The St. Louis Actors' Studio once again features the works of established and emerging playwrights in its annual month-long festival of new plays, the "LaBute New Theater Festival," with four works produced for the second half of the festival. Running through August 3, 2014, the plays in part two represent the strongest productions of the festival and include Neil LaBute's "Here We Go round the Mulberry Bush," which had its world premier during part one.
Stray Dog Theater's production of "Funny Girl" is an ambitious undertaking -- the leading role is incredibly difficult, a demanding part that requires exceptional vocal range and power, spot-on comic timing and an actress willing to play up her less glamorous side. And the supporting cast must include top-notch dancers, strong voiced character actors and a leading man with incredible charisma.
You might think that a show like "How to Succeed in Business Without Really Trying," which was widely regarded as a timely musical satire when it opened on Broadway in 1961, would now look pretty dated. And you'd be wrong, as the big, bright, and tremendously entertaining Stages production clearly demonstrates.
There may be a more whimsical, charming, and funny show out there with more heart and smarts than “Seussical” at The Muny, but if so I have yet to encounter it.
When I praised Heather Matthews' performance in "Victor/Victoria" at Family Musical Theater, I said I did not recall having seen her before but hoped I would see her again. Now I have seen her again, though it took me awhile to realize that I was seeing her again.
Clayton Community Theater's "Little Women" is an entertaining production that stays faithful to the themes and era presented in Louis May Alcott's beloved story. The cast and director Sheri Hogan lovingly recreate the well-defined characters and moral lessons in the original story, ensuring this family oriented show remains appropriate for all ages.
St. Louis Actors' Studio once again features the talents of emerging and established playwrights with the second "LaBute Festival of New Plays," a month long presentation of short plays presented in two parts. Teeming with subtext and slow revelations, part one features a fascinating mix of complex characters and intriguing situations.
St. Louis Shakespeare kicks off its thirtieth season with a passionate, emotionally layered production of "Hamlet" that remains faithful to the script while providing a few unexpected twists, most of which work to great effect.
What a long strange trip it has been for The Addams Family. They started out as a collection of unnamed characters in the creepy drawings of the late Charles Addams for “The New Yorker” in the 1930s, got names when they became sitcom stars in the mid-1960s, went through multiple live and animated TV incarnations beginning in the ‘70s, and were the subject of three feature films in the ‘90s.
History tells us the 1853 premiere of Verdi's "La Traviata" was something of a disaster, capped by the fatal miscasting (opposed unsuccessfully by the composer) of a soprano whose girth, in the view of the audience, made her attempts to portray a consumptive beauty laughable rather than tragic.
The main thing you need to know about “The Gershwins' Porgy and Bess” is that it's not the Gershwins' “Porgy and Bess.” Let me me to explain.