They brought it, all right. The whole package. Singing, dancing, and of course, "Bring It On"’s raison d’être, cheerleading.
“Cavalia” just might be the Rolls Royce of equestrian shows—a flashy, elegant evening featuring 48 horses, a raft of acrobats and aerialists, and some impressive multi-media effects. The show is not without its longueurs but even so, anyone who loves horses won't want to miss it.
One-person plays are not my favorite kind of theatre. But after the hour and a half of No Child . . ., I could almost have sworn that I'd seen more than a dozen people on The Black Rep stage.
So you're directing a script by a young playwright who obviously has a feel for what works on stage, for how to build a scene, how to set things up for physical comedy.
What gets under under your skin? Perhaps that loner you inexplicably love? Perhaps a strong, thought-provoking play that won't leave your mind alone? Or perhaps it's...burrowing blood-sucking aphids?
Jean-Baptiste Moliere's comedy Tartuffe was meant to be clever and funny, but even a classic script couldn't have saved UMSL's clownish adaptation of this play.
Leo Greshen (Peter Mayer) sets up a kind of private Yom Kippur on Benny Silverman’s (Bobby Miller) lavish deck overlooking Malibu. But while it’s clear from Miller’s performance that Benny was once a great comic actor, he’s not much of a Jew.
St. Louis currently has a rare opportunity to see two productions of the best play set in St. Louis, Tennessee Williams' The Glass Menagerie.
Mary Zimmerman's The Arabian Nights is a show you just might have to tough out to gain the full measure of, but I think it's worth the effort.
A good comedy is comprised of many key elements. It must have clear and snappy dialog. There should be jokes and gags, both of a physical nature and layered within the banter.
The Rep is kicking off their Ignite! New Play Festival with the impressive world premiere of Ayad Akhtar’s thriller “The Invisible Hand”.
"American Idiot" is an absolute blast, a musical filled with energy and exuberance, both evidenced in the music and in the performances.
Scott Miller almost always settles into a high-octane groove with his productions at New Line Theatre. That's true of his current offering, Cry-Baby, the musical adapted from John Waters' film of the same name.
It's all there: passion, infatuation, love, death, poverty, suffering, joy and art. And yet, La Boheme defies categorization as just another soap opera. After 116 years, Giacomo Puccini's music of the heart still grabs the listener's soul more willingly than any siren call ever could.
The lights were dimmed to black at the end of The Glass Menagerie, and I sat there choked up and unable to process or describe what I had just seen. The power of the performance blew me away.