James Lindhorst - Page 5

For the second year in row and the seventh time in his career St. Louisan Jack Lane has been nominated for a Tony Award, this time for his work on WATER FOR ELEPHANTS.  In addition to his nomination for Best Musical, WATER FOR ELEPHANTS was nominated for Best Direction of a Musical, Book of a Musical, Choreography, Scenic Design, Costume Design, and Lighting Design.  

The Blue Strawberry in Midtown St. Louis welcomed John Lloyd Young on Wednesday evening for the first of two Shows.Highlights from his set included a soulful performance of the R & B classic “Show and Tell,” and a haunting introspective rendition of The Hollies song “The Air That I Breathe.” To say that Young’s voice is special is an understatement. His phrasing is impeccable. His vowels are open, pure, and rich. Young’s tenor is lush and resonant with pitch-perfect head and chest voice and a falsetto that soars. His vocal stylings are magnificent.  

The Tesseract Theatre Company’s production of THE INHERITANCE was a marvelous accomplishment thanks to the genius direction of Stephen Peirick and the out-of-body performances he evoked from each member of his cast. Peirick took the more than 300 pages of Lopez’s wordy script and swiftly paced the production, making it so succinct that the time in the theater melted away as rapidly as a piece of satisfying chocolate on the tongue.   Peirick artfully blocked his well-rehearsed actors on his small set design consisting of two small risers surrounded by the three walls of the small black box theatre. Paintings of familiar New York City scenes representing The Bethesda Terrace Fountain and theatre marquees were interspersed with artwork of cherry blossoms adorning the side walls. Decorating the back wall were vines of cherry blossoms in a crisscross pattern reminiscent of a NYC subway map. He judiciously used the performance space to move his actors between NYC, the apartment interiors, and an upstate New York estate while maintaining a lively pace to his sensational storytelling. 

STAGES St. Louis unveiled their stellar ensemble cast for its upcoming production of Steel Magnolias. The cast includes Amy Loui (M'Lynn), Taylor Quick (Shelby), Jilanne Marie Klaus (Truvy), Abigail Isom (Annelle), Zoe Vonder Haar (Ouiser), Kari Ely (Clairee) Lari White (Standby), Lexy Witcher (Standby), and Meme Wolff (Standby). This beloved story, known for its memorable characters and heartfelt message, will grace the stage from May 31 – June 30 in The Ross Family Theatre at the Kirkwood Performing Arts Center. 

Some bright local voices were heard at Prism Theatre Company’s SPOTLIGHT ON ... BEING YOU over this past weekend in St. Louis. The best of the festival was the performance billed as a ‘Popera’ written and composed by Holly Barber and Lee Ehmke. THAT PERFECT KISS, a retelling of Cinderella and her Prince, is a short musical ditty about finding one’s genuine self. Accompanied by composer Holly Barber on guitar, Sarah Lueken, Rachel Bailey, Zach Thompson, and Matt Kauzlarich performed the light pop score with charm and pizzaz. In just a few minutes, Barber and Ehmke used familiar characters, re-told their stories, provided them arc, and created an indelible musical memory for the audience. The prince wasn't the only thing that was charming in this coming-of-age tale.  

A complete review of this work will not be published until after seeing Part 2, but after witnessing this company’s transcendent and transformative performance of Part 1 I was compelled to write a micro-review.  

On Friday, May 10th, season packages go on sale to new subscribers for The Fabulous Fox Theatres ‘24-’25 Broadway Series. The 8-show season includes all the biggest musical hits from last season on Broadway, including the Tony Award Winning Best Musical KIMBERLY AKIMBO, the box office sensation & JULIET, the phenomenal SOME LIKE IT HOT, the ridiculously funny SHUCKED, and the triumphant return of St. Louis favorite SIX. 

The Repertory Theatre of St. Louis (The Rep) has announced that Kate Bergstrom will assume the role as the Augustin Family Artistic Director effective May 13, 2024. The Rep conducted a six-month nationwide search before naming Bergstrom to the role. Bergstrom succeeds Hana S. Sharif’s following her departure last summer. With the appointment, Bergstrom brings a passionate energy for The Rep’s next chapter to build on the theater’s success as a vital, celebrated, cultural cornerstone of St. Louis. 

Bayoc, like the rest of us is just an everyday person finding his way in this world. He is talented, has enjoyed success in the art world, learned from his mistakes, and understands the importance of personal accountability. Bayoc shares many sensitive moments. None more exposing than the story of the painting of himself, his father, and his sister that was included in his “365 Days with Dad” series. Colin Healy, credited with direction and stageplay, crafted an engaging script that walks the audience through Bayoc’s life. Healy’s script includes Bayoc’s education at an HBCU, his work as a caricature artist at an amusement park, and his sale of three paintings to Prince. Yes, THAT Prince, and now one of Bayoc’s paintings adorns the wall above the white piano in Prince’s home at Paisley Park. It is the same painting that Prince selected as album cover artwork for his jazz album “The Rainbow Children.”

STAGES St. Louis has announced the creative team behind its 2024 season opener, STEEL MAGNOLIAS, at the Ross Family Theatre in the Kirkwood Performing Arts Center. The show will run from May 31- June 30 and highlights a multitude of St. Louis local designers, actors, artists, technicians, stagehands, and more. 

This well-directed and remarkably acted version of HAMLET illustrates how entertaining and engaging Shakespeare’s works can be. Siler and his cast created a production that would meet the highest standards of a finicky bardolator while entertaining a casual theater goer who may wonder if Shakespeare is right for them. 

Boehm’s translation and direction tells a melancholic tale about life, choices, relationships, and death. His trio of actors create stylized characters to challenge beliefs and self-morality. DON’T WAIT FOR THE MORLBORO MAN uses different conventions to tell a somber story that penetrates your consciousness and sticks with you long after leaving the theater.  

THE CHER SHOW is an eye-popping traipse down memory lane but suffers from drive-by storytelling. While far from perfect as a full-fledged Broadway musical, there are plenty of wildly entertaining moments that make this show more enjoyable than it should be. It is the casting, strong vocal performances, Bob Mackie’s over-the-top costume design, Charlie Morrison’s concert-like lighting design, Jonthan Infante, and Kelly James Tighe’s visually interesting video design that give this production an entertaining musical revue feel. Fans of Cher will not be disappointed with this production. There is plenty of music, talent, glitz, glamour, and fun to satisfy.

The Midnight Company, in a collaboration with St. Louis University’s Lucy Cashion, is producing Mickle Maher’s SPIRITS TO ENFORCE. This is the fourth Maher play that Midnight Company has produced. Maher is the founder of Chicago’s Theatre Oobleck and has authored more than 10 plays. Cashion will direct.

Garner, Peters, and Richie’s performances all elevate a passable script that doesn’t quite reach the level of a disquieting and chilling story. Pierce’s directorial choice makes the production worth recommending, however go with the expectations that the aliens never materialize to create a chilling other worldly ghost story.  

The entertaining 8th Annual Aphra Bren Festival successfully gave fresh female, transgender, and non-binary voices the medium to have their works professionally produced and be heard. Four playwrights presented new works as part of the Festival. Anne Valentino’s play THE THE stood out amount the produced works. It was creatively staged, paced, and magnificently blocked by director Michelle Hand. Valentino’s play illustrated a maturity in storytelling with strong voice that provided a message that resonates. Hand, Baker, Keating, and David Cooperstein collaborated to create a memorable production.

This is an excellent production of a story that is difficult to watch. The direction is sharp, the acting is flawless, and the technical theatre quality is first rate. The artists at St. Louis Actors’ studio have milked every bit of emotion they can wring from a strong script with, what was for me, a less than satisfying conclusion.

Mason’s entrancing show is a love letter to the legendary songwriting team. Her warm memories of Kander and Ebb left the audience feeling as if they were also acquainted with the celebrated composer and lyricist.  

Fresh off her win for Outstanding Costume Design of a Musical at Monday evening’s St. Louis Theatre Circle Awards, Eileen Engel took the stage in JACEY’S JAZZ JOINT. For the next 70-miutes, Engel treated her audience to jazzy renditions of some of the most loved American standards. Her set included “Embraceable You,” “Fly Me to the Moon,” and “Misty,” among 10 other songs. Her work with this set of 13 songs suited her voice as she confidently entertained the club at Blue Strawberry Showroom and Lounge, playing club owner Jacey.  

Mason is thrilled to be returning, again to St. Louis and bringing her show featuring the music of the legendary composers Kander and Ebb. She said, “the music they write is perfect for my voice and I enjoy singing the music they’ve composed for their musicals.” She had the chance to work in the original company of AND THE WORLD GOES ROUND with John Kander and Fred Ebb. She talked of how collaborative her work was with them, what special composers they are, and how she loves to sing their music. Mason beamed with pride when she talked about John Kander being in the audience when she premiered this show at Birdland in New York City. She said, “He couldn’t have been more kind and lovely.”