In Ken Ludwig's fanciful farce, a golf tournament, an impending engagement and an ill-advised bet between old rivals converge to create an over-the-top comedy that offers easy laughs and physical comedy even if, at times, it tries a bit too hard to please. "The Fox on the Fairway" quickly introduces us to the various characters while setting up a plot that, though not particularly original, is well suited for the far-fetched twists, improbable revelations and comic misunderstandings of farce.
The New Jewish Theatre keeps their audiences laughing with a lively mix of humor and sex therapy in "Becoming Dr. Ruth," a delightfully informative production. Filled with personal anecdotes from the doctor's public life and deeply personal memories and observations, the show celebrates the resilient spirit and friendly, funny and frank approach to sex of Dr. Ruth Westheimer. Mark St. Germain's one-woman show is an entertaining and insightful look at Westheimer's personal and professional journey.
St. Louis Shakespeare's Magic Smoking Monkey Theatre company once again strikes gold, this time with "Cannibal: The Musical," a hilariously twisted homage to the classic Hollywood musical written by Trey Parker, half of the creative team behind "South Park" and "The Book of Mormon." Cannibal tells the ill-fated story of a group of miners who met their demise on the trail to Colorado gold.
“The 39 Steps” began life as a novel and has been made into at least three movies, but the 1935 Alfred Hitchcock version is the favorite. It's the one that Patrick Barlow and John Buchan raided for their stage version.
"No man is an island," says John Donne. Perhaps not, and yet it seems that in modern America, despite our vast electronic interconnections, more and more of us feel that we are on an island -- marooned like Ben Gunn -- scrambling to survive and desperate for human contact.
As the global economy begins to rebuild after the recent economic recession, a lot of people who once considered themselves comfortable are finding it difficult to rebound. Max & Louie's United States premiere of the Irish play "Chancers," by Robert Massey, takes a darkly comic look at the very real, and sometimes very desperate, straights of the struggling middle class.
It is not uncommon to see a romantic comedy that features a love-triangle even one in which an historic figure come to life in modern times. It is, however, considerably less common that the three characters involved are well past the bloom of youth. Dramatic License Productions' staging of "Rembrandt's Gift" is a touching, funny and sometimes bittersweet look at love, and life, that fearlessly tackles the subject of growing older in uncertain economic times without losing it's light, comedic touch.
St. Louis Shakespeare warms up fall with a breezy, optimistic interpretation of one of Shakespeare's most popular romantic comedies. Set in Italy at the end of World War II, this version is bubbly and cheerful, filled with a hopeful tone and vibrant personality. The play overflows with sharp observations and broad humor, and the company meets the upbeat, eternally romantic tone in an enjoyable production that's constantly in motion, but never hurried.
Could a group of monkeys, given time and typewriters, actually tap out "Hamlet"? Is it possible that love is more a matter of saying the right thing, in the right way at the right time? If Trotsky didn't know he was dead, how would he behave?
Commedia dell'arte -- that wonderful theatrical form that emphasizes comedy through plot, dialogue and physical action -- comes to life on The Repertory Theatre of St. Louis' stage. Richard Bean's laugh-out-loud interpretation of Carlo Goldoni's "The Servant of Two Masters," with songs by Grant Olding, follows the misguided adventures of Francis Henshall, a man attempting to fatten his belly and pockets by serving two gentlemen at the same time.