As a reviewer, comedy is one of those arts I don't typically cover; and, though I'm not exactly sure how to approach the show as a whole, St. Louis' own The World's Greatest Comedians convinced me that the future of comedy is in good hands, and I need to see more comedy. Who doesn't like a good laugh?
Alex Phillips and David Reddick
There are two types of cafes in the movies. There's the hive of romance -- think Brad Pitt and Claire Forlani in "Meet Joe Black" -- a cozy room with warm, milky drinks and longing eyes.
Not Quite Right Improv Group
Perhaps because it was the 11th show I had seen over a two-day marathon of shows, or because it was the last slot of a very long weekend spanning four days and over 100 performances, I struggled with Not Quite Right improv group.
The Four Fronts
In a tribute to classic American Lindy Hop and early traditional jazz dancing, "Rhythm City" made Kranzberg Cabaret travel back in time with a high-energy act that was guaranteed to make you start hand-clappin' and toe-tappin'.
NonProphet Theatre Company's 'Montana: A Shakespearean Scarface' finds humor, pathos in adaptation of film.
"Connect the Dots"
Core Project of Chicago
I enjoyed this modern dance troupe. Blue Dots, four in all, slid along the black box floor amidst a web of blue painters tape.
The classical music and theatre scenes in St. Louis are both lively, yet the art form that combines both—opera—still struggles. Opera Theatre produces generally fine work and gets international attention, but it’s only up and running for a little over a month. Add in the short seasons by our two smaller companies, Union Avenue Opera and Winter Opera, and local fans get to see, at most, a dozen productions per year.
One of the great things about the Fringe Festival is the outlet it offers for performances that don’t easily fit into neat categories. Take, for example, “Hey Minnie the Moocher: A Musical Tribute to the Cotton Club Swing Jazz Legends.”
You’d think the St. Lou Fringe Festival would be fertile ground for a cabaret act. The venues are small, the shows are required to be under an hour, and you need to be able to pack up and move your act quickly. It all seems ideally suited to the cabaret format, and yet to the best of my knowledge the closest thing to a cabaret performance this weekend is Christy Strickland’s entertaining “Live at Satori” show.
Glen Berger’s 2001 one-man play “Underneath the Lintel” is the story of an obsessive Librarian (we never do learn his name) in a small Dutch town whose neatly ordered (if not terribly fulfilling) life is turned upside-down when a copy of a Baedeker travel guide turns up in his “returns” box one day. It’s 123 years overdue, filled with notes in a variety of different languages (yet all, apparently by the same hand), and the borrower is identified in the records only as “A.”