The MUNY pulls out all the stops with a gorgeous, glittering production of 42nd Street that never hits a wrong note or misses a beat. The show succeeds marvelously by surrounding spectacular tap routines and classic songs with the unlikely but engaging tale of Peggy Sawyer, a Pennsylvania country girl who starts out in the chorus, but ends up a star.

The production introduces audiences to the delightful voice, perky character, and fabulous footwork of Jonalyn Saxer, appropriately a newcomer to the MUNY stage, as Peggy Sawyer.  She's not simply sympathetic and attractive, she's feisty and energetic in a way that adds a hint of modern attitude to the Depression-era story. Saxer is surrounded by an excellent and talented supporting cast, resulting in interesting characters and a joyful excess of song and dance numbers that fill in where the flimsy storyline lacks.

Shuler Hensley is surprisingly personable as Julian Marsh, the demanding producer and director, and he's countered perfectly by the Jay Armstrong Johnson as the leading man and company lothario with a heart of gold. Emily Skinner commands attention and respect as Dorothy Brock, the star who reveals real tenderness beneath her diva antics. Skinner is complemented by Joey Sorge as her patient and ever-faithful suitor, and all-around nice guy, Pat Denning. The irrepressible Ann Harada and clever Jason Kravitz are perfectly comic as the sometimes cynical, but always upbeat, writing team of Maggie Jones and Bert Barry.

Among the ensemble, Bryan Thomas Hunt, Megan Sikora, Madison Johnson, and Fred Zimmerman are comically appealing in supporting roles. The entire ensemble shines in the song and dance numbers, including the adorable sextet of young MUNY dancers who pop up during an infectious rendition of "Keep Young and Beautiful."  Director Denis Jones also choreographed the show and the numbers are impressively complicated, with period-appropriate references to Busby Berkley and the Ziegfeld Follies. Hunt and dance captain Amy Van Norstrand lead with command, and the precision of the choreography is impressive and more than a little awe-inspiring when the entire ensemble comes together for the biggest numbers.

Attention to detail in all aspects of the show's technical design adds the finishing touches to this fabulously over-the-top production. Michael Schweikardt's scenic design utilizes the expansive stage to great effect, particularly with the large coin platforms, passenger train, and spectacular final staircase, while clever video and quick set transitions keep the story moving and compelling. The costumes and wigs, designed by Andrea Lauer and Leah J. Loukas, respectively, may have you longing for period style and are enhanced with solid lighting and sound design. 

In 42nd Street, the story is second to the memorable songs and intricately choreographed tap routines. Frankly, I couldn't imagine this show getting any better treatment than in the current MUNY production. The music direction, by Ben Whiteley is crisp and well connected, ensuring the production keeps the audience's attention focused on the memorable show tunes and fantastic tap dancing. Favorite numbers are given a well-deserved spotlight, including the playful "We're in the Money," heartfelt "I Only Have Eyes for You," and beloved "Lullaby of Broadway," and the dancing is mesmerizing and perfectly synchronized from the opening tap of auditions to the opulent, sequin filled final "Bows."

There are also a number of surprising and deeply satisfying twists to this production. Skinner's Brock is filled with tenderness towards Sawyer and her true, lingering love for Pat Denning is intimate and kind. Saxer's Sawyer reveals more smarts and faith in herself than typical; she's confident but not needy. Finally, Hensley's Marsh wows the audience with his soft-spoken, deeply affective take on "Finale Act Two." These subtle and effective touches showcase each actor while revealing the resonance and clarity of Jones' directorial approach.

Though the storyline is fanciful and unrealistic, its personality rings true and filled with hope. Perhaps more importantly, the spirited exuberance of the ensemble is genuine and infectious, ensuring a good time for fans of big dance numbers and the golden age of Broadway musicals. Set in a time of financial and global insecurity, 42nd Street, running through June 30, 2016 at the MUNY in Forest Park, may nonetheless start you humming with a newfound positivity. 

 

 

Insight Theatre Company's production of Stephen Sondheim's Company is a thoroughly enjoyable production that genuinely tries to meet the demanding standards and vocal calisthenics required by its composer. The cast is uniformly talented and clearly connects with the show, but, though the effort and an appealing ensemble are present, the production doesn't quite reach its lofty goal. 

Robert, or Bobby, is about to turn thirty-five. He's single, living in a very nice apartment and apparently doing well, both in business and his personal affairs. To this point, Bobby has spent his free time juggling multiple girlfriends and avoiding thoughts of settling down and starting a family, even as friend after friend try to fix him up with "nice girls." Now that his closest friends are all married, several of them with children, and as he considers his momentous birthday, Bobby begins to question his place in life and his future.

During the show, we meet Bobby's closest, married friends and three of the women he's dating. We watch as Bobby spends his time dating, being the third wheel with his coupled friends, and imagining how his surprise birthday party, the one he's not supposed to know about, will go. Several themes recur time and again and all are centered on Bobby, his choices, lifestyle, romantic partners, and most importantly, his lack of a wedding ring. 

Martin Fox is appealing as Bobby, and while his voice isn't quite up to the task on every song or bridge, he is reliably solid. As importantly, he successfully conveys the character's emotion and conflict, and we clearly see his challenges, questions and movement forward. In this reviewer's opinion, the acting is in fact a strong point of the show. All the scenes are emotionally grounded and each character's intention and reactions is clear, a credit to the cast and director Doug Finlayson. 

Bobby's coupled friends include Phil Leveling and Meghan Baker as the congenially pushy Harry and Sarah. The two are struggling to control their own flaws and less than successful at hiding it from each other but still happily together. Jonathan Hey and Cherlynn Alvarez as David and Jenny, the two have a strong connection and are very caring. Exuding warmth and a congenial nature, they seem to represent the almost too perfect couple. 

Cole Gutmann and Taylor Pietz, as Peter and Susan, and Michael Brightman and Laurie McConnell, as Larry and Joanne represent the other side of the coin. These long married couples are comfortable enough with each other, and Bobby, to share their frustrations and problems, though it doesn't seem to diminish either couple's affection. Finally, Matt Pentecost and Stephanie Long are Paul and Amy, a coupling that feels somewhat newer and still more eager to please than the others; though part of that may be due to Long's cheerful, over-helpful personality and her protective feelings for Bobby.

Bailey Reeves, as April the flight attendant, Melissa Garth, as girl next door Kathy, and Samantha Irene as the wildly free spirited Marta, round out the cast. The girlfriends feel particularly stereotyped and surprisingly dated, but Reeves, Garth, and Irene capture the distinct personalities and preferences of each with clarity and occasional humor. Finlayson ensures that each character is defined, and the action intentional and driven by the show, moving the show along with only occasional lulls in the story.

When the songs work, they're often quite stirring, with lovely harmonies and intonation that accents the interpretation. Unfortunately, those songs are outnumbered by ones with missed notes, poor timing and awkward dancing. A few of the solos simply fall flat, and at times one or two voices clearly miss their notes in the ensemble numbers. Among the numbers, I particularly enjoyed "Sorry-Grateful," "Someone Is Waiting," "Getting Married today," Side by Side by Side," and "Barcelona," and title number Company has a nice build, with interesting layered harmonies that really set the tone of the show.

Even with the flaws, I found Company, running through July 3, 2016 at Insight Theatre Company, to be an enjoyable, though not spectacular, show. It's also an easy-to-follow introduction to the work of Sondheim that may leave you both humming and smiling long after the final curtain.

 

 

Alan Ball's glib, bitingly funny look at weddings and well-to-do Southern culture, Five Women Wearing the Same Dress, has more substance than all the taffeta and crinoline suggests. With modern sensibility, the show pulls back the mask on recognizable stereotypes, revealing contemporary women grappling with age-old issues. Stray Dog Theatre's production succeeds spectacularly with sharp, on-the-mark performances and clear direction from Gary F. Bell.

Southern bell Tracy has just gotten married to a handsome, successful man. Rather than partying at the reception, however, her tragically clad bridesmaids seek refuge in younger sister Meredith's room. They each have their reasons for avoiding the party and more in common than first appears. The first act is filled with reminiscing, gossip, and petty jabs, but the action and conversation ripples with tense energy that hints at the revelations and twists to come.

Sarajane Alverson leads the cast as Trisha, a wisecracking feminist and Tracy's best friend from high school. Tough and perfectly polished on the outside, she has a knowing, compassionate heart, even when she doesn't want it to show. As the play progresses, she reveals her character to be perceptive and caring, as well as vulnerable. Alverson's Trisha may have met her perfect match in Kevin O'Brien's Tripp, a wealthy cousin to the groom, whom she initially avoids. Self-assured and verbally adroit, Tripp is a perfect foil for Trisha's carefully guarded walls, and he surprises by standing his ground and calling her bluff.

Tammy's other high school friend turned bridesmaid is Georgeanne, a girl with a failing marriage and painful connection to the bride, played with drunken abandon by Shannon Nara. Georgeanne makes a big entrance drinking champagne from the bottle and crying over a deep, lingering pain. Nara sympathetically handles the many mood swings and sense of desperation, ensuring the character is appealing and authentic.

Lindsay Gingrich is heartbreakingly poignant as Meredith, the rebellious little sister with a big secret of her own. Her need to hang on to the idea of love in denial of abuse is at times difficult to watch but easy to forgive, and Gingrich navigates these emotions in a touching performance. Eileen Engel is endearingly naïve and gratingly religious as cousin Frances, and while her transformation takes place in baby steps, she's genuine at her core. Frankie Ferrari is appealingly awkward and outspoken as the groom's lesbian sister, Mindy, infusing the show with comic clumsiness and frank honesty.

Though overflowing with snark, gossip, and humor, Five Women Wearing the Same Dress, is much more than a genteel comedy of manners. The show is filled with personal discovery as each character confronts difficult truths with realistic reactions, even when some of the barbs hit tender nerves. Painful issues that challenge long-held notions of tradition, gender roles, and classism surface for each of the women, and several of the details are genuinely distressing. While the show's ending strikes a happy pose, the underlying context suggests these stories are not yet finished. Still, the show feels complete and entertains thoroughly.

In addition to sure-handed direction, Bell also designed the oversized bedroom set, which captures the feel of the large, Southern mansion it represents. As importantly, since the room was originally older sister Tracy's, the sense that it's more a place of necessary refuge than a comfortable, welcoming space is clearly conveyed. Tyler Duenow's lighting design is well balanced and unobtrusive, while Eileen Engel's costumes capture the worst aspects of frilly, fancy, overdone bridesmaid dresses that flatter no one and seemed selected only to ensure that the bride shines more brightly.

A funny script, strong performances, and numerous revelations ensure the highly entertaining Five Women Wearing the Same Dress, running through June 25, 2016, is another engaging production from Stray Dog Theatre that entertains even as it prods. Playwright Bell's delightfully surprising play is delivered with deft timing, sincerity, and heart by an appealing and engaging cast, and a show that opens with the feeling of a "chic flick" turns into an insightful, satisfying tale of friendship and discovery.

 

Once again, St. Louis Shakespeare’s offshoot comedy troupe, Magic Smoking Monkey, has succeeded in creating a lightening quick retelling of a successful film franchise with a cult-like following. This time, it’s the post-apocalyptic road trip of Mad Max: Live!, which includes a visit to the Thunderdome and an epic battle on Fury Road.

Mad Max: Live! continues the company’s tradition of creating barely contained chaos that may or may not spill into the audience. We are introduced to Max and the rest of the cast through quick moving scenes that deliver all the important details and key moments from the movie franchise, emphasizing the over-the-top story with a nod and a wink. There’s also a comically excessive amount of flying body parts, weapons and other sundry objects. To cap off the madness, the ensemble’s campishly on-point version of “Rolling on the River” may in and of itself be worth the price of admission.

Although I’m not as familiar with this franchise as the writers and cast, I could easily follow the show’s progression through the films and was surprised at how many characters I recognized. And while the script is stuffed with jokes and exaggerated characterizations, the story is clearly communicated and complete, creating a satisfying arc. As is the company’s style, they generously sprinkle in cultural references that go beyond the movies, upping the comedy with sly but satisfying quips.

The show pivots around Ben Ritchie, playing the stoic, mysterious Max versions one through three before turning the character over to Charlie Barron. In many ways, Ritchie is the straight man in this show. Though he gets in his fair share of verbal jabs, he often says more with an over-the-shoulder glance to the audience, an exasperated sigh, or a dumbfounded stare. With this approach, he perfectly punctuates the humor and ridiculous plot lines without straying from character.

The entire cast commits to the over-the-top exaggerated characters in delightfully strange and comic ways. Ritchie is matched, arched eyebrow for pointed gesture, by Nicole Angeli as the tough but sexy Furiosa and Carl Overly, Jr. as a diva-licious Aunty Entity. Charlie Barron, Jamie Pitts, Dustin Allison, and John Wolbers are gleefully twisted and tightly wound in a number of roles. Stan Davis, Brennan Eller, Roger Erb, Britteny Henry, Amy Key, Morgan Maul-Smith, and Cliff Turner round out the ensemble playing a number of supporting characters and adding to the onstage cacophony.

Suki Peters directs the show with a light touch that focuses on the comic parody without neglecting the story at its center. The sparse stage suits the production well, and the props and set pieces are effective and quickly moved in and out of place, helping to maintain the breakneck speed of the performance. The costumes are appropriately hodgepodge, with a few fanciful and tragically chic pieces thrown in for both comic and visual interest. Video is used effectively throughout, helping with transitions and comically mimicking a green screen effect during several scenes, and a number of sound and lighting effects provide a little extra bang to the show.

While light, pop culture driven comedy isn’t for everyone, Magic Smoking Monkey Theatre’s latest is a delightfully weird and enjoyable production that delivers laughs aplenty. The company’s core creative team put together this clever parody, and the collaborative nature of the ensemble ensures that the show succeeds for a broad audience. For a healthy dose of unadulterated silliness that thoroughly entertains with relentless humor and non-stop action, Mad Max: Live! is a sure thing.

 

Stages St. Louis brings the magic of theater to life with Disney’s Alice in Wonderland, a show for young audiences presented at the company’s Westport Theater. The production is a lively musical retelling of the beloved story of a young girl who follows a silly white rabbit through the looking glass. The two stumble into a wonderfully strange world filled with oddly weird and unique characters. The show includes songs, dancing, and just enough audience interaction to make it a perfect introduction to musical theater for most children two and older.

In this version, young Alice, played with a curious, beguiling nature by Alexis Kinney, is tired of being quiet at the insistence of her nursemaid Mathilda, a kind but harried woman portrayed with gentle firmness by Angela Sapolis. The bored young girl flits around her room with an air of impatience, until finally choosing to read a book, which makes her drowsy. Just as Alice is drifting off to sleep, the White Rabbit, a frantic and frenetic John Kinney, bursts in to her room, sparking Alice’s interest and leading her to follow him to Wonderland, where the real adventure begins.

This new land is unfamiliar to Alice, but she’s much more interested in finding the White Rabbit than worrying about her surroundings. She soon meets the congenial and energetic March Hare, played with a gleeful flare by Chris Tipp, and Ryan Cooper’s wacky, fumbling Mad Hatter. Though she doesn’t quite follow their logic, she gamely joins the two on their madcap ramblings through Wonderland.

Along the way, we’re introduced to Kendra Lynn Lucas as a soulful but bubbly caterpillar with a touch of fairy godmother to her demeanor. Ryan Alexander Jacobs and Austin Glen Jacobs are the mischievously acrobatic Tweedle Dee and Tweedle Dum, and they generate lots of laughter with their goofy antics. The red queen and king make their appearance, with help from Tipp and Sapolis, and a chorus of singing flowers, featuring Sapolis, Kinsey Bearman, Katie Brnjac, and Caroline Eiseman, rounds out the cast. The actors are cheerful and engaging, throwing looks and comments to the audience while they sing, harmonize, and smile through a quick one-act show.

Michael Hamilton provides direction and staging that’s reminiscent of the original Disney movie on which the musical is based, with additional choreography by Ellen Isom. The two keep the action moving and the dances lively and crisp, using a touch of slight-of-hand and theater magic to maintain interest during transitions and adding clever current references to hold everyone’s attention. Bubbles, magic tricks, and clap along moments in the songs engage the younger audience members, adding fun touches that entertain without being too over-the-top or ridiculous silly for the rest of the audience.

The show is as visually compelling as the performances. The set quickly and easily changes from a little girl’s room to an imaginative land somewhere far, far away on the other side of the mirror. Jim Sandefur’s design brims over with bold bright colors and strong visual references that are continued in the fanciful costumes by Garth Dunbar and emphasized by Jeff Behm’s warm and inviting lighting.

The performers genuinely seem to enjoy the show, grabbing onto the opportunity to cut lose in comic ways and still tell an enchanting story with a positive theme. In addition to the show, the company offers a number of activities before the performance as well as question and answer time, and the opportunity to take photos with cast members after the show. Even the company’s program is filled with activities and trivia that reinforce the show and provide a keepsake for the children.

Children will likely be enthralled by the clever dialogue, catchy songs, and abundantly joyful tone of the show; so much so that the simple but effective lesson about being true to yourself can easily sneak its way into their brains. Parents and older kids have not been forgotten, and most will appreciate the pop culture references, fast pacing, comic choreography, and high quality singing that ties the show up in a delightful bow.

Stages St. Louis production of Disney’s Alice in Wonderland is a fabulously cheerful and imaginative show and, at just around an hour in length, it’s the perfect distraction to capture kids’ imaginations and spark some creative play of their own. Adult theater patrons looking to introduce younger children to the magic of live theater will delight in their likely response to the uplifting, comically satisfying show, running through July 3, 2016.

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