Introducing young children to the magic of theater is no small challenge. Luckily, the Repertory Theatre of St. Louis...
"Elf," the musical based on the 2003 movie of the same name, is cute the way snow is damp. It's sentime...
The St. Louis Black Rep fills its new home to overflowing with bright talent and Christmas joy! Their productio...
It find it interesting that an IMDB listing on screenwriter and playwright William Gibson — he of “The Mi...
‘There are stars whose radiance is visible on earth though they have long been extinct. There are people whose ...
It's kind of amazing that although I owned the Original Broadway cast recording of "A Chorus Line" as soon as it came out (when I was 15), am well acquainted with the script and the story (by James Kirkwood and Joe Dante), and know each number of the score (by Marvin Hamlisch and Edward Kleban) inside and out, I had somehow never managed to see a live production of it.
Other than the assassination of Abraham Lincoln, the period immediately following the end of the Civil War is not a subject commonly covered in books, art or theater. I had never given much thought to this fact, myself. But, after seeing "The Whipping Man," a play by Matthew Lopez currently on stage at The Black Rep, it's a wonder that this confusing, uncertain period isn't the setting for more stories.
Elvis Presley lives! And lives and lives and lives . . . Each year Washington University’s A. E. Hotchner playwriting competition serves as muse to budding playwrights among the Wash U. student body.
St. Louis Shakespeare closes its 28th season with the perennial favorite, “As You Like It,” a pleasing story that still resonates with today’s audiences. Some of the language may be unfamiliar, but the broad humor and themes of love and fidelity hold up well in the spirited production.
The mood is set for "Double Indemnity" the minute you walk into the theater. Small windows let in rays of eerie white sunlight. A smoky haze swirls above the stage. The terra cotta roof and plastered walls paired with streaks of sunlight makes it unclear as to whether the scene is set inside or outside, during night or day.
Pamela Reckamp, artistic director of Spotlight Theatre, joins an ancient tradition in the Christian community with her production of "Passion". It tells the story of the last week in the life of Jesus of Nazareth, events told countless times in paintings, sculpture, music, theatre, films, poetry, and prose.
Fontbonne University has opened a charming production of "Eurydice", a very slight piece by Sarah Ruhl. Whimsical, with occasional wisps of poetry, this little story is a retelling of the Orpheus legend—but with a focus on Eurydice.
It’s the oldest love story in the world: boy meets horse, boy loses horse, boy gets horse back. And that old story comes to the Fox in a production of "War Horse" that is visually and aurally stunning.
How does a family deal with devastating loss, and begin to move forward again with their lives, without falling completely apart? It's never an easy question, and "Rabbit Hole," by David Lindsay-Abaire, doesn't pretend to have all the answers, or even to understand all the questions. What the play does do, and does with an almost aching clarity, is give us a glimpse at some of the possibilities.
Winter Opera has closed their current season with a musically splendid and visually satisfying production of Puccini’s 1900 political melodrama “Tosca.” Acting and some casting choices did not always strike me as ideal, but the company sang beautifully, the orchestra sounded solid, and the sets and costumes were, given the group’s small budget, quite lavish.
Carrot, the titular canine in Daniel Damiano's "Day of the Dog," the world premiere of which is being presented by St. Louis Actors' Studio, is a German Shepherd mix and the family pet of accountant Paul and interior designer Julianne. He never appears on stage, but his presence--and his problem--are obvious as soon as the lights go up and Paul enters with heavily bandaged arms and hands.
"Venus in Fur" is a clever, funny, and slightly creepy piece from David Ives, the master of the ingenious one-act and the inventive historical adaptation. At 100 minutes or thereabouts it may be a bit repetitious in places, but overall it's a classic example of the "well-made play" a la Terrence Rattigan or J.B. Priestly.
At its center, the “Lilies of the Field,” takes a long, reflective look at the needs and motivations that compel people to work together to achieve common good. The premise – that a black Southern Baptist man would help a group of immigrant Catholic nuns build a chapel outside a Mexican town in the American dessert – is ripe for political commentary and potential protest in contemporary America.
It is easy to understand why "Boeing Boeing" became such a popular piece of French theater in the 1960's, with productions spanning fifty-five nations around the globe. Written by Marc Camoletti and translated by Beverly Cross, "Boeing Boeing" has crossed cultural boundaries to reveal and poke fun at universal truths of relationships and romantic behavior.
Joan Lipkin has never been one to shy away from a subject, and, from what I've seen in our few encounters, Leon A. Braxton, Jr. has simply never been shy. Together, the pair teamed up as executive producers of a thoughtful, complicated and uplifting evening of short LGBT plays under the title "Briefs," performed in the intimate downtown space La Perla.
Mention “Musical Theatre” to the average Joe, and I think it’s a fair bet that what will be brought to mind is a story in which True Love conquers all, and you leave the theatre whistling something bright and breezy about raindrops on roses, love across a crowded room, or a sun that will come out tomorrow. This is not the case, however, with New Line Theatre’s current production of "Next to Normal," a musical that explores the depths of a battered psyche that foments little but anger and despair.