Chris Gibson - Page 17

I'm a big fan of the St. Louis Actors' Studio because they always seem to manage to mix the old with the new in intriguing fashion during their theme based seasons, and you can wind up catching a classic like WAITING FOR GODOT along the way. It's always a fun and engaging ride no matter what they offer up, and this time around they're presenting the absurdly profound work I just mentioned. Playwright Samuel Beckett's wacky characterizations and dialogue, along with it's see-through symbolism, is given a wonderful presentation by the company, with excellent performances and expert direction.

Playwright Julie Beckman does wonderful work in adapting Charlotte Bronte's novel, JANE EYRE, for the stage. It's so literate that the characters even voice their thoughts, giving way at times to some much needed humor for this sad, but hopeful Gothic tale of loss and romance. Mustard Seed Theatre's production of this play is superb, with excellent performances buoyed by incisive direction and lush interior design.

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.

Oren Neeman's CONVICTION, as translated and adapted by actor/writer Ami Dayan, is a brilliant tour de force. This tale, told in historical flashbacks, is an intriguing piece that focuses our attention on a priest who forsakes his vows to return to the roots of his true faith and be with the woman he loves. This staging, in the round by director Joe Gfaller, keeps us on our toes as characters weave their way through this fascinating and engaging story. The New Jewish Theatre's current production is a smartly played treat that's another example of must-see theatre.

THE WHIPPING MAN is a fascinating and intriguing look at religion and the aftereffects of emancipation that's 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. This interesting twist gives this engaging and powerful story an educational depth that both informs and entertains. Playwright Mathew Lopez's work gets its St. Louis premiere with an excellent production by the Black Rep.

The Repertory Theatre of St. Louis closes their season with a bang, literally, presenting a dramatically atmospheric production of novelist James M. Cain's classic work, DOUBLE INDEMNITY (lovingly adapted by David Pichette and R. Hamilton Wright). It's a script that overflows with double entendres, and is populated by the kind of hard boiled characters you would expect from this famous piece of pulp fiction. It even manages to outdo Billy Wilder's film noir version to a degree because it doesn't have to deal with the censor's deep cuts that left the movie a lot less racy and edgy than the book. Suffice to say, this is an incredibly cool, and surprisingly amusing, presentation that is another example of the kind of must-see theatre the Rep consistently produces.

Nick Stafford's adaptation of the novel, WAR HORSE, by Michael Morpurgo is an awe-inspiring and jaw-dropping spectacle brought to life by the Handspring Puppet Company. It's a fascinating and heart-wrenching tale that follows a horse named Joey and a boy named Albert, who will go to great lengths, even joining the Army, to try and locate him. The stagecraft employed for this production is remarkable. The combination of a kind of puppetry where the puppeteer is nearly invisible, dramatic projections for backdrops, and a sharp cast and director, add up to a total theatrical experience that's well worthy of your time and attention. The current touring company now playing the Fox Theatre (through March 24, 2013) is definitely up to the task at hand.

VENUS IN FUR is currently being presented in the Studio Theatre by the Repertory Theatre of St. Louis, and it's an erotically-charged, sizzling presentation that's powered by incisive direction and exceptional performances. I can't speak highly enough of this smoldering tale. It unfolds with a myriad of twists and turns that serve to heighten the dramatic tension considerably. I can only say that this is an effort that demands to be seen, and I recommend it wholeheartedly.

Playwright Daniel Damiano's DAY OF THE DOG is a quirky little dramatic comedy that explores a fractured family's dysfunction through their relationship with an aggressive canine. There are a number of good laughs, and a lot of therapeutic interactions, that occur as this premiere production by the St. Louis Actors' Studio unfolds. It's still a work in progress in some regards, but it's done well, with an excellent cast doing a fine job interpreting their roles, and solid direction.

Playwright Marc Camoletti's BOEING, BOEING (translated by Beverly Cross) has had its share of success over the years, running for nearly 20 years in Paris, and being turned into a Jerry Lewis and Tony Curtis film in 1965, before being revived on Broadway in 2008. Now, Dramatic License Productions is presenting their take on this swingin' sixties farce, and they've put together an excellent presentation. The cast is terrific, the story is cute, and the direction is sharp as a tack. This amusing play is well worth your time and attention.

I remember seeing NEXT TO NORMAL at the Fox Theatre a while back and being impressed by the show, especially since so many things that happened to the lead character were/are taking place in my own life. But, New Line Theatre, for me, sets the local standard for musical theatre in our burgeoning arts community, and they've put together a superior staging of the play that hits even closer to the bone, and part of this is due to intimacy of the theatre itself, but a major reason is the fact that it's blocked and staged in a manner that brings the message of the play clearly in focus. New Line Theatre's production of NEXT TO NORMAL is easily the best show I've seen this year so far. It has a terrific cast, a top notch band which is augmented with strings, and brilliant direction. This is a show you must see, even if it may hit home a little deeply with its subject manner.

It would be easy to be either immediately won over by the hype surrounding this show before ever seeing it, or to be disappointed once you had, because it couldn't possibly live up to it. That's why I go into these things with reasonable expectations. I'm already a fan of Trey Parker and Matt Stone (South Park, Team America, Cannibal! The Musical, etc) and Robert Lopez (Avenue Q, Phineas and Ferb, etc), and I can certainly appreciate the work they did creating the book, music and lyrics for this show, THE BOOK OF MORMON. But, I do think you have to be attuned to their particular brand of humor in order to fully appreciate it. Poking fun at religion is certainly nothing new for any of them, and they've always brought a sense of the conventions of musical theatre to whatever art form they've tackled, and with THE BOOK OF MORMON they've produced something which is both terribly funny and catchy as well.

CONNECTED, by Lia Romeo, is a fascinating look at the cyber world we live in today and how it directly affects our younger generation. They're growing up in a world where anything that can be captured on video can go viral, for better or worse. Romeo's work plays out in four vignettes, all of which touch on themes of loneliness and deception. Alternately amusing and heart-breaking, CONNECTED features a young and talented cast playing multiple roles.

Playwright Charles Busch has created a number of entertaining and offbeat works, and PSYCHO BEACH PARTY is no exception. Focusing on the exploits of the Gidget-like 'Chicklet Forrest', the play combines elements that evoke the psychological horrors of Alfred Hitchcock, while also poking fun at teenage surfer films and the slasher genre. It's a zany and outlandish potpourri that's a compelling laugh riot.

Director/Playwright Jon Jory has neatly adapted Jane Austen's SENSE AND SENSIBILITY, maintaining the crux of the novel while streamlining it for the stage. It's a compelling and engaging presentation that utilizes a single set to tell its tale, and there are a number of noteworthy performers gracing the stage. All in all, this literary classic is well served by an excellent cast and sharp production.

I'm a big fan of the works of playwright David Mamet, and with his play, SPEED THE PLOW, he takes aim at the cutthroat world of Hollywood. It's a fascinating look at what sells and what doesn't when you're talking about the big screen. And, it also shows how friendships can be pushed to the brink by perceived betrayals. Marked by solid performances from the cast, the play is funny and telling in equal measure. The current production by The New Jewish Theatre is nicely constructed and executed, as well as providing ample food for thought.

Playwright Edward Albee has a knack for writing intriguing and provocative works, and THE GOAT OR, WHO IS SYLVIA? certainly fits the bill. It's subject matter is controversial, affecting, and powerful, inviting much conversation and discussion like great theatre should. Full of disconcerting moments and betrayals, it's just another example of the author's brilliance in provoking a response from anyone who views it. The St. Louis Actors' Studio has assembled an excellent cast to bring this show to life, and sell-out crowds are proof that this is an absolutely must-see production.

Part of my job is to be a critic, so I criticize positively, and sometimes negatively, the shows that I get to see. But part of my job is also to report, and when an audience responds enthusiastically to a show, whether I find fault with it or not, I have to be honest and make mention of that fact. Such is the case with the musical remake of the 1994 movie PRISCILLA, QUEEN OF THE DESERT, which I think is a great film. Here, it's been turned into a so-so jukebox musical, filled with familiar tunes, mostly from the disco era, but also including some country tunes, a few 80's numbers, and a couple of 60's songs.

With this fourth foray into his Pittsburgh cycle, playwright August Wilson crafts another masterwork with THE PIANO LESSON. Wilson's play, once again, captures an era rich in detail in African American history, and ponders the meaning of the word legacy, and how it applies to different individuals. The Black Rep's current production is very nicely crafted and performed, and if you haven't seen it yet, there's still time. It's certainly a journey well worth taking.

Conceived, written and directed by renowned actor/writer/director Ken Page, CAFE CHANSON is a memorable production that's affecting and intriguing. It acts as both a tribute to the soldiers who have served our country with valor and conviction, as well as positing the idea of an afterlife that allows the dead to relive an experience from the past life before they pass over to the other side. This is a haunting and beautifully imagined work that cannot be recommended highly enough by me. Upstream Theater has, once again, provided an unusual and fascinating theatrical event that goes above and beyond the norm.