount of material that's tread upon similar water over the past 40 years. However, I still consider this essential viewing because we need to remember our past so we can stop repeating the same costly mistakes.

I can't say that I've ever read much of Agatha Christie's work, I'm more inclined toward the convoluted and pulpy prose of Raymond Chandler myself. But, there's no denying the staying power of her play, THE MOUSETRAP, which is still running in Britain since its opening in 1952. It's become an institution, and has influenced countless writers with its mix of quirky characters and deliberately misleading red herrings. The Repertory Theatre of St. Louis is presenting this classic mystery in a splendidly performed production, and it's a perfect holiday treat that engages and entertains.

Based on the hit 1992 of the same name, the musical version of SISTER ACT just might be more entertaining in a lot of ways. Since the star of the film, the multi-talented Whoopi Goldberg, is producing it as well, that might explain why it has a certain darkness around the edges. In any event, the current production playing the Fox Theatre (though December 1, 2013) is an inspirational delight.

The musical GODSPELL will always hold a special place in my heart since I was fortunate enough to produce the music for a version several years ago. While it was quite an undertaking for one person, it allowed me to get very familiar with Stephen Schwartz's genre-hopping score. Ever since, I've been a unabashed fan of the work. The Peabody Opera House is presenting a very good production buoyed by a talented and energetic cast. Even if you're not a particularly religious person, you'll still find plenty to appreciate in this family-friendly show.

Started back in the 1970's, the group known as Rain gained it's initial fame by recording the song selections utilized in the Dick Clark TV movie, The Birth of the Beatles. Over the years they've become better known as a touring group bringing the music of the four lads from Liverpool to the stage for a theatrical event that takes it's cast and audience on a chronological trip through their music, and the culture of the time. It's a thoroughly enjoyable ride, with a group of highly talented musicians expertly recreating the famed "Beatles sound".

Nicky Silver's PTERODACTYLS is a pitch black comedy with a number of peculiar twists and turns. Like his play, The Lyons, the focus is on a highly dysfunctional family that's fraying around the edges. The St. Louis Actors' Studio has put together an engaging presentation that's both shocking and amusing in equal measure.

ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 is a smartly conceived acapella musical by Peter Rothstein that chronicles the stunning events that occurred on Christmas Day 1914. It mixes short narrative bursts with 23 songs from the period, and it's never dull or contrived. For me, the hearty vocals produced by the cast are a sheer delight to listen to. Mustard Seed Theatre has put together a wonderful production that's a real treat for the upcoming holidays.

The latest release by pianist/composer David Lanz is called MOVEMENTS OF THE HEART, and that title accurately sums up the tone and tenor of the CD. These thirteen songs reflect the variety of emotions and feelings that accompany being in love. Fittingly enough, two of the compositions are co-written by David's new romantic interest, Kristin Amarie. From top to bottom, this is an absolutely lovely work.

Set in 1939, when Poland was falling to the Nazi's and Britain was being pulled into what would become World War II, playwright Mark St. Germain's engaging work FREUD'S LAST SESSION is a fascinating look at the historic meeting between two very different minds. Impeccably acted and directed, this Studio Theatre presentation by The Repertory Theatre of St. Louis is a brilliant 75 minute piece that enlightens and entertains. This is absolute must-see theatre.