James Lindhorst - Page 3

Set designer Ann Beyersdorfer and choreographer Lindsay Joy Lancaster are making their STAGES St. Louis debut working on the upcoming production of Disney’s NEWSIES. Beyersdorfer, a Belleville, Illinois native, is a world class set designer who has created sets for Broadway, National Tours, Saturday Night Live, and the St. Louis Muny. Lancaster, a native of Cincinnati, Ohio, is the head of dance at The Institute for American Musical Theatre. Both sat down with Broadway World during their dinner break to talk about what brought them to STAGES St. Louis, how excited they are to work on this production of Disney’s NEWSIES, and the fresh perspectives they are bringing to the show. 

The Repertory Theatre of St. Louis is proud to present the return of the Steve Woolf Studio Series - Adventurous Theatre for Adventurous Theateregoers for the 2024/25 Season in the Emerson Studio of the Loretto-Hilton Center on the campus of Webster University. The two-play series features a wickedly funny comedy, THE ROOMMATE by Jen Silverman running October 26 - November 17, 2024, and the fast-paced engaging play ATHENA by Gracie Gardner, January 15 - February 8, 2025. 

What did our critic think of FIDDLER ON THE ROOF at The Muny?What can be said about an absolutely perfect production of one of the most well written musicals of all time? Hurling superlatives seems cliché but there is nothing about The Muny’s latest offering of the classic FIDDLER ON THE ROOF that can be criticized. From the opening when the town’s residents circle to share their “Traditions,” to their closing moments mourning the loss of their community “Anatevka,” this production makes you laugh and cry, and laugh and cry repeatedly. It is emotion-packed storytelling at its finest with superb direction, divine choreography, outstanding orchestral accompaniment, pristine sound, and a dream cast acting and singing at the top of their game. The costume, set, video, and lighting design are picture perfect.  

Often new works at festivals, both plays and musicals, are unoriginal and rely on conventions that are commonly used. CASCADE’S FIRE is an adventurous undertaking that deserves to be seen. Gruenloh’s book is unconventional, and his lyrics are remarkable in their originality. Wernke’s piano score creates lugubrious motif but would benefit from some thoughtful edits and the performance of more skilled vocal musicians. It is a bold new work with an innovative plot and unique story arc. Tesseract is giving their audience a rarity with something that bravely challenges the conformities of musical theatre.  

The quality of Maliakel’s voice is flawless with elegant tone and timbre. His phrasing is impeccable. His diction is magnificent. He possesses a resonant multi-octave range with rich and delicious vowels. Oh, those vowels! His elongated and euphonious Es in the titular song from “She Loves Me” reverberated throughout the room. Maliakel’s cabaret show is exactly what one wants in a musical theater performer’s solo show, carefully selected song choices that are familiar and not self-indulgent. His melodious singing and his relatable banter connected the insanely talented performer with his audience. The marvelous Maliakel has certainly proven that he is a vocal musician, a technician, an accomplished actor, a sensational singer, and an exceptional entertainer in any size venue. Hopefully, St. Louis will get to see him again soon on a local stage.

Fresh off his critically acclaimed run as Prince Eric in The Muny’s production of Disney’s THE LITTLE MERMAID, Michael Maliakel is bringing his cabaret show to Blue Strawberry in St. Louis. Maliakel played the lead role in Aladdin on Broadway for three years, has toured the country with the 25th Anniversary production of THE PHANTOM OF THE OPERA, and recently made his Kennedy Center Debut in Andrew Lloyd Webber’s SUNSET BOULEVARD. He sat down with Broadway World to talk about his upcoming shows at Blue Strawberry and his experience working at The Muny. 

FIDDLER ON THE ROOF premiered on Broadway on September 22, 1964. For the past 60-years it has been part of the fabric of the American musical theatre. This Friday evening, when FIDDLER ON THE ROOF opens at The Muny, the fiddler will be perched high upon a rooftop in Forest Park and play those familiar iconic notes. Adam Heller, as Tevye, and the rest of the cast will take the stage and sing about the importance of tradition in their village of Anatevka.  

The 10th Annual LaBute New Theatre Festival runs through July 28th at The Gaslight Theater. Jayne Hannah’s “Love in the Time of Nothing” is and inspirational love story that will tug at your heartstrings. It is magnificent in its storytelling convention and is the play of the festival that cannot be missed.

Holt's direction is sharp. Backer, Hanrahan and Howe’s snappy line delivery, awkward silence, and discernible discomfort make for fantastic performances. But Pinter’s script is just too murky for my taste. Kate and Anna’s relationship is hazy. What happened between them remains vague. Deeley’s acquaintance with Anna is ambiguous. Everything is veiled and nothing is revealed. All are the literary conventions that are the hallmarks of Pinter’s writing, but for me, the nebulous conclusion was not satisfying.

Gunn, Corpuz, Urday, Wilkinson and company delivered a compelling and entertaining production of the new musical MY HEART SAYS GO. The mundanities with the score and book are what keep this production from really soaring. Indigo’s coming-of-age story is not particularly different from what has been seen in other stories where a child makes a choice that is met with a parent’s disapproval. The themes are consistent with most stories about young adults pursing their dreams. Perhaps if the promising score were more dynamic and memorable, the familiar follow-your-heart story could reach new heights.  

The Muny’s production of Disney’s THE LITTLE MERMAID is a visually stunning explosion of color. Director John Tartaglia, his actors and technical teams collaborate to tell a memorable story that feels more animated movie than live musical theater. It is Tartaglia’s vision and leadership, the enthusiasm and vocal performance of his talented cast, and the vibrant effervescence of the set, costumes/wigs, choreography, puppets, lighting, video projections, sound, and music that make this an exuberant production.  

“There are so many things that excite me about this production of THE LITTLE MERMAID, but the most exciting thing is the number of kids and teenagers who are in the show,” she said. Jackson called the young performers the future of musical theater. She took that from the choreographer Patrick O’Neill who says, “the future of musical theater is in good hands.”   Jackson spoke warmly about the people here. She finds it incredible the way St. Louisans value theatre. “Performing outside in this beautiful park for the people of this community is,” she paused, took a deep breath, let out a long sigh, and said, “just so special.”  

First Run Artistic Director, Gwynneth Rausch and the Director of the two one act plays, Phil Wright, shared their excitement about Williamson and Shen’s comedies, CASH FLOW and THE CONVERSATION ABOUT THE KEYS, PART I: TIM WITHOUT THALIA. Both comedies are about the chaos in relationships between men and women. Having two equally strong one act plays submitted with similar themes gave First Run Theatre the opportunity to produce both as a double bill. Rausch called these plays, “Two clever and perceptive little gems about men and women.”

ROMANOV FAMILY YARD SALE has as many laughs as the stuff the family is trying to purge. While there is always “another funny bit,” the story works because the audiences’ hearts beat in unison with their new friends the Romanovs. It is an immersive theatrical experience that is oddly patriotic and filled with wit, charm, silliness, and a little melancholic bittersweetness. After visiting the ROMANOV FAMILY YARD SALE I want to grab my family and friends and drag them by the nape of their necks to meet the Romanovs and shop their treasures.  

Acclaimed theatre director Michael Wilson will be spending the summer in St. Louis to helm the Tennessee Williams Festival St. Louis’ production of CAT ON A HOT TIN ROOF. Wilson, who has long examined the works of Tennessee Williams could not pass up the opportunity to work in St. Louis.  

Every summer, Broadway’s John Tartaglia returns to St. Louis to make Muny magic. Last season he thrilled audiences with an epic production of Disney’s BEAUTY AND THE BEAST that Broadway World called remarkable, enchanted, and extravagant. This season Tartaglia will direct his eighth show at The Muny, Disney’s THE LITTLE MERMAID.  

Tiffany Mann is magnificent in The Muny's DREAMGIRLS as Effie White. She is a powerhouse performer with riveting stage presence and gigantic voice. Her heartbroken, resentful, and bitter portrayal painted a determined Effie who would not be pushed aside.

STAGES St. Louis has announced the full cast of their 2024 production of Disney’s NEWSIES, performing July 26- August 25 at The Ross Family Theatre at the Kirkwood Performing Arts Center. The show will be led by Daniel Marconi as Jack Kelly and Taylor Quick as Katherine. St. Louis’ Matthew Cox will be making his STAGES St. Louis Debut when he takes on the role of Crutchie.   Steve Bebout, immediately off of his St. Louis Theatre Circle win as Best Director of a Comedy for last year’s hit show CLUE, will return to STAGES to direct Disney’s NEWSIES. Bebout’s CLUE set box office records as the best-selling production in the history of STAGES St. Louis. Choreography will be created by STAGES newcomer, Lindsay Joy Lancaster. 

Tesseract Theatre company is following up their critically acclaimed productions of The Inheritance Parts I & II with their festival of new musicals. CASCADE’S FIRE written by Taylor Gruenloh with music composed by Kyle Wernke and MY HEART SAYS GO written by Matthew Hawkins with music and lyrics composed by Jorge Rivera-Herrans, and additional arrangements by Geoffrey Ko, will have their St. Louis Premieres in July at Tesseract’s “New Musical Summer Fest 2024.”  

TITANIC ON ICE: THE MUSICAL is a cross between a semi-successful “Saturday Night Live (SNL)” skit and a ridiculous hour-long sketch from the old “Carol Burnett Show.” The script, adapted by Rob McLemore, includes all the memorable pot points from the film, plus every silly joke or sight gag that came to mind. The production had the feel of an improve troupe presenting a concept show based on an idea tossed out from the audience. It is plausible to think that during rehearsals the cast and crew collaborated to continue adding jokes and sight gags.