Chris Gibson - Page 20

If you go in thinking you're going to see a pachyderm when you attend GOING TO SEE THE ELEPHANT, then you might be disappointed. However, the metaphor it represents is duly explained early on to avoid any unnecessary confusion. Instead, you'll be treated to a post Civil War tale of four women taking on the harshness of the Kansas prairie. It's a brilliant slice of pioneer life, buoyed by powerful performances and excellent direction. Mustard Seed Theatre's current production is a fascinating look at a bygone era.

Playwright Richard Greenberg's The Violet Hour is an engaging and intriguing mix that combines a play about a publishing house in 1919 with a Twilight Zone twist. It's this twist that makes it rise above the ordinary into something else entirely. A strong ensemble and sharp direction make this a fascinating work that's well worth your time and attention.

I've seen the Union Avenue Opera's current production described as "Wagner-lite", and to a degree, that's true. But, any Wagner has the ability to be stirring and surprisingly cinematic in execution, and this presentation is no exception. Besides I prefer the description of DAS RHEINGOLD by Jonathon Dove who adapted and "reduced" the opera to a more manageable size, bringing the scope and depth of Wagner's to the masses in the process.

Translating an animated feature to the musical stage is a daunting challenge. Really, any film, even with actors who are drawn onto cells, usually makes a rocky transition. That's what makes THE LION KING so disarming and dazzling in its conception and execution. The techniques and ideas pioneered here in the Tony Award-winning show have since been used elsewhere, but they still manage to excite and enthrall an audience, and that's a credit to all the skilled technicians and actors who make these characters come to life. The current production playing the Fox is a magical ride that must be taken, and it's easily an "E" ticket (if you remember those days at the Disney fun parks).

The Muny closes their 2012 season with the revival of a classic Rodgers and Hammerstein musical, THE KING AND I. It's an elegant end to a very entertaining season that's been full of surprises. Here, the only surprise is how well this warhorse has aged, with its "East meets West", or "mismatched mates" device still working to perfection. Of course, it helps if you have quality performances from the leads, combined with the energetic direction of Rob Ruggerio.

There's something lovably crass about THE GREAT AMERICAN TRAILER PARK MUSICAL that makes it a very wild ride, indeed. As an audience, we're accustomed now to the tell-all, show-all, behavior that's seen on daytime (and some times night time)television, especially if you watch Jerry Springer or others of his ilk. Really, these characters ring true enough that they virtually shine in this arena, if only for the length of this crazy quilt of trailer-hood that mixes in a liberal dose of modern Americana. Stray Dog Theatre's latest production throws a helluva lot of jokes against the wall, and luckily, most of them stick.

The latest extravaganza to grace the stage at The Muny in Forest Park is a hilarious re-working of Gilbert and Sullivan's Pirates of the Penzance (although some of the tunes are lifted from other works by the pair). PIRATES! (or Gilbert and Sullivan Plundr'd) is a spirited romp with a storyline more akin to Seven Brides for Seven Brothers than the original plot, and lyrics (revised book and lyrics by Nell Benjamin) and rearranged musical arrangements (courtesy of John McDaniel) that will amuse even the staunchest purists among us. This is just plain goofy, pirate-laden fare that owes as much to the recent Pirates of the Caribbean film series as to it does to Gilbert and Sullivan. And that's a good thing, at least it is in this case.

There are a number of reasons that Rodgers and Hammerstein's THE SOUND OF MUSIC is still so popular today. The songs are definitely catchy and familiar, and the story is compelling. But, it takes a good cast and solid direction to make it work properly, and the troupe that Stages St. Louis has corralled are excellent in their roles. This venerable warhorse of a show is their current production, and its charm still holds up remarkably well after all these years.

If you like your JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT's straight up (no chaser), then the current production playing The Muny may not be your cup of tea. But, if you like it when they give the show a St. Louis twist, then this is your type of musical. I've seen enough productions of this particular show to want something a little different myself, so I was completely charmed by the Muny's take of Andrew Lloyd Webber and Tim Rice's work.

St. Louis Shakespeare's mission is to present the complete works of Shakespeare, and with their current production of CORIOLANUS, they've moved one step closer toward attaining that goal. The trouble is that when you've performed all of the Bard's familiar and popular works, you're left with a few odds and ends that aren't quite as memorable. Still, this production is nicely mounted and very well acted. It's just a pity the script isn't quite up to snuff this time around.

If you only went to the Muny this week to see a very svelte Jennifer Holliday sing "And I'm Am Telling You I'm Not Going", in the role that virtually made her career, you would already have enough reasons to attend The Muny's production of DREAMGIRLS. But, the fact is, there are so many more things to like about this show, that your attendance is practically mandatory. A superb cast and sharp direction heighten the pleasure of watching this finely rendered presentation.

I missed press night for DISNEY'S ALADDIN: THE NEW STAGE MUSICAL, but I decided to go down this Tuesday and check out the production from the free seats. Armed with a pair of binoculars, which I didn't really need, I was able to take in this wonderfully charming presentation after all. And, I was not disappointed. And, those of you who bring children in tow won't be either. This is a delightfully colorful production that captures the feel of the original movie, while adding quite a few new musical numbers (that were in the original draft of the movie) and wrinkles to it. I highly recommend this spirited show.

Giuseppe Verdi's opera, UN BALLO IN MASCHERA(with a libretto by Antonio Somma) is a fictionalized account of the actual assassination of King Gustav III of Sweden at a masked ball. In this case, the location and names have been changed, but the outcome remains the same. This production by the Union Avenue Opera (playing through July 7, 2012) is an excellent one, graced with splendid performances and intriguing costumes (Teresa Doggett) that initially, with their abundance of long-coats, have a faint "Matrix-like" quality to them. It's a dramatic presentation that embellishes history with a tragic love story, and a fortune teller, whose predictions are ignored.

The musical adaptation of the 1967 animated feature film, THE JUNGLE BOOK, is a sheer delight, perhaps best viewed through the eyes of a child. And, the first production I ever took my young son to see was this same show a few years back. But, he was so small he didn't really remember it that well. So, the opportunity to see it again afforded me the perfect chance to reacquainted him with its many charms. Stages St. Louis's presentation didn't disappoint, providing a crisply paced production that fully captured my son's attention and imagination once again.

If you've only seen the movie version of CHICAGO, and it's a pretty sexy and sleek story on the big screen, you have to do yourself a favor and check out the current production at the Muny. The Muny has such an expansive stage that some musicals can get lost, but not this one. In this case, CHICAGO seems larger than life, and that's appropriate since the story and characters are so bold and brazen. I highly recommend this show, especially if you haven't seen it on stage before, because it's a terrific production that pulls no punches.

The dictionary defines insidious as "proceeding in a gradual way, but with harmful effects". Playwright Ibn Shabazz's work INSIDIOUS certainly follows that line of thinking, with the eponymous title character worming his way into the lives of a engaged couple Kara and Dawud. The play makes allusions to AIDS and to the way homosexuality is looked at in the African American community. But at its heart, it's a pot boiler, a pulpy work that takes a number of twists and turns before resolving itself. The Black Rep's current production is graced with solid performances and direction, and it continues through June 24, 2012.

The West End Players Guild's 2012-13 season - the troupe's number 102- will be all new to St. Louis theatre-goers, featuring four St. Louis premieres.

Tony Award-winning actress, singer and songwriter Idina Menzel, star of Broadway's Wicked andthe original stage production of Rent, will tour North America, performing her brand new live show. Tickets can be purchased through local box offices or www.idinamenzel.com.

When Iago talks about 'Jealousy…the green-eyed monster,' he might as well be referring to himself. It's his envy of Cassio's promotion under the leadership of Moorish general Othello that sets a devious plot in motion that will leave many dead and others wounded. And so it goes, in St. Louis Shakespeare Festival's sparkling production of OTHELLO, which is currently being performed in Forest Park. Be sure to arrive early to enjoy the festivities, and to stake your claim on a prime spot from where you can view this splendidly realized show.

While the cover of "ACTING LIONS: Unleash Your Craft in Today's Lightning Fast World of Film, Television and Theatre" may seem a bit esoteric, the text contained therein is not. In fact, Templeton's tome may well become "the" book for actors. Whether you're just starting out, following a particular method, or are a seasoned professional, there are plenty of tips and tricks that can aid actors in their work. And, though there's not enough space for me to fully catalog all the helpful hints (you'll want to buy the book anyway), I'll keep it brief and try to hit on some of the high points, of which there are many.