It's been two-and-a-half years since Deanna Jent's remarkable play, "Falling", premiered at the Mus...
When I went to grad school at the University of Leeds in England—way back in 1960—some of the theatre fol...
Storm Large (yes, that's her real name) seems to be a one-woman entertainment conglomerate: rock star, author, ac...
Lovely and heartfelt, “Once” tells the story of two musicians who share a deeply profound love that can o...
‘Cabaret’ tells the story of the last days of the Weimer Republic before the Nazis seized power and engin...
If Opera Theatre of Saint Louis's "Sweeny Todd" isn't everything I could wish, it is (to quote an old joke) way ahead of whatever's in second place.
The plot of Othello is simple enough. An army general, Othello, a Moor, marries above his social station and outside his race. Also, he has chosen a young lieutenant, Michael Cassio, as his second-in-command.
The fine people at the Black Rep bring us another quirky, intelligent, original offering in "Insidious".
“Carmen” as film noir? With a femme fatale heroine, a doomed anti-hero, and a netherworld in which cops (well, OK, the fascist Guardia Civil) and crooks meet, the concept behind Opera Theatre’s production has genuine merit.
I suppose there are things more majestic, dramatic, emotional and joyful than Riverdance, but this two hour song and dance fest would be hard to beat.
Michael Feinstein’s appearance with the St. Louis Symphony on Mother’s Day had all the elements of a classic, well-crafted cabaret show.
Don (Steve Isom) is the kind of Little League coach that intimidates kids and their parents both. At first glance, it does seem that, to Don, winning really is the only thing. He’s a middle-aged guy who drinks beer, acts like an adolescent about women, and still remembers a baseball game he played at 12 as the highlight of his life.
Paul Rudnick’s The New Century is a funny play with an agenda—on paper. In Max and Louie’s production, it has its moments, but is disappointing overall.
The staging looks a bit cramped at times, especially in the big ensemble numbers, and the show itself feels a bit too long, but on the whole it truly is a jolly holiday with "Mary Poppins", thanks to solid production values and a great cast.
Kirkwood Theatre Guild caps their season with an unusual choice for a musical. Dirty Rotten Scoundrels does not set a boy-meets-girl plot to sweet love songs. Jeffrey Lane's book, adapted from the movie of the same name, follows a con man-meets-con man plot. David Yazbek sets lyrics and music to a perfectly hummable musical theatre score.
I should know. I should know that it's coming. Better yet, I should prepare...tune my brain to the “frenetic” setting, and then give it a notch more.
It occurs to me now and then that creating theatre is a kind of magic trick. The performers are the magicians and the patrons pay to be transported to another world, a different kind of life “for an hour, two hours,” says Jacob Shemerinsky, acclaimed actor in the Yiddish Theatre.
At a time when far too many Broadway musicals are either theme parks or retreads, "Memphis" stands out by offering an intelligent book with a message of hope and decency amid hate and fear, a solid score, and terrific performances.
The production of Handel’s 1739 pastoral opera “Acis and Galatea” that graced Union Avenue Opera’s stage this past weekend was pretty much a perfect fit for the company and its space.