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.
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.
It's doubtful that the 2006 stage adaptation of Disney's 1999 animated film “Tarzan” will ever make anybody's list of Great Musicals. But the Phil Collins score (expanded from the five numbers he wrote for the movie) is filled with songs that are never less the serviceable and, in the case of “You'll Be in My Heart” and “Sure as Sun Turns to Moon,” really quite moving.
I have been a big supporter of the St. Lou Fringe festival since its inception three years ago. This year I was out of town for most of the festival’s run (June 18-22), so I only got to six events. Rather than writing a review of each one, I have decided put them into three groups: hits, misses, and flops (a.k.a. “I want my 45 minutes back”). Here are two misses and a flop, in descending order of quality.
I have been a big supporter of the St. Lou Fringe festival since its inception three years ago. This year I was out of town for most of the festival’s run (June 18-22), so I only got to six events. Rather than writing a review of each one, I have decided put them into three groups: hits, misses, and flops (a.k.a. “I want my 45 minutes back”). We’ll start with the hits.
On July 17th, 1794, the sixteen women of the monastery of the Carmel of Compiègne in France were guillotined by the revolutionary government for refusing to abandon their vows and their community. The execution, which is widely believed to have been instrumental in bringing about the end of the Reign of Terror ten days later, inspired a novella, a play, and finally, Francis Poulenc's opera "Dialogues of the Carmelites" in 1953.