Chris Gibson - Page 16

Rodgers and Hammerstein's SOUTH PACIFIC is a lavish and impressive show filled with gorgeous melodies, many of which have become standards that you'll find yourself humming on the way home from The Muny. From an intellectual standpoint, the social issues that this Pulitzer prize winning drama tackles were groundbreaking for their time, and they still manage to make an impact today, despite how far along we may have come in our thinking. Hammerstein and original director Josh Logan crafted a solid book that pulls elements from James Michener's Tales of the South Pacific, while still following the usual musical theatre conventions of the time. In particular, there are the parallel love stories that thread throughout this World War II based tale, both building in their passion until they're undone by deep-seated racial prejudices that have to be overcome before either can move forward.

It's only fitting that while we're celebrating Independence Day there's a production of the musical 1776 being staged by a local theatre group. After all, it's not has-been bands at local fairs and fireworks displays that we're supposed to be honoring on this particular occasion, but rather the principles which this country was founded upon. And, 1776 is an entertaining and informative show (book by Peter Stone, and music and lyrics by Sherman Edwards) that attempts to set this historical event to music. Although it's often uneven in tone, it's an engaging ride nonetheless, and Insight Theatre Company's current production is a solid interpretation driven by some fine performances.

Knowing full well it's popular reputation, but having seen only one production, I had moderately high expectations for The Muny's take on Dan Goggin's musical comedy, NUNSENSE. I'm not Catholic, so I assumed that some of the humor might be lost on me. Through osmosis alone, I've probably absorbed enough knowledge of the religion's rites, rituals and dogma to get the gist. There are some amusing bits to be found here and there, and this version makes sure to throw in some local humor as well, but the songs aren't especially memorable, and the jokes often fail to hit the mark. Maybe the real problem is the fact that this is a small, and sometimes even intimate, show that gets lost on The Muny's vast stage. However, there are some fine performances from a terrific cast deserving of your time and attention.

Nearly everyone is familiar with the tale of CINDERELLA. You've either been read the story as a child, or perhaps viewed one of the many movie versions. It's just one of those things that seems to creep into our subconscious through osmosis. In fact, variations continue to pop up in books and films to this day. It's even become part of our language; the so-called 'Cinderella stories',which find people (often athletes) triumphing over adversity. The classic was brought to life in an animated feature with music (compositions by Mack David, Al Hoffman, and Jerry Livingston) by Walt Disney in 1950, and it continues to enchant audiences as evidenced by the rapt attention the young crowd gave the current version being presented by Stages St. Louis.

The original animated film Shrek was a kind of adult fairytale, though it was obviously aimed squarely at the youth market as well, successfully spawning a franchise with sequels and merchandising galore. So, it should come as no surprise that Dreamworks would opt to try their luck on stage with a musical version of their blockbuster hit. Happily, like the original, it's a cute and amusing production that will play equally well to children and their parents, who will certainly appreciate some of the more grown-up humor. Jeanine Tesori's score serves the play well, and is undeniably tuneful in execution, but the real treat here is David Lindsay-Abaire's clever book and lyrics, which peppers the dialogue and songs with a remarkable amount of wit. The current production of SHREK THE MUSICAL, which is playing at The Muny at Forest Park, is a cleverly mounted and thoroughly enjoyable show.

Shakespeare's KING LEAR can be interpreted in any number of ways. But, at it's heart, it's the tale of two families that are torn apart when their patriarchs misjudge their own offspring. King Lear turns the division of his kingdom into a test of love among his three daughters, while the Earl of Gloucester carelessly allows a note forged by his bastard son Edmund to destroy his relationship with his other son, Edgar. St. Louis Actors' Studio is presenting a slightly more scaled down and intimate production of this work that focuses our attention keenly on the story, as well as on the fine performers who populate this excellent cast.

Torrential rains beforehand, a late start, and even technical issues couldn't dampen the enthusiasm of the cast SPAMALOT, which is currently playing The Muny. I brought my young son along to the show since he'd enjoyed the movie, Monty Python and the Holy Grail, that it's based on, and I'm happy to report that he laughed at the silliness on display repeatedly. I myself have issues with this hodgepodge of scenes cobbled from the cult film, and in fact, it is the additional elements that book writer and Python member Eric Idle included, along with a couple of fresh songs he's written with frequent collaborator John Du Prez, that really stand out to me in this parody/homage. One thing's for sure, a game cast led by John O'Hurley delivered a hilarious presentation under less than ideal conditions this past Monday at the Muny.

Stray Dog Theatre returns to their roots during their 10th anniversary season by presenting the first play they ever produced; John Guare's SIX DEGREES OF SEPARATION. Since this is a play set in 1990, it's particularly interesting to view it through the lens of the information age that we live in today. Guare's work emphasizes the importance of making personal connections with others, and we've definitely overachieved in the sheer volume of connections we have the ability to make these days, we've just managed to make them less personal, which really defeats the purpose. And, that's is why this work is still so vital and engaging.

ALWAYS...PATSY CLINE is a wonderful show, brimming with good humor and a great selection of classic country tunes. More than just a tribute show, this musical offering actually has a story to tell to go along with its superb collection of material covered by the iconic singer. But, what really makes this show successful are the performances by the cast and the band, all of whom do absolutely impeccable work. With the entire run sold out, or nearly so, this review is just confirmation of what a lot of you already know; this is exceptional, must-see entertainment produced by Stages St. Louis.

While I'm well acquainted with L. Frank Baum's classic tales of the land of Oz, and I've certainly seen numerous stage adaptations of his work, I'd never had the opportunity to see THE WIZ, unless you count the film version (and I don't), until now. After viewing the Black Rep's splendid production I'm happy to report that it's a tune-filled spectacle that's brimming with color and movement. It has an Afrocentric, funky mid-1970's era vibe (book by William F. Brown, most of the music and lyrics by Charlie Smalls) that actually makes it seem more hip than you would expect.

Scatological, unpredictable, and oddly whimsical at times, BUKOWSICAL is not easily defined or categorized, and that's actually part of its appeal to me. Spencer Green (book, lyrics) and Gary Stockdale (book,lyrics and music) have concocted an interesting musical stew, some of which details the life and times of writer Charles Bukowski, and some of which seems to be skewering the entire idea altogether. For instance, the man himself doesn't bring to mind anything remotely resembling a warm and fuzzy character, and yet the music for this piece is incredibly sunny and upbeat. This makes for a fascinating juxtaposition between the lyrical content and the music that accompanies it. In fact, the words are often graphic and vulgar, but, at times, they're also surprisingly erudite and witty. These contradictions alone act to sum up Bukowski's complicated existence and ultimate status as a wordsmith. New Line Theatre's production captures this drunken genius in all his splendor. You may be shocked by what you see or hear, but I guarantee you won't forget it. This is cutting edge theatre at its finest.

The award-winning revival of ANYTHING GOES (music/lyrics by Cole Porter, original book by Guy Bolton and P.G. Wodehouse, with a revision by Howard Linday and Russel Crouse, and an update by Timothy Crouse and John Weidman) arrives at the Fox Theatre in splashy and resplendent fashion, with a plethora of catchy musical numbers and a game cast. I've seen this musical several times before, it is a community theatre staple after all, but this production easily blows them all away. Sure, it's a period piece, and a bit old fashioned in some regards, but it perks along nicely thanks to an energetic cast and engaging direction and choreography. Even if you have seen it before, this presentation is well worth seeing, and a splendid time is guaranteed for all.

Writers Lisa Peterson and Denis O'Hare have concocted an intriguing take on Homer's The Iliad (translation by Robert Fagles) with their brilliantly interactive work, AN ILIAD. The distinction comes from the fact that this play not only utilizes the basic historical information contained within that classic Greek epic, but also confronts us with the sad truth that war has become a constant in our lives, and that some things are simply out of our control whether we like it or not. This amazing piece of theater is brought to the stage by Upstream Theater, and it's brought to life by actor Jerry Vogel. It's an experience that absolutely demands your time and attention as a theater-goer.

There's something about playwright Jeffrey Hatcher's writing style that I can connect with. Maybe it's the fact that he peppers his dialog with so many references to 1960's era television fare that I can't help but be drawn back to my own childhood. Sure, I spent a lot of time outdoors, but there were certain prime hours of the day when the re-runs on the local independent channels were not to be missed (not by me,anyway). Now, I never wanted to or had the desire to ever attend a manners class, but as we can see by the way most humans behave these days, maybe it wouldn't be a bad thing if everyone did. Max & Louie Productions has put together a wonderful staging of Hatcher's MRS. MANNERLY, which takes a humorous look at a that point in our past when etiquette somehow became antiquated, and it's a superbly performed and directed presentation that shouldn't be missed.