In “The Lion in Winter,” James Goldman has written something of a medieval version of “Who's Afraid of Virginia Woolf?.” Given that in Goldman's piece royalty are fighting for provinces and thrones and even lives, the stakes may seem higher than in Albee, but the bruising of egos is very similar. And Goldman's dialogue can be almost as witty as Albee's.
We recently saw a musical about people who kill presidents. Now we have a musical about people who kill anyone who gets in the way of what they want. It's being done by New Line Theatre. They've already done the presidential one three times. This musical is "Bonnie and Clyde," about the curiously fascinating pair of young Depression-era outlaws.
An incident of gay bashing lies at the center of playwright Diana Son's "Stop Kiss." We don't see the actual violence. We see what precedes it and what follows it. But the scenes don't come in chronological order. Before and after mix.
Several area theatre companies are staging works by acclaimed playwrights to illuminate the turbulence of today's political climate. While some author's reference current events to push an agenda or present alternate points of view; others, such as Argentina's Lucia Laragione, weave political overtones within more fanciful contexts to raise awareness of historical events and social injustices.
Gods are all-seeing. Gods can condemn. Would you blind your god if you could? This presentation of Peter Shaffer's play is quite simply the finest evening of theatre that I've been privileged to see in a number of years.
If the opening night crowd for Come Rain or Come Shine was not quite as large as Cabaret St. Louis would have liked, it might have been due to some lukewarm reviews the show got earlier this year in New York. If so, local audiences should have no concern. Come Rain or Come Shine may not be a flawless show, but it's a polished and entertaining one with solid musical and theatrical values that gets the fall Cabaret St. Louis season off to a fine start.
Are you a virgin? If you have not yet seen the Immediacy Theater Project's (ITP) evening of shenanigans that is Drawn & Quartered, then the answer is "yes" - in the same way that those naive to the world of The Rocky Horror Picture Show are virgins to midnight movies. It is unlike any theater, or sketch work for that matter, that essaywriter St. Louis is currently offering - and sweetheart, you don't know what you're missing.
To perform an Oscar Wilde play and do it justice is no easy task; but to do a Readers Theater production of an Oscar Wilde play is a far greater challenge, and one in which Soundstage Productions most notably attempts with their latest production of Wilde's An Ideal Husband. For those unfamiliar with Readers Theater, or as Soundstage calls it, "Theater of the Mind," it is a shift in focus from the traditional, more visually stimulating staging of a play to a more auditory and text-driven version. This format of theater requires actors to rely heavily on the voice as their expressive instrument, taking away their ability to employ costumes, sets, blocking, etc. as a way of establishing tone, time or place.
Scott Schoonover's Union Avenue Opera continues to offer quite sterling productions in its uniquely intimate venue. The collection of voices in Pikovaya Dama is among the very best I've heard in the many years I've been enjoying this company's fine work. They are uniformly beautiful; vocally there is truly no weak point in this cast.
In 1972, actor/playwright Jason Miller opened his off-Broadway production of That Championship Season. Heralded as one of the year's best, Miller's play went on to receive a Tony Award as well as the Pulitzer Prize for Drama in 1973. What made That Champion Season so widely celebrated was the raw humor and emotion expressed by the play's middle-aged male characters, all lacking a sense of self and direction. Former teammates, the men gather at their former coaches home to celebrate the 20thanniversary of their victory as state basketball champions. As the evening progresses, the occasion becomes less about reliving their victorious past and more about fearing their uncertain future.