Chris Gibson - Page 18

Though at first it may seem like an odd pairing of one acts, there's actually a connection between playwright Christopher Durang's introductory work, MRS. SORKEN and David Mamet's THE DUCK VARIATIONS. Towards the end of Mrs. Sorken, a direct reference is made to the the plays of David Mamet, and his frequent use of the "f word". It's an ironic one, since this is one of the few pieces in which Mamet doesn't use that particular curse word. Mustard Seed Theatre's production of these two plays is very well done, and it features three incredibly good performances that make this pair well worth seeing.

While watching playwright Amy Herzog's wonderful play, 4000 MILES, I kept being reminded of my own relationship with my grandmother (on my mother's side of the family) who passed away many years ago (unfortunately, I never met my grandmother on my father's side). I secretly wished that I had been able to speak with her with the same amount of candor and openness that the character of Leo is able to in the play, but I was simply much too young, and she was far too reserved for that to have ever happened. That being said, the experience of watching these two interact was tremendously affecting, and something that will stay with me for a very long time. The Repertory Theatre of St. Louis has put together a great show that's both hilarious and extremely touching, and it features a terrific cast. I found it to be a marvelous production, and I highly recommend it.

The last time STOMP came to the Fabulous Fox Theatre I made sure to bring along my son. I made a point of taking him this time as well, because their antics seem to absolutely delight him. I can understand why. If you've ever drummed on your steering wheel to a song on the radio, or absentmindedly tapped your pencil on your desk, creating your own rhythmic accompaniment, then you already grasp the concept at the heart of STOMP. Over the course of an hour and a half, a group of performers demonstrate how you can make music with just about anything, and in doing so, create a genuinely joyful noise. It's akin to taking the guy in office with the annoying habit of pounding on things, and elevating what he does to high art; but, it works like a charm.

It's a bit disconcerting when you see a play or musical that's set in an era you lived through. Kind of makes you feel a little older than you'd like to feel. In this case, it's the midwest premier of FLASHDANCE THE MUSICAL. I remember when director Adrian Lyne's film came out in 1983, and it was at a time when I was purchasing lots of cassettes (remember them?). So, I'm very familiar with the tunes that made up that soundtrack, and it's a little bit weird for me to be sitting through a new musical version of that movie. In some ways, it has a perfect plot for a musical, but unfortunately the characterizations are just too thin, and the musical itself too long, to be completely successful.

Sometimes bad things happen to good people. It's just the way life is. Things aren't always "fair" or even equitable, but that's just something we all have to understand and accept. In these tough economic times that we live in, it's a hard fact that everyone needs to be made aware of, and playwright David Lindsay-Abaire examines this issue in his brilliant play GOOD PEOPLE. I think it's a tremendously engaging work that absolutely demands to be seen. Thankfully, the Repertory Theatre of St. Louis has staged a must-see production of this play at a time when it's especially relevant, and I cannot recommend it highly enough. The casting and direction are spot on, and the message, told with humor and drama in a remarkably even balance, is one that is very important to all of us.

In case you didn't know it already, Bartolomeo Cristofori was the inventor of the piano, and in 1988 David Lanz paid tribute to him with his rich album, Cristofori's Dream, itself a lovely album of considerable grace and beauty. But, that work was enhanced by other musicians who built up the overall sound. Here, with CRISTOFORI'S DREAM...RE-ENVISIONED, Lanz revisits this seminal piece and attacks it with his solo piano skills. It works as more of a tribute in this way, bringing to the fore the true sound of invention and the joy of discovering it.

I'm lucky enough to see over a hundred shows every year, and I'm happy to report that 2012 was an excellent year for theatre in St. Louis. So, here I am again, offering up my lists for the best productions of 2012. While I'm not going to include the touring companies that came through town this year in my listings, I'd like to give them a shout out just the same.

I'm a big fan of the Repertory Theatre of St. Louis's Imaginary Theatre Company because their productions are consistently entertaining and they never fail to send a positive message to their audience. This is important to me as a parent, because there are plenty of Christmas plays for children, but they rarely convey the kind of moral I'd like my child to be getting, or else they're ham-handed in the way that they present it. Playwright Sarah Brandt, along with composer Stephen James Neale, has concocted a nice little gem for the holiday season called A GNOME FOR CHRISTMAS, and it's engaging and informative, teaching a valuable lesson about accepting others for who they are and what they can accomplish, rather than how they appear.

Performing a one-person show can be a daunting task. After all, even in a two-person show there's someone else to guide you should you go astray, or come up suddenly blank. Of course, you also need a good script or, at least a sturdy framework, to allow the actor to succeed. But, when both of these things click, it's a wondrous thing to experience. That's exactly what occurs in Stray Dog Theatre's brilliant production of FULLY COMMITTED, as sharp direction (Gary Bell), impeccable acting (Greg Fenner), and a funny play (Becky Mode) come together in must-see fashion.

WICKED is pure spectacle, or to quote Glinda the Good Witch herself, it's a "thrill-ifying" experience that dazzles and delights, with terrific performances and eye-popping scenic design and special effects. The plot gives a back story to L. Frank's Baum's Wizard of Oz, that is unexpected, and infused with a positive message about accepting people for who they are and not how they appear.

I love it when the Reduced Shakespeare Company comes to town. Their humor runs the gamut from simple puns and wordplay to sophisticated laughs that require a bit of intellect. The last time I saw them was a couple of years ago at the Edison Theatre on the campus of Washington University. I didn't see the main members that time, but this time the heavy artillery was broken out and Reed Martin, Austin Tichenor and Matt Rippy, all original contributors (Daniel Singer is the actual founding member), made the trip to our fair city. Once again they played the Edison (December 7-8) and, this time, took on the holiday season with THE ULTIMATE CHRISTMAS SHOW(abridged). The production was a pure delight from start to finish.

You'd have to have been a hermit living in a cave the past few years not to be aware of the cultural impact of J. K. Rowling's seven best-selling Harry Potter books. Not to mention the eight blockbuster movies that they spawned. The last couple years may have seen the "Twilight" series overshadow them slightly, but Harry still has a huge following that's not going away any time soon. The Magic Smoking Monkey Theatre takes full advantage of this following by presenting the fun and funny STUPEFY! THE 90 MINUTE HARRY POTTER.

If you're looking for heart-warming fare this holiday season, then look no further than The New Jewish Theatre's splendid production of playwright Lanford Wilson's work, TALLEY'S FOLLY. This is a romantic and touching play that features two wonderful performances and masterly direction. It's a perfect contrast to some of the more edgy productions currently playing in town, and it's ideal fit for couples looking for something that's engaging, entertaining, and brimming with hope. For me, this is a great example of must-see theatre.

I have to confess that I'm not particularly fond of playwright/director Alan Ayckbourn's brand of British farce. I just don't think it translates very well to American audiences, and it requires the actors involved to sport solid accents, or it loses its credibility. That's why I was a bit surprised by the St. Louis Actors' Studio's choice of his work, SEASON'S GREETINGS, as their holiday offering. They're best known, to me at least, for their edgy premieres and inspired revivals, so this is something of a disappointment. Perhaps, they were drawn to it's sudden violence and black comic trappings, but it just doesn't suit them as well as it might.

If Die!Mommy!Die lovingly skewers swinging suburbia, then THE DIVINE SISTER is a swift kick to the groin of Catholicism and religion in general. Like his twin son from a different mother, filmmaker John Waters, playwright Charles Busch is adept at crafting overwrought melodramatic tales that are hilarious to some, and offensive to others. I fall into the former category, thoroughly enjoying his playfully perverse creations. HotCity Theatre has put together another holiday alternative with their production of this controversial and side-splitting work.

Before his untimely death in a plane crash in the mid-1980's, playwright Larry Shue had penned two community theatre staples, The Nerd and THE FOREIGNER. While I'm not a big fan of the former, the latter is a fast-paced farce brimming with humor that builds to a hilariously satisfying climax. The current production by the Repertory Theatre of St. Louis is nicely mounted and features a fine cast and direction that takes full advantage of the comic opportunities presented.

While I've seen BLUE MAN GROUP live and on DVD, they're always tweaking their act so that it's a new experience each time you see them perform. Oh, they're smart enough to keep some of the old gags so that they remain familiar (the camera tour down an audience member's throat, the snarky message board, the interesting instruments),but there's enough current material added so that the group is consistently engaging no matter when you see them. The current production playing the Fox Theatre (through December 2, 2012) is a great evening's entertainment, and seeing it with my seven year old son in tow made it even more special.

With IMAGINARY JESUS, author Matt Mikalatos has written an interesting look at the way that people of faith envision their savior, and playwright Deanna Jent has taken a stab at a stage adaptation that manages to capture it's whimsical approach. Though, it's not always as sharply focused as it probably should be, this is still an enjoyable ride, featuring a great cast and Jent's own direction.

When you go to see a concert by the Carolina Chocolate Drops you're going to find yourself immersed in authenticity. Just from the songs themselves, that range all the way back to minstrel shows from the 1850's to their own original material, you're going to hear a plethora of music that conjures up a bygone era. It's the sound of individuals playing music on a front porch, crowded with friends, and full of enthusiasm as well as a sense of history.

It's interesting to me when a play can effectively walk the fine line between drama and comedy, and Andrew Hinderaker's play, SUICIDE, INC., does just that. When it's funny, it's crass and hilarious, but when it's not, it's touching and sad. And there's a good hopeful ending that balances things out neatly. R-S Theatrics current staging of this eclectic and intriguing work is a well performed and nicely directed (Christina Rios) production that's deserving of your time and attention.