Clayton Community Theatre takes a humorous look at the general reverence for and study of all things Shakespeare with Ann-Marie MacDonald's sprightly comedy "Goodnight Desdemona (Good Morning Juliet)." A near-farcical look at two well-known Shakespearean plays, "Othello" and "Romeo and Juliet," the show succeeds in spirit while it lacks in substance.
You're probably familiar with essay writer the phenomenon of the unreliable narrator—someone who won't or can't give an accurate account of his or her experiences and memories. In real life it's annoying as hell. In Sharr White's "The Other Place" it's the basis for a compelling drama about what happens when reality, perception, and memory become disconnected from each other.
The Washington University Ovations Series continued its 2013–2014 offerings with a couple of one-man performances of "The Wonder Bread Years," by writer, playwright, actor, producer, director, comedian Pat Hazell.
When you think of the music for the 1939 film "The Wizard of Oz," the first names that probably come to mind are Harold Arlen and E. Y. "Yip" Harburg. Their songs "Somewhere Over the Rainbow" and "If I Only Had a Brain" have been firmly ensconced in the Great American Songbook for decades. If you're a film music fan, you might also think of composer/arranger (and Broadway veteran) Herbert Stothart, who combined Arlen's tunes with original material into a seamless, Oscar-winning score.
The Kirkwood Theatre Guild's production of Arthur Miller's American classic "All My Sons," is much like the story's characters, flawed but compelling and, ultimately, likeable. The "based on true events" play attempts to find its way through the blurred lines where personal and professional cross with profit and death.
Fans of playwright Arthur Miller are lucky to have several productions currently on St. Louis stages. St. Louis Actors' Studio stands out with "The Ride Down Mount Morgan." The tightly wound, well acted production envelopes the audience in the small theater, delivering a memorable version of a beautifully crafted drama.
First Run Theatre, a professional company dedicated to the production and promotion of works by local playwrights, closes its season with an entertaining new entry in the adventures of Sherlock Holmes. The show, Jason Slavik's "Whatever Remains" is entertaining and well paced, if occasionally a bit of a credibility stretch.
What if Malcolm X and Dr. Martin Luther King, Jr. got together one evening, just to have a conversation? Would history change? Would they find common ground? Could they even get along? The Black Rep and director Ron Himes join playwright Jeff Stetson in asking this question in the effective, thought-provoking drama "The Meeting."
I wonder how many reviewers will mention West End Players Guild's (WEPG) production of "Opus" in 2013 when they review this one. Is it appropriate to do so?
With "Solemn Mockeries," the Midnight Company has once again succeeded in producing a memorable, and thoroughly enjoyable, evening of theater on a smaller scale. This "true story" introduces contemporary audiences to William-Henry Ireland, a man who nearly found success by creating forgeries of William Shakespeare's personal documents. If his reach hadn't exceeded his abilities, Ireland might have escaped discovery during his lifetime.
In "West Side Story" saturated colors against shadow-filled backgrounds and the boldly familiar choreography of Jerome Robbins, as reproduced by Joey McKneely, reference the tradition of this now classic show. Troika Entertainment's production at the Fox refreshed that tradition with spectacularly rhythmic dance and an elegantly woven English and Spanish language interplay.