Chris Gibson - Page 23

It's easy to see some of the elements of A Steady Rain that playwright Keith Huff owes a debt to. There are certainly enough police procedural shows on television that reference enough of same plot points to breed a certain familiarity to the material, including a crucial bit concerning a Dahmer-like serial killer. But there's something more going on here that deserves your attention. Powered by two spectacular performances and crisp, incisive direction, A STEADY RAIN is an emotionally charged storm that never lets up, and you'll find yourself completely enraptured by the Repertory of St. Louis's current studio theatre production.

Playwright Conor McPherson's THE SEAFARER plays like a Irish, whiskey-soaked poke at The Seventh Seal, with cards replacing the chess pieces. It's a wry (or should it be rye?), funny little piece, that's as dingy looking and feeling as it is raw in McPherson's approach to its dialog. The West End Players have crafted an entertaining production where redemption hinges on the vision of a myopic friend. I saw the last performance, but the next play up is an original work by Stephen Peirick, Wake Up, Cameron Dobbs, which will play February 24 - March 4, 2012.

I remember seeing the movie version of ON GOLDEN POND, and though it's very well done, it's awfully mawkish and sentimental. I've kind of avoided the movie ever since, just because I really didn't feel like having a cry fest. But, the actual play by Ernest Thompson is surprisingly amusing and touching, and rarely goes overboard on the sentimentality. The Black Rep's current production is a very entertaining, moving, and funny presentation buoyed by the performances of an excellent cast.

This tense two-man play,PLAYLAND, features Charlie Barron and J. Samuel Davis (seen as Judas and Jesus in Mustard Seed's recent production of Godspell). Barron plays Gideon, a soldier released from the war but not from his bitter memories, who comes to a carnival on New Year's Eve in search of hope. His encounter with Martinus (Davis), the carnival's night watchman, sparks an intense battle of wills. With adult language and situations, this play exposes difficult truths while searching for the spark of human connection that might just change the world.

SUNDAY IN THE PARK WITH GEORGE is a fascinating and visually dazzling examination of painter Georges Seurat and his unique style, which art books call pointillism. Stephen Sondheim has crafted an entertaining score, but it was at the suggestion of book writer, James Lapine, that this artful and delightful production actually came together. While viewing his masterpiece, "A Sunday afternoon on the Island of La Grand Jatte", Lapine remarked that the only thing missing was the painter himself, and so we're blessed with this visually arresting musical recreation of that moment in time. The Repertory Theatre of St. Louis has conjured up a superb rendering, filled with sharp performances and a pair of tableaus, one at the end of each act, that are breathtaking in their beauty.

I remember back in the early 80's when the film adaptation of the original French play, LA CAGE AUX FOLLES, was a cable staple. It's a wonderful little movie well worth your time, and it spawned a sequel, the American remake, The Birdcage, and a cheeky, charming little musical with a book by Harvey Fierstein and a funny and touching score by the legendary Jerry Herman. The production that's currently playing the Fox Theatre is a wonderfully executed and staged version that's a sheer delight. It's filled with terrific performances, and guaranteed to entertain.

I saw over a hundred shows again this year, and have decided to make a list of musicals as well as a list of comedies and dramas, which will be lumped together to form two different top eleven lists (in tribute to Nigel Tufnel of Spinal Tap) of 2011. All of these productions greatly entertained me in one way or another during the past year But, instead of me rehashing every single production, I'll just write up my lists for the year. I saw slightly fewer show than last year, but times are tough and we all should probably expect a certain amount of attrition (all lists are in no particular order) in this rough fiscal year. But, even in the toughest of times there are always the Arts to take us to a different place, away from our worries and strife.

For the past two years I've been attending the Webster Student Cabaret, which this time consists of three talented females and three talented males. This is a Cabaret showcase (I took in the 7:30pm show on 12/13/11) courtesy of the Kranzberg and the Presenters Dolan, which is made possible through the generous work of Jim Dolan. Lara Teeter and Neal Richardson, lending their talents as the director and musical director/arranger/accompanist, and media contact/organizer, respectively had a mixed group that focused on an eclectic collection of standards, show tunes both old and new, and pop, mostly country-fied. All of which lent itself to a breezy night of young adults showing us what they've got on their collective plates to offer for their dreams of stardom.

As a critic, over a relatively short period of time, I've seen several different plays several different times, and with each repeat viewing I've had to start weighing exactly how I felt about a script to begin with against the specific work of a performer (especially during a solo piece) and how they were directed, as would be expected. But, as a writer it's all about making what you've seen before, fresh again. Though, I'd missed my original booking of THE SANTALAND DIARIES, I'd made it a point to come back so I could check out the lead, and although I still prefer my original experience, this was a well done take on the work of David Sedaris, which certainly benefited greatly from a much grander costume and scenic design than the original version.

I lost count with how many "good" messages were being poured into Sarah Brandt (playwright) and Neal Richardson's (music, lyrics, arrangements, and musical direction production of THE ELVES AND THE SHOEMAKER, which is the current holiday offering on the Heagney stage at Nerinx Hall as part of the Imaginary Theatre Company's season in conjunction with the St. Louis Rep. This, like most of their presentations for kids isn't written "down", and operates well at communicating the various morals, or things that should always be remembered like a snippet of dialogue that went something akin to: "Having each other is the best Christmas gift". But, the best morals are a bit more subtle, like the need to help people and be rewarded for your good deed, or cooperate in order to achieve your best work.

Capitalizing on the rave reviews of its initial debut as "The Ultimate Elvis Tribute Artist Tour" in 2010, the touring production has been enhanced to capture the imaginations and interests of all types of fans including Broadway, concert and Elvis aficionados. The nationwide tour kicks off in Morganton, N.C., on January 14. Subscription and single tickets are now on sale for all tour engagements. For more information visit: www.ELVISLIVESTOUR.com.

A good cover band faces the challenge of living up to its audience's expectations every time they play a number that somebody else wrote and performed. But, no one can realistically expect even the best cover band to hit the mark every time. That's what makes Christmas with the Rat Pack-Live at the Sands interesting in the same way that Rain or the Australian Pink Floyd are. In each case there's a focus on a particular sound, but the Rat Pack may be the hardest to actually replicate. It was a frozen moment in time when Sammy, Frank and Dean came together to strut their stuff, usually accompanied by the comic routines of Joey Bishop. The current show playing the Fox Theatre imagines the Rat Pack (sans Bishop) performing a Christmas show, and it's complete with all the banter and manic antics one would expect.

The New Jewish Theatre continue their 15th season with Alfred Ury's (of Driving Miss Daisy fame) engaging and informative LAST NIGHT AT BALLYHOO. It's a delightful slice-of-life comedy with an examination of an extended family and its peculiarities providing the stage for a look at whether Jews who moved South did or did not maintain, more or less of, their orthodox heritage, and how a kind of bigotry existed within their own community, in regards to this key distinction in behavior (keying on "club life" and their differing observations of Christmas and Hanukah). This is an intelligent, amusing work with plenty to offer.

An alternative to the typical holiday fare exists once again at the Kranzberg this year under the auspices of HotCity Theatre's Greenhouse Series and the SIUE Department of Theater and Dance, which offers up an unusual and entertaining look at the way human beings interact, and the psychology behind their actions and reactions, all filtered through the prism of the Stanley Kramer (best known for more socially conscious fare like The Defiant Ones) film It's a Mad, Mad, Mad, Mad World. Or, something to that effect. All I know is I was totally engrossed and involved in the things taking place on stage during WHAMMY! THE SEVEN SECRETS TO A SANE SELF (and the images and quotes projected behind it), and it certainly helped that I listen to a lot of the music that was utilized for the show.

Laura Eason's recent adaptation of Mark Twain's immortal THE ADVENTURES OF TOM SAWYER is an invigorating and captivating work, full of enthusiastic performances and thrilling action. I've seen several different takes on this book, and this is probably the most fun and smartly conceived of them all. The Repertory Theatre of St. Louis is currently presenting a production of Eason's play, and it's another top notch production in a season full of terrific choices.

Since the release of his 2004 critically acclaimed CD When I Fall In Love, Chris Botti has become the largest selling American instrumental artist. His success has crossed over to audiences usually reserved for pop music and his ongoing association with PBS has led to four #1 Jazz Albums, as well as multiple Gold, Platinum & Grammy Awards.

I've seen the Black Rep's production of BLACK NATIVITY before, and I enjoyed it so much I thought I'd check it out again this year. It's an amazing, uplifting work told in two acts that examine the story of the birth of Christ and the true meaning of Christmas with completely different approaches. It's also a joyous celebration well worth your time and attention, featuring a strong, talented cast and expert direction.

It may not have the depth of a show like Jersey Boys, but it's easy to understand the appeal of a jukebox musical like MAMMA MIA!, especially when you consider just how tuneful the score is, overflowing with a couple dozen of ABBA's greatest hits. Besides, although the motion picture adaptation looked great (the countryside, not the grungy taverna), it came up empty in a lot of other ways, especially where the singing was concerned. So, seeing a production live is really your best bet at enjoying it to its fullest. The current touring show gracing the stage of the Fox Theatre is a splendid presentation, as engaging and charming as we've come to expect, and brimming with plenty of good humor.

Ever since I produced the music for a production of the musical GODSPELL it's held a special place in my heart. Working as a one-man band, I became intimately familiar with Stephen Schwartz's genre-hopping score. Ever since, I've been a unabashed fan of the work, and try to catch as many productions of it as I can (which isn't easy with my busy schedule). Mustard Seed Theatre is presenting an exceptional presentation that's distinguished by an excellent cast, sharp musical direction, and absolutely expert ensemble direction.

My son Zachary wasn't sure if he wanted to see INTERGALACTIC NEMESIS, and then I explained to him exactly what the concept was (and showed him a couple of clips from the website). Suddenly, he was very interested. I was instantly reminded of times we've spent together before bedtime, me clutching a comic book in one hand, and he hanging on my every word as I describe the action and portray the different characters from the story. This show brings those actions to life in exciting fashion, combining the use of 1250 panels of hand drawn action (projected on a Hi-Res screen), three voice actors who cover all the characters who populate this adventure, a talented foley artist who makes sure the atmosphere feels authentic, and a pianist who accompanies it all with a thrilling score. Intergalactic Nemesis does exactly what it sets out to do, bringing a graphic novel to life on stage in thrilling, compelling, and sometimes downright humorous manner.