I was looking forward to our visit to the new Boo Cat Club about which we've recently been showered with printer's ink. It's the renovated old Artists' Guild building on Union -- just across from the Union Avenue Opera -- and it's the venue for a production of "Stairs to the Roof" by Tennessee Williams.
It was an adoring crowd that filled the Gaslight Theatre—a surprisingly large crowd for a singer who has no history in cabaret.
Mabel Mercer Award–winning cabaret artist Steve Ross has a long and happy relationship with St. Louis, going back to the early days of the Grandel Cabaret Series. He was one of the first performers to be featured by Jim Dolan's Presenters Dolan organization when it got off the ground many years ago, so his appearance last weekend at Jim's Gaslight Cabaret Festival had something of the feel of a homecoming.
I have a list of movies that should not have been made into stage musicals. I haven't seen the movie of “Dirty Dancing,” but my friends who were at the opening of the stage version at the Fox and have seen the movie told me that the stage version is very true to the movie. Maybe too true. Which is why I might add it to my list.
Naomi Iizuka wrote “Anon(ymous)” for a children's theatre. She tells the story of a young man who was separated from his mother as they were escaping the violence in their native land.
With its skimpy costumes and abundant references in word and deed to sex of various kinds, “The Rocky Horror Show” might seem an unlikely choice for a group calling themselves Family Musical Theater. But someone who first saw “Rocky Horror” on stage or screen 30 years ago could well be joined by a grandchild at this production for a pleasant family outing.
What's the essence of cabaret? Partly it's what my friend Ken Haller (no mean cabaret artist himself) calls the art of telling stories through song. But equally essential, as Karen Mason's show demonstrates, are the arrangements used to tell those stories.
The Over Due Theatre Company is a small impecunious group. With a budget of about two cents and a shoestring they continue to impress me—especially with their musicals.
My favorite company in town, Phillip Boehm's Upstream Theatre, has opened a classic: Sophocles' "Antigone."
If March comes in like a lion it goes out like a lamb—or so they say. On the stage at St. Louis University March is surely roaring in; we're in the middle of a Kansas blizzard that's burying the roads in feet of snow. The last bus from Kansas City, on its way to Topeka, just manages to make it to Grace's Diner only thirty miles into Kansas. It can go no farther until the storm abates and the roads are cleared. So the travelers are stranded here for the night.