Chris Gibson - Page 53

The Repertory Theatre of St. Louis begin their studio theatre season with a bang with Bob Clyman's SECRET ORDER, presenting a provocative and timely work that illustrates the tenuous relationships forged between government, science, and the major pharmaceutical companies. A recent visit to the FDA website reveals that, nearly every day, a drug or product is recalled due to it posing a significant risk to the health of the general populace. Even with stringent safeguards in place data can be misinterpreted, or just plain 'fudged', so it will better fit a particular case study.

It's a timeless tale: two rivalrous brothers vie for the love of a single woman. But REMEMBER ME, the ambitious new collaboration between Parsons Dance Company and the East Village Opera Company (EVOC), is anything but old-fashioned. Combining contemporary dance with live and recorded music as well as video projections, aerial choreography and special effects, Remember Me is at once rock-opera and opera that really rocks.

St. Louis Actors' Studio, continuing its third season, is honored to participate in the Missouri History Museum's Performing Arts Series with A MAN FOR ALL SEASONS. Robert Bolt's classic Tony Award-winning play tells the true story of 16th century Chancellor of England Sir Thomas More. A religiously devout man of conscience, More objected to King Henry VIII's break from the Catholic Church - a decision that led to his prosecution.

On the heels of the well-received ensemble piece, Three Tall Women, and the daring and quirky The Lady from Dubuque, Muddy Waters Theatre Company wraps its 2009 Edward Albee season, Mothers and Other Strangers, with what is probably his best known and most respected play, WHO'S AFRAID OF VIRGINIA WOOLF?. The play will run Nov. 6-22 at the Kranzberg Art Center in the Big Brothers Big Sisters Building at Grand and Olive.

Reading the director's notes for NonProphet Theater Company's production of THE ROCKY HORROR SHOW had me wondering, if indeed, 'many people have never seen the movie, much less the stage show'. I mean, I grew up during the 1960's and 70's, so I was exposed to the cult that is 'Rocky Horror' as soon as I could drive (or catch a ride) down to the Varsity Theater on Delmar for a midnight screening. But, I guess the mass proliferation of DVD's and widescreen TV's have replaced that unique communal rite of passage.

For me, it's the elegant and warm combination of their voices that gives Chad and Jeremy their unique appeal. As evidenced by this spirited concert performance, their vocals are still very much in tact after all this time, and it's a tribute to their gifts that they can even deliver an a capella number in perfect pitch. There's just something sunny and affable floating through these charming selections that can't help but make you smile inside and out.

Terrence McNally's script for the musical version of RAGTIME, taken from E. L. Doctorow's popular novel from the mid 1970's, attempts to squeeze as much information out of the book as possible. It succeeds, where the movie adaptation failed, in capturing the full spectrum of Doctorow's work. The Washington University Performing Arts Department, in conjunction with the Black Rep, is presenting a well mounted production directed with considerable flair by Ron Himes.

SLEUTH, being a thriller of sorts, may be best viewed by a novice, where its many intricacies of plot can be better appreciated, although that may be increasingly difficult to accomplish with the recent cable TV airings of the 2007 film remake. However, that attitude would be doing a disservice to Shaffer's witty script, which offers up a steady stream of delicious and sharply barbed dialogue to enjoy. The Rep's current production is a dazzling show that engages the viewer from start to finish. Even someone familiar with the outcome will enjoy this performance-driven presentation.

Based on Laurie Frey's own experience dealing with the physical ravages of stage three breast cancer, UNBEATABLE! attempts to put a musical spin on her story, providing viewers with a unique interpretation of Frey's struggle to overcome this deadly disease. The most appreciative audience for this material may well be cancer survivors and the extended families of anyone who's ever been touched by this terrible illness.

It's time to do the 'Time Warp' again! The NonProphet Theater Company presents THE ROCKY HORROR SHOW by Richard O'Brien as the third show in their 2009 season just in time for Halloween.

As the curtain falls on another successful Lyceum Season, Artistic Director Quin Gresham and Managing Director Steve Bertani are thrilled to announce the 2010 Season schedule. 'Our goal in assembling the Lyceum's 50th season was to create a fun and celebratory combination of musicals and plays befitting this major milestone', says Artistic Director Quin Gresham. 'We think we have just such a line-up.'

The Sheldon presents the St. Louis Ragtimers, Tuesday and Wednesday, November 10 and 11, 2009 at 10 a.m. in the perfect acoustics of the Sheldon Concert Hall. Enjoy complimentary coffee and pastries at 9 a.m. in the beautiful Louis Spiering Room and a morning of Dixieland in the concert hall.

Piwacket Children's Theatre begins their 2009-2010 season with a retelling of the familiar Cinderella story, here called CINDERBOTTOM. Like all of their productions, there's a lot of tongue-in-cheek humor that makes it palatable for both children and adults, and there are a number of cute little catchy singalong type tunes interspersed as well.

With the premiere in the U.S. of Polish writer Ingmar Villqist's powerful play HELVER'S NIGHT artistic director Philip Boehm has once again demonstrated the enduring appeal of Upstream Theater. Boehm consistently provides his audience with challenging and innovative translations of playwrights from around the world. This particular production benefits greatly from the exceptional performances of Linda Kennedy and Christopher Harris, as well as Boehm's own keen directorial touch.

Australian born guitar vituoso Tommy Emmanuel showcased his unique talent on the stage of the Sheldon Concert Hall, offering a display of fleet-fingered picking that brought the house down.

Shakespeare's MACBETH is a perfect choice for the beginning of the Fall season, especially when one looks ahead to that most macabre of holidays; Halloween. Shakespeare's play is filled with gruesome murders and bloody mayhem, although a great deal of it does occur offstage. Like many of his tragedies, a lot of people perish as a power-hungry man, this time cajoled by his woman, claws his way to the throne.

LOVE KILLS, Kyle Jarrow's musical meditation on the relationship between Charlie Starkweather and Caril Fugate, who embarked on a killing spree in Nebraska during the late 1950's, is an intriguing piece that succeeds in confounding expectations. If there's any truth to be gleaned from the facts presented in this dramatization, then New Line Theatre's compelling production will provide you with the opportunity to judge for yourself.

THE PHANTOM OF THE OPERA is really a triumph of staging with Harold Prince's direction presenting and coordinating these spectacular set pieces with cinematic precision. The constant movement of actors and curtains and backdrops provides a dazzling display of theatrical technique and technical virtuosity. Maria Bjornsson's amazing production design and Andrew Bridge's moody concert lighting scheme also contribute immensely. And, of course, there's Webber's full-bodied orchestral score (with lyrics by Charles Hart and Richard Stilgoe) to contend with as well.

The New Jewish Theatre announces their 2009-2010 season. Called a 'Bat Mitzvah Season of Tradition', the list includes: CONVERSATIONS WITH MY FATHER (currently playing), BROOKLYN BOY, THE PEOPLE'S VIOLIN, ROMEO AND JULIET, and LAUGHTER ON THE 23RD FLOOR.

CONVERSATIONS WITH MY FATHER is kind of a misnomer. The character of Eddie Ross (nee Goldberg) doesn't converse as much as harangue the people around him. But, don't take this as a knock on Herb Gardner's play; it's more of a clarification than anything. This isn't just the ramblings of a bitter old man, but an exploration of his particular experience immigrating to America, and trying to fit in by rejecting his Jewish heritage.