Chris Gibson - Page 21

One of the first shows I remember reviewing when I became a theatre critic was AIN'T MISBEHAVIN', and it's become a favorite of mine ever since. Although, I've had to wait quite a few years for a group to do a revival of this fascinating revue based on the songs and recordings of the fabulous Fats Waller. To kick off their season, Stages St. Louis is presenting a very fine production of this show, and it features, not only five terrifically talented singers, but also a live band to accompany them. This is the first time I've seen Stages actually utilize a live band, and I must say it works out wonderfully well. There's a palpable intensity in the performers as they feed off the positive energy of these exceptional musicians that makes this a must-see event.

Every year I look forward to going to Circus Flora, which is St. Louis's own one-ring (air-conditioned) circus, with family in tow, knowing that a splendid time is guaranteed for all. And, this year's show is no exception. There are acts of equestrian artistry, magical hijinks with the much beloved Nino the Clown, The Flying Wallendas, the St. Louis Arches, and so much more to see. The theme this year is medieval in nature, loosely chronicling the life and mythology of King Arthur with their production of THE WIZARD: MERLIN AND THE LEGEND OF KING ARTHUR. Come one, come all to this fabulous display of acrobatic splendor that's well worth your time and attention.

When I reviewed New Line Theatre's production of HIGH FIDELITY in 2008, I decided to start off in the spirit of Nick Hornby by giving my readers the top five reasons they should see this wonderful musical. Well, here are the Top Five reasons you should see High Fidelity, either for the very first time, or again, in 2012 (in reverse order, naturally). Number Five: because the cast members that remain the same are still superb in their roles, and the new additions make it even more entertaining. Number Four: because the music of Tom Kitt and the lyrics of Amanda Green are pure ear candy that cribs cool bits from classic rock and soul. Number Three: because this time it's in a different venue that allows for a grander scenic design, as well as a larger area for the fun choreography. Number Two: because seeing the musical still beats sitting through the movie, which didn't really capture Hornby's novel completely. And the Number One reason to see this revival production of HIGH FIDELITY: IT ABSOLUTELY ROCKS!

St. Louis has plenty going on during the summer months, but if it's good theatre you're after, consider these.

Playwright Richard Dresser's work, ROUNDING THIRD, really struck a chord with me since I'm a coach on my son's coach-pitch little league team. Sure, I hope they win every game they play, but much like the character of Michael is at the beginning of the play, at their age I'm just happy to see them have a good time playing. This show is more about older kids playing their last season of little league, so it's a bit different in how winning is approached, but it's a splendid look at two contrasting characters who, by the end of the show, have rubbed off a bit on each other, despite their differences. HotCity Theatre's production is a terrific one, powered by two splendid performances.

If you had the opportunity to see RIVERDANCE at the Fox this past weekend, then you were treated to a fine display of Terpsichore and musicianship. If you didn't, then you may have missed your chance to see it at all, since it was, in all likelihood, the troupe's final trip to St. Louis. It's a shame, because the show is really an entertaining mix of song and dance. I saw it last year, and I took my wife and son with me this year, and we all enjoyed it tremendously. The sheer athleticism of the dancers, backed by the superb interplay of some world class musicians, is not one that should be missed. The audience in attendance certainly responded very favorably to this unique production.

The touring production of MARY POPPINS that's currently gracing the stage of the Peabody Opera House is "practically perfect", featuring eye-popping special effects, a glorious set, and terrific performances that manage to capture the spirit of the 1964 Disney film, as well as the P.L. Travers books that inspired it. While some of the more beloved elements from the movie are noticeably absent, they've been replaced with sequences that are every bit as magical and engaging. Though the staging is a bit cramped, this is a spectacular show that appeals to both children and adults. And, I should know because I brought along my six-year old son, and he loved it.

Playwright James Sherman has crafted a charming and delightful work with his play JACOB AND JACK. It's a fond remembering of the last days of the Yiddish theatre and it weaves in the modern day with the past with considerable flair. It has farcical elements, including the requisite doors, six in this case, to go in and out of while the action switches back and forth between the two times. The New Jewish Theatre has put together a lovely rendering of this show, and the cast is absolutely superb. This is a brisk-paced comedy that's absolutely worth seeing.

To open their 18th season, the Union Avenue Opera has chosen an English text version (John Gay) of Handel's take on the mythological, with ACIS AND GALATEA (seen April 29, 2012). This is definitely a tale of two acts, with the first being devoted to their love for one another, this semi-divine sea nymph, and her faithful shepherd. But, things take a nasty turn in the second act, even though Galatea is able to resurrect the slain Acis as a river. If that seems a bit fanciful, it is, but that's the charm of Handel's work. It bears the catchy repetition he's famous for, and it's well played by a small cast filled with superior voices. This is deceptively demanding in the amount of coloratura that shapes so many of his phrases.

While it may look through its world through "rose colored glasses", MEMPHIS celebrates a time when race music was beginning to catch on with a white, mostly teenaged audience. It's a crackling, amusing, and fast-paced show (book and lyrics by Joe DiPietro, music and lyrics by David Bryan) that takes you on a musical journey through the eyes of young Huey, a wannabe DJ, who gets his wish, and may get his girl, if they can survive the glare of the fifties, when mixing of the races was against the law. Does this all sound heavy? Well it's not, not by a long shot. Instead, it's a bouncy and bluesy production that's easy to take and listen to. It's currently playing the Fox Theatre (through May 13, 2012), and there's a reason this show is so successful, it's just edgy enough to appeal to the jaded, and it lightens the tone of this historical racist behavior just enough to succeed with the masses.

Dedicated to bringing the world to St. Louis, Upstream Theater takes a to Poland this time for an engrossing and compelling tale based on the memoirs of Kazimierz Moczarski (adapted by artistic director Philip Boehm). It's a fascinating story based on his own experience in Warsaw, originally involved in counter-intelligence during the second World War before being imprisoned by the Stalinist Polish secret police and charged with cooperating with the enemy. With CONVERSATIONS WITH AN EXECUTIONER, Boehm and company have produced a brilliant piece of work that it well worth your time and attention.

Revisiting a popular play in the ten work "Pittsburgh Cycle" from August Wilson, the Black Rep has put forth a superior effort. MA RAINEY'S BLACK BOTTOM is especially interesting to me as a musician since the focus is really on the interplay that goes on between Ma Rainey's band as they banter about various aspects of life and the music business, all while waiting for Ma to show up, or trying not to incur her wrath when she does. A terrific cast makes for an enjoyable, if tragic, ride that's well worth your time and attention.

KILLER JOE is a killer show! I only regret not being able to see this show until I'd returned from my vacation, effectively eliminating my chance to laud the show properly in order to drive an audience to it. My sincerest apologies, because I'm a fan of playwright Tracy Letts, and, not having seen this show before, I was unprepared for its sheer rawness. It's a hilarious pulpy send-up on the classic idea of hiring a hitman to off someone in order to benefit monetarily from the situation, and the St. Louis Actors' Studio have outdone themselves with an excellent rendering of this early work. The direction and acting of the entire ensemble is fearless and superb.

The Black Rep presented Le Freak C'est Chic as part of their Sunday concert series this past weekend (April 1, 2012), and it's an interesting mix of dance, music, and incredible vocalizations that was thoroughly entertaining and as sexy as advertised. The show gave St. Louis an opportunity to see some of the finer singers, dancers, and musicians, that this town has to offer, and thankfully, they were greeted with a very warm reception. The production basically takes us on a tour through Cabaret to Funk, and then on to Rock Star, and gives everyone involved a chance to show off their various skills.

CAVALIA is nearly impossible to describe as a show, at least in terms of giving you a true perspective on all the things that are happening at once on stage, and yet, I can say it's an elegant, athletic, visual and audio delight that combines a number of elements in achieving its success. First off, there are the nearly 50 horses of various beautiful breeds (all geldings and stallions) that are paraded in various "scenes" to great effect, and then there are the acrobats, riders, band members, singers, as well as an awesome projected scenic design that take us all the way back to ancient times with cave drawings, bas relief work, and coliseum settings that all occur in the first act alone. CAVALIA is a wondrous delight, a trip through time filled with atmosphere and dynamic dynamite maneuvers. It's an eye-popping experience, an equestrian extravaganza, and the run for the show has been extended due to popular demand.

It's amazing to me that Broadway keeps looking to Hollywood for its hits, especially since there are so many great original musicals and plays still being written today. And yet, every now and then a movie is reworked so much that it's almost unrecognizable from the movie, and it works. BRING IT ON THE MUSICAL brings together a bevy of talented people who makeover, what is potentially pretty fluffy material, into something much more appealing. Jeff Whitty (Avenue Q) has remade the original script into something much funnier and more socially conscious than it originally was, and Tom Kitt (Next to Normal) and Lin-Manuel Miranda (In the Heights) have crafted some damn catchy little ballads and hip hop tunes, while Amanda Green (High Fidelity) and Miranda have accentuated the humorous tone with their lyrical contributions. So, is it any good? Yes, it's actually a blast of a show that combines eye-popping acrobatic cheerleading scenes with amusing scenes and songs that keep the mood generally upbeat.

Anyone who reads my reviews regularly knows that I'm a fan of Shakespearean re-imaginings. Sure, I like my Shakespeare played straight as well, but sometimes when one of his plays is tinkered with in just the right fashion it comes to life in new and unexpectedly exciting ways. Such is the case with the Rep's slapstick take on THE COMEDY OF ERRORS, which is given the background of New Orleans during Mardi Gras, and given a heavy dose of 1930's period music to liven things up considerably. It's a brilliant take and leaves the Rep with a perfect batting average for the season. It's the reason why we go to Rep in the first place; they consistently provide entertaining shows that are expertly acted and directed, in a theatre that puts you right on top of the action. What more could you ask for?

With NO CHILD, playwright Nilaja Sun brings to light the troubling failure of the "No Child Left Behind" program. It's a fascinating look at one teacher/artist's attempt to reach a group of student who describe themselves as the worst in the school. Conceived as a one woman play, the work gives an actress the opportunity to portray a number of characters from teachers, to students, to the principal herself, as well as a sage old custodian who acts as a sort of narrator for this play within a play within a play. The Black Rep's thoughtful production is superbly performed and directed, and is so socially relevant that it demands to be seen.

The Rep's Imaginary Theatre Company presented a version of PUSS IN BOOTS that more in line with Charles Perrault's original fairy tale, than with the Dreamworks, sword-wielding brand we've become accustomed to. Playwright/composer Brian Hohlfeld's take is decidedly more true to its source, although it does add some cute little catchy songs, and pop-culture references in telling its tale. ITC's production was very well done, as always, and featured a fine cast and clever direction.

Playwright Jeffrey Sweet has constructed an entertaining and though-provoking work with THE VALUE OF NAMES. This brief (75 minutes) look at two men and the different paths their lives have taken since one named names during the Senator McCarthy red hunt trials of the 1950's. Filled with a surprisingly amount of humor, though mostly caustic and self-deprecating in tone, this is an interesting look at the fallout from that dark period in our country's history. The New Jewish Theatre has put together a marvelous, compact production that continues through April 1, 2012.