Chris Gibson - Page 22

When we think in terms of terrorism, we usually picture suicide bombings, and planes flying into the sides of buildings, but we rarely ponder the idea of socioeconomic terrorism. That's why the Rep's final Studio Theatre production is so compelling and brilliant; that possibility is brought to light in a crisply acted and paced 75 minute piece called THE INVISIBLE HAND written by playwright Ayad Akhtar. Superior acting and direction make this into a fascinating and revealing show, that will gives audiences plenty to think about as they leave the theatre.

BUG is a play that gets under your skin, burrowing into your psyche and feasting on your anxieties. It may make you restless to watch it, and you may find yourself absentmindedly scratching at imaginary itches. It's a small tale filled with big ideas, and a must-see for conspiracy theory enthusiasts and fans of grindhouse films from the 1970's. Muddy Waters Theatre presents a strong and brave cast for their current production that combines with solid direction to make for an unusually compelling experience.

Over the years I've seen a number of productions of THE GLASS MENAGERIE by Tennessee Williams, and they've varied in degrees of appeal greatly. There's even another production from another local company scheduled later this month. There's a reason; it's a classic. This play, based on the author's short story "Portrait of a Girl in Glass", can be a unique, involving experience in the hands of the right actors and director. Thankfully, Dramatic License Productions has put together a terrifically engaging presentation that's really true to its source, lyrical and magical, with the additions of a series of projections that set the mood by hinting at each scene's essence. It's a clever device, and with four very solid performances, this makes for a great combination that's very worth of your attention and time.

CRY-BABY is a smash, a musical and cultural send up of drape and square mores, while at the same time, a parody of the typical "boy meets girl, boy loses girl, boy gets girl back" scenarios that we've all been exposed to in more traditional shows. At times, it's like watching a throwdown between Little Richard and Pat Boone over who really sings "Good Golly, Miss Molly" the best and most authentic. And, at other times, it's a completely over the top take off on shows of the past. For some reason, I was reminded of both The Music Man and West Side Story. Scott Miller and New Line Theatre have once again given us something outside the norm, and it's a joyous ride. This revision of CRY-BABY (I confess, I didn't see it on Broadway) is a sheer delight, full of characters and situations from the movie by filmmaker John Waters, but also standing on its own with a clever and hilarious score (music and lyrics by David Javerbaum and Adam Schlesinger), having jettisoned the tunes from the film itself. Go see this play now. It's wonderfully directed, smartly choreographed, and marvelously acted.

AMERICAN IDIOT is an absolute blast, a musical filled with energy and exuberance, both evidenced in the music and in the performances. There will surely come a time when it's considered a period piece, since it does take place in the recent past, focusing on the last Bush presidency and the wars on terror at home and abroad that consumed it. But it's still timely at this point, because people are still fighting overseas, and a lot of the same social and political issues remain unresolved. It's essentially Green Day lead singer/guitarist Billie Joe Armstrong's vision filtered through director Michael Mayer (Spring Awakening), who cut a lot of the book they wrote together to make this more of sung-through musical experience. This focuses our attention on Armstrong's lyrics, and they're strong and pointed enough to make this approach work like a charm. And, like Spring Awakening, the band is on stage and the lighting is positively eye-popping.

It's nice when a local playwright gets the opportunity to stage their work, and Stephen Peirick's comedy, WAKE UP, CAMERON DOBBS, is certainly a worthy first effort. There are a lot of good lines that were lost to the Sunday matinee crowd I saw it with, so we can ignore them and get straight on to the play. West End Players Guild has put together a fitfully funny, and a times, quite amusing comedy, and it's definitely worthy of your attention. A fine cast and clean, crisp direction help to make this an engaging experience.

Theatre companies are always on the lookout for performance space. There are just not enough venues to house all the groups that have sprung up in the last few years. Even veteran companies have to sometimes choose unusual settings for their productions. Such is the case with BRIEFS, A FESTIVAL OF SHORT LESBIAN AND GAY PLAYS, which was performed at La Perla (February 24-26, 2012), which has probably seen more wedding receptions and private parties than play festivals over the years. However, the issue of space proved to be a non-factor, as a simple stage and just enough chairs allowed the festival to flourish, regularly selling out for every performance. I found it to be an enjoyable and entertaining excursion, myself, and was grateful for the opportunity to see an evening of short plays that centered around the subject of homosexuality, but brought to light different aspects than we're used to seeing.

It seems like productions of prolific playwright and filmmaker Neil Labute's works have been presented everywhere the past couple of years, and another is currently being presented by R-S Theatrics, formerly known as Soundstage Productions, in their current home in the Crestwood Mall ArtSpace. AUTOBAHN is a seven play cycle where all the scenes take place in the front seat of a car between two individuals. It's an often hilarious work that presents a variety of situations, despite the fact that the setting is always the same. Four directors and seven actors collaborate to bring these pieces to life, and it makes for an enjoyable evening of theatre.

A MIDSUMMER NIGHT'S DREAM is one of the few Shakespearean plays that's considered totally original, not owing its story to any other source other than the Bard's imagination. It's a delightful romantic comedy with fun, supernatural elements, and unlike his many tragedies and histories, nobody dies. In the hands of The Black Rep, it's been transformed into an absolutely funkadelic experience. Director Chris Anthony has set this version in the 1970's, and as such, it's filled with wildly colored clothing from that period, and features snippets of dialog and music anyone who grew up in that era will recognize. It's also superbly performed.

Playwright and raconteur (what else would you call a man orphaned by his prostitute mother, who grew into a thief, before finding his niche as a controversial and often banned writer?) Jean Genet's THE MAIDS (translated by Martin Crimp) is a peculiar and provocative one act whose images stay with you long after its 90 minutes are finished. It's an interesting take on the separation of the classes, focusing on the maids of a wealthy mistress and the humiliation she submits them to, although we only briefly glimpse this. The play shows two different reactions to this abusive behavior, and tells its story mostly through the playacting of the maids themselves. It's a fascinating and rarely seen work that's well worth your time, and Upstream Theater's current production is helped by three stellar performances and sharp, incisive direction.

There have been any number of renowned re-imaginings of Shakespeare. But, easily one of the finest to have been conceived is the musical adaptation of Romeo and Juliet, WEST SIDE STORY. One thing that makes it so special is the way that Leonard Bernstein's dramatic orchestral score meshes so perfectly with Stephen Sondheim's lyrical contributions, and how Arthur Laurent's clever book replaces the feuding families of the original work with rival gangs of different races. And, there no denying the ground-breaking choreography and direction that Jerome Robbins brought to the table. The combination of acrobatics, ballet, and modern dance requires exceptional athleticism. Thankfully, the current production playing the Fox Theatre is an exciting and thoroughly entertaining version that's brought to life by an exuberant and talented cast.

Pianist David Lanz, with able assistance from Gary Stroutsos (woodwinds), Walter Gray (cello) and Keith Lowe (bass), has put together a sequel of sorts to his wonderful album of Beatles songs, Liverpool, with a new collection called HERE COMES THE SUN. This time around he includes a terrific cut from the quiet Beatle, the late George Harrison (who was/is actually my favorite of the fab four). It's another masterpiece of subtlety and charm, perhaps even more lovely from than the first. Lanz is going to promote the new work with a small tour, so be sure to catch him live if you have the opportunity.

Dramatic License Productions presented a lovely Valentine cabaret this past weekend (February 10-12) in their space at Artopolis in Chesterfield Mall. Classics from a number of generations on the subject of love and it's foibles mixed gracefully in a sweetly simple production that showcased four talented singers, while perhaps, sparking a bit of romance among it's attending audience.

In a season already packed with hits, the Rep smacks a home run with David Mamet's profanely brilliant play, RACE. Managing to expound not only about race, but also on how the justice system works in some cases, Mamet produces a wonderfully provocative work that seems designed to have tongues wagging after the performance. A splendid cast and smart, incisive direction come together to produce a masterwork. This fast-paced and driving play never lets up for a minute, and leaves the audience with plenty to chew on afterward.

URINETOWN is a satirical musical based on the idea that an ecological disaster could create a situation whereby individuals have to pay for the opportunity to eliminate their wastes in public amenities. If that sounds like an odd concept, you're right, it is. And, with it's grungy atmosphere and grimy costuming, it might seem unappealing. But, Urinetown works because it makes fun of itself, and the conventions of musical theatre, while actually managing to communicate a potent message about conserving our resources and being socially responsible. There's also the clever, dense lyrics and engaging melodies of Greg Kotis and Mark Hollmann. Stray Dog Theatre's current production is excellent and because of it drawing sell-out crowds the run has been extended.

Mustard Seed Theatre continues their season with playwright Athol Fugard's PLAYLAND, and the location of the play affords the company a chance to be very creative with the set design (Courtney Sanazaro). But, this is a dark, although it brightens just as the sun rises, tale of border wars and Apartheid, all wrapped up rather neatly in a pretty package by sterling performances and compelling direction.

A certain generation (namely, my own) is going to really get a kick out of ROCK OF AGES. Those younger than me will still be amused by its wildly over the top antics, but those that are older may be a bit befuddled by the constant barrage of cultural references from the late 1980's, and probably have no familiarity at all with most of the music that's from that era. I think ROCK OF AGES is a gloriously hilarious and completely ridiculous homage to the big hair, hard rock anthem bands that ruled MTV and the radio at that time. This was cruising music when I was in my late teens and early twenties, so I instantly identified with the attitudes presented, and the music that accompanies each melodramatic moment.

A member of the St. Louis Blues and Jazz Hall of Fame returned to his roots this past Sunday bringing a trio of talented musicians in tow. The Freddie Washington Quartet, led by the saxophonist extraordinaire, put on a blistering 90 minute set at the Grandel this past Sunday (1/29/2012) that showcased Washington and his fellow musicians' considerable talents. Though the turn out was less than stellar, you couldn't tell by the music that flowed from this group. This was one evening that a lot of people will be kicking themselves for missing.

David Johnston's translation of playwright Juan Mayorga's WAY TO HEAVEN is an intriguing play with an interesting concept and execution. Told in five acts, the work, at first, seems to suffer from repetition, until you begin to realize just how this moment in history actually took place. The act which begins after the intermission brings it all together in a much more satisfying and conclusive fashion. Getting there is frustrating at times, but well worth the trip. The current production by the New Jewish Theatre is a spellbinding true tale that will linger in your memory long after the curtain falls on this show. The ensemble work is exceptional, and the story itself is heartbreaking, powerful stuff.

A good friend told me about a production of OLEANNA (by playwright David Mamet) that he attended where the audience was actually segregated along gender lines. I can understand how that could be very intriguing and effective given the subject matter and eventual outcome of the piece. It's definitely provocative, like most of Mamet's work, and the latest presentation by HotCity Theatre, which is currently playing the Kranzberg, is a terrific evening of theatre that's buoyed by two fine performances and insightful direction. It might even be required viewing for teachers and students because of the way it blends its pokes at higher education and political correctness. You'll certainly be affected by it no matter which gender you happen to belong to, or identify with, it's that powerful.