St. Louis Shakespeare is now performing The Two Noble Kinsmen because scholars have by and large agreed that Shakespeare wrote about half of it, probably when John Fletcher asked him to help give the Globe Theatre's audience something fresh. So The Two Noble Kinsmen is now considered part of the canon, and St. Louis Shakespeare is determined to do every play in the canon.
A rousing rendition of the title song from "Oklahoma!" can go a long way toward redeeming even a mediocre production of the musical. Fortunately, the current production by Family Musical Theatre needs little redemption.
"Les Miserables" is back at The Muny this week, just as it was back at the Fox last fall, and probably will return to each of them again and again. It is a very popular show.
The U.S. had been an Asian empire at least since the Spanish-American War. But the engagements in the Pacific in World War II brought the culture conflicts of East and West home more thoroughly than ever before, penetrating even that most popular and American of entertainments, musical comedy. The result was two of the finest works by the leading post-war words-and-music team, Richard Rodgers and Oscar Hammerstein II.
Have you ever seen "Nunsense"? Has anyone not seen "Nunsense" in one of its seven versions, 10,000 productions, or five DVDs over the last 30 years?
The Muny opened its 2013 season on Monday night, a little late and with some trepidation. The monsoon Monday afternoon washed out the final dress rehearsal, which The Muny normally has on the afternoon of the opening evening. So as Executive Producer Mike Isaacson noted a little uneasily in his lengthy curtain speech, Monday night was technical rehearsal, dress rehearsal, and opening night rolled into one.
"Twelfth Night" is one of my favorite Shakespeare comedies, and Shakespeare Festival St. Louis has mounted a splendid production of it in the Shakespeare Glen in Forest Park. It has comedy high and low, true love whose course runs not unbearably rough, a generous sprinkling of music, and a happy ending shaded with a pleasant touch of melancholy.
Watching an Agatha Christie mystery, I have often wanted someone to do what Peter Gordon has tried to do in "Murdered to Death", which played recently at the Alpha Players of Florissant.