Friday, March 30, 2012

Horsing around

What: Cavalia
Where: The Big Top on Cerre Street, St. Louis
When: March 21 - April 21, 2012

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Cavalia just might be the Rolls Royce of equestrian shows—a flashy, elegant evening featuring 48 horses, a raft of acrobats and aerialists, and some impressive multi-media effects. The show is not without its longueurs but even so, anyone who loves horses won't want to miss it.

The first thing—and maybe the only thing—you need to know about Cavalia is that it’s a Cirque du Soleil production. That means you can expect top-flight acrobats, riders, and horse trainers as well as high-gloss production values and an impressive level of professionalism throughout. Even the parking and crowd management are handled with panache. Like other Cirque shows, Cavalia is dressed to impress—and it does.

Over the course of two-and-one-half hours (including a 30-minute intermission), Cavalia presents a kind of pageant of the horse in human history, from the era of cave paintings to the Wild West. In true Cirque fashion there is no spoken dialog, just non-stop music (by Michel Cusson) from the solid six-piece band, accented by soaring vocals (in Cirque’s unique made-up language) by Marie-Ève Bédard.

There’s also a seasonal theme running through the evening, with sets and lighting suggesting spring and summer in the first half and fall and winter—complete with falling leaves and snow—in the second. There’s even a curtain of water on which a white “ghost horse” image is projected during the “Le Miroir” segment, in which riders Tatiana Daviaud and Élise Verdoncq guide their corporeal white horses through an intricate mirror dance.

All of this plays out on a massive 160-foot wide set backed by a 210-foot wide cyclorama used for scenic projections (some of which provide a remarkable illusion of depth) and special effects. When you’ve got 48 horses and 31 performers, you need a lot of room.

I won’t attempt to list all of the fine performances, both human and equine, that make up Cavalia. Some that stand out in my mind include: Faiçal Moulid’s dance atop a huge ball; the spectacular “Pieds Percussion” segment that opens up the second act with a combination of trick riding, dancing, roping, and Chinese pole acrobatics; the stunning Trick Riding and “Bungees Cavaliers” routines with their remarkable blend of aerial and equine virtuosity; the “Grande Liberté” routine in which trainer Élise Verdoncq guides her six horses through an intricate set of moves using only her voice and body; and the “Carousel”, in which a sextet of riders in flowing robes reminiscent of the elves in “Lord of the Rings” lead their matching white horses in a stately dance calling to mind the old sarabande of the Spanish court.

Trick rider Fairland Ferguson also stands out with her sheer stage presence and the daring of some of her stunts. At one point she leads a team of six horses around the stage while standing atop the last two, and then leads them in a leap across a pair of poles (cavalettis, if you want to get technical) held by her fellow performers. And she makes it look easy.

There are many other impressive moments as well. Yes, a few of the acts go on a bit longer than necessary and the curtain call is milked far too much, but overall the pacing is fine and the variety of acts and performers is beyond reproach. The bottom line is that Cavalia is a darned entertaining evening and family friendly in the best sense of the term.

Cavalia continues at the big top downtown at 1000 Cerre Street through April 16th. Free parking is available at the site—which is fortunate, given that the best tickets for a family of four will set you back about as much as a single season subscription at the Rep. For more information, you may visit cavalia.net.

Wednesday, March 28, 2012

Humana Festival 2012: How We Got On

[Originally posted to the 88.1 KDHX blog]

How We Got On by Idris Goodwin
Directed by Wendy C. Goldberg
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012


Live video blog review with Joan Lipkin of The Vital Voice

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Synopsis: “Hank, Julian and Luann are the flip side to the A story of hip hop’s rise in the late 1980s—kids who forge a cultural identity in the white suburbs by dueling with poetry in parking lots and dubbing beats on a boom box. In this coming-of-age tale remixed, a DJ loops us through the lives of three Midwestern teen rappers who discover the power of harmony over discord.”

If I had to single out one play as the high point of this year’s Humana Festival, this would be it. As someone whose musical tastes run more to classical, cabaret, musical theatre and vintage rock, I wasn’t sure I’d find much to love in a piece in which rap and hip-hop play a crucial role. That idea, as it turns out, was totally wack.

How We Got On is a literate, poetic, deeply felt and warmly human look at three suburban teens (two black and one Latino) in 1988 trying to make sense of their lives, their ambitions, and their relationships with their parents while learning to express themselves with rhymes and beats. A DJ/narrator holds it all together and weaves a highly educational history of history of rap into the story. The result is a compelling, moving, funny, and exciting piece of theatre that deserves—and will likely get—a wider audience in the future.

Terrell Donnell Sledge is the bright and vulnerable Hank, who provides the rhymes for the brash beats and stage persona of Brian Quijada’s aggressive Julian. As the play progresses, Hank learns that he must let go of his fear and Julian of his anger and need to succeed at any cost before they can truly express themselves. Luann (Deonna Bouye) helps them find the key to unlock their souls—and shows them that a girl can rap and rhyme with the best of them. These three charismatic and gifted performers are not only fully invested in their roles but prove to be tremendously entertaining rappers as well with crystal-clear elocution and some wicked dance moves.

As the DJ Selector (who also takes on other roles, including all the parents) Crystal Fox is slick, soulful, and thoroughly engaging.

Playwright Goodwin describes himself as a “Break Beat Poet” whose work includes essays, poetry, and rap performances as well as plays. How We Got On makes a very strong case for rap and hip-hop as poetry, and demonstrates how they connect with far older traditions, including the basic human need to move, groove, and sing. It’s a joyous celebration of the things that make us human and give our lives meaning. Casting it might be a challenge for some companies, but even so I expect this to be making the rounds for years to come.

Join in the discussion on Twitter with the #hf36 and #humanafest hash tags and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Human Festival 2012: The Hour of Feeling

[Originally posted to the 88.1 KDHX blog]

The Hour of Feeling by Mona Mansour
Directed by Mark Wing-Davey
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012


Live video blog review with Joan Lipkin of The Vital Voice

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Synopsis: “It’s 1967 and the map of the Middle East is about to change drastically. Fueled by a love of English Romantic poetry, Adham journeys from Palestine to London with his new wife, Abir, to deliver a career-defining lecture. As the young couple’s marriage is tested, Adham struggles to reconcile his ambitions with the pull of family and home. But what if seizing the moment means letting go of everything he knows?”

As the late John Fitzgerald Kennedy once noted, we are a nation of immigrants. Outside of the alternate reality inhabited by the current round of paranoid nativists, the history of America is a history of immigration, so stories of people forced to leave their homelands should have real resonance for us. I speak from personal experience here—my grandparents were political and economic refugees.

In light of all this, then, I should have been moved by The Hour of Feeling, but I found this story of a man trapped between two cultures curiously uninvolving. Partly, I think, that’s because Adham is a curiously unsympathetic character who seems to have a surprisingly impoverished inner life for a scholar of poetry. He never seems to connect with anyone, including his wife, and two hours of that sort of disconnect can make for pretty static drama.

It’s hard to know how much of my response to this play stems from the text vs. the direction and acting. Mark Wing-Davey’s pacing seemed slow, though, and some of the blocking choices appeared puzzling, putting the actors in awkward juxtaposition, so I’m inclined to cut the actors some slack.

Given the script and direction, I thought the work of Hadi Tabbal as Adham, Rasha Zamamiri as Abir, and Judith Delgado as Adham’s tough-as-nails mother Beder was very professional. David Barlow and William Connell have the somewhat unenviable task of playing a pair of stereotypical upper-crust academics, as does Marianna McClellan as the flighty girlfriend of one of them, but they make the most of what they’ve been given.

The Hour of Feeling raises some very compelling issues about the meaning of place and home in a world that is becoming increasingly “hot, flat, and crowded” (as Thomas Friedman says). Perhaps a different director might find more life in it. It’s certainly within the technical capabilities of other regional theatres, so it will be interesting to see what future productions make of it.

Join in the discussion on Twitter with the #hf36 and #humanafest hash tags and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Humana Festival 2012: Michael von Siebenberg Melts Through the Floorboards

[Originally posted to the 88.1 KDHX blog]

Michael von Siebenberg Melts Through the Floorboards by Greg Kotis
Directed by Kip Fagan
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 15, 2012


Live video blog review with Joan Lipkin of The Vital Voice

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Synopsis: "Meet Baron Michael von Siebenburg: a 500-year-old Austrian bachelor living in an American city, whose secret of eternal youth involves endless first dates and a special meat tenderizer. But when his landlady gets suspicious and the ghost of a medieval comrade commands him to take Constantinople back from the Turks, Michael finds himself haunted by past and present. A hilariously dark comedy about the rigors of vampiric immortality."

Some vampire tales, to paraphrase Tom Lehrer, don’t go far enough. This one goes too far, at least for me. As the author of the hilariously satirical Urinetown, Mr. Kotis clearly knows how to find laughs in material which, on the face of it, looks pretty tasteless, so this send-up of immortal bloodsuckers ought to be funny. I just found it creepy, however—and not in a good way. No matter how well it’s handled, I find it hard to get much entertainment value from a play in which the protagonist and his cohort maintain themselves by killing, pulverizing, and eating women. This gets too close to serial killer/Dahmer territory for me.

Yes, the vampire von Siebenberg finally decides to melt through the floorboards and die rather than continue in his bloody ways, but I didn’t find his conversion from cannibalism to love all that convincing. Still, others in our party found the play highly entertaining. Your own mileage might vary.

As was the case with everything we saw at the festival this weekend, the cast for Michael von Siebenberg was first rate, headed by Rufus Collins in the title role, Michah Stock as his Jaeger (hunter) Sammy (who is responsible for victim recruitment), Caralyn Kozlowski as the sprit of Michael’s wife Maria, and John Ahlin as the ghost of Michael’s Crusader colleague Otto, who absurdly exhorts him to fly to Constantinople and re-take the city for Christendom. There’s great work as well by Ariana Venturi and Laura Heisler as both victims and incredibly clueless cops and Rita Gardner as the justifiably suspicious Mrs. Rosemary.

Michael von Siebenburg was staged in the 637-seat Pamela Brown Auditorium, so sets, lighting, and technical effects were pretty stunning. At well over two and one-half hours (including intermission), it’s a bit long, with a first act that goes over the same ground too many times (at least for me), but given the popularity of vampire lore these days the play may find eternal life with regional theatre companies looking for a potential commercial success. Personally, I’ll stick with Dracula.

Join in the discussion on Twitter with the #hf36 and #humanafest hash tags and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Tuesday, March 27, 2012

Humana Festival 2012: The Veri**on Play

[Originally posted to the 88.1 KDHX blog]

The Veri**on Play by Lisa Kron
Directed by Nicholas Martin
Original music by Jeanine Tesori
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012


My live video blog with Joan Lipkin of The Vital Voice

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Synopsis: "When Jenni called customer service, all she wanted was to fix a minor problem with her cell phone bill. Instead she was sucked into a vortex of unimaginable horror. Now she wants revenge—or to get her cell phone service turned back on. Part thriller, part screwball comedy, part inspired by events that have undoubtedly happened to YOU."

In a world dominated by omnipresent corporations (or, here in the USA, omnipresent "persons"), nearly everyone has a bad "customer service" experience. Actor/playwright Lisa Kron, however, has turned hers into a 70-minute piece of highly entertaining Brechtian agitprop that sharply satirizes the corrupting influence of corporate power and the ease with which corporate media distract us from that influence with a steady stream of celebrity trivia. Noted theatre composer Jeanine Tesori (Thoroughly Modern Millie, Caroline, or Change) provides the effective incidental music and a rousing anti-corporate anthem for an audience sing-along at the end.

Playwright Kron has the star turn as the beleaguered Jenni. Hannah Bos does a great quick-change routine as Ingrid and Cydney and Carolyn Baeumler is a wonderfully duplicitous Anissa. Others in the fine cast are: Joel Van Liew, Kimberly Hébert-Gregory, Ching Valdes-Aran, Clayton Dean Smith, Calvin Smith, Sabrina Contini, and Chris Reid.

There’s an international chase scene near the end that is, perhaps, a bit drawn out (although I appreciate its relevance as a commentary on the world-wide reach of the corporatocracy), but otherwise The Veri**on Play is a neat piece of satire that deserves additional productions.

Join in the discussion on Twitter with the #hf36 or #humanafest hash tags and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Humana Festival 2012: Death Tax

[Originally posted to the 88.1 KDHX blog]

Death Tax by Lucas Hnath
Directed by Ken Rus Schmoll
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012


My live video blog with Joan Lipkin of The Vital Voice

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The synopsis: "Maxine is rich. Maxine is dying. Maxine thinks Nurse Tina is trying to kill her. When the patient confronts her caretaker, her accusations have unforeseen—and irrevocable—consequences, in this tightly-wound thriller about money, power and the value of a human life."

Like many of the plays we saw at the Humana Festival, Death Tax could stand a bit of trimming, but even in its current form it has a dramatic power that can't be denied, demonstrating forcibly the corrupting effects of money and power—and, for that matter, of want and powerlessness. It also raises disturbing questions: as medical science advances, will we become a race divided between those who can purchase virtual immortality and those who can't? And what will that mean? Death Tax suggests the answers might not be pleasant.

Death Tax unfolds mostly as a series of monologues with a few duet scenes, and provides one of the great monstrous characters of the stage in the character of Maxine. She ruthlessly manipulates everyone around her: Nurse Tina (who is not, in fact, trying to kill her), Tina's boss Todd, Maxine's daughter, and even, in a chilling final scene, a social worker and Maxine's grandson. She uses money and later guilt as weapons to prolong her life, destroying many others in the process. Like Sunset Boulevard, this is an American horror story without the supernatural.

The cast is tremendous. Judith Roberts is a nearly demonic figure as she rages, cajoles, wheedles and generally screws over everyone around her. Quincy Tyler Bernstine carries off the very different roles of Nurse Tina and the social worker with great skill, as does T. J. Kenneally as Todd and the grandson. Danielle Skraastad has only one major scene as the daughter, but she makes it her own.

As is the case with many Humana Festival shows, Death Tax has relatively modest technical demands, so it should be well within the reach of not only regional companies but smaller theatres as well. It has political and moral implications that deserve attention.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Humana Festival 2012: Oh, Gastronomy

[Originally posted to the 88.1 KDHX blog]

Oh, Gastronomy by Michael Golamco, Carson Kreitzer, Steve Moulds, Tanya Saracho and Matt Schatz
Directed by Amy Attaway
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012


My live video blog with Joan Lipkin of The Vital Voice

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The synopsis: "Food, that most delicious human unifier, is rife with contradiction. It can signal both comfort and compulsion, imply both nourishment and deprivation, and make your mouth water—or your stomach turn. Get ready to dig in, as five hungry playwrights join forces with twenty-two ravenous Acting Apprentices to serve up the pleasures—and paradoxes—of food."

Oh, Gastronomy is a snappy collection of 28 short plays (and more than a few songs) all dealing with food, family, and friends. Most are comic, a few moving, and all completely entertaining. The program stars the company's young interns, and they certainly shine here as their characters find love, companionship, camaraderie, and a really killer fudge recipe (the results of which were available in the lobby after the show).

There are too many performers to list individually here and, of course, too many plays to make it possible for me to go into detail on each one. Some of my favorites were: "Ordering: Memories" in which customers at a restaurant order slices of their past from the menu; "The Family Feast", which called to mind the massive holiday dinners with my "logical family" (to quote Mrs. Madrigal); and "The Mix", in which both that tasty fudge and a relationship is cooked up. Others probably had their highlights, but the bottom line is that the show was tremendous fun to watch and, I think, to perform as well.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Humana Festival 2012: Eat Your Heart Out

[Originally posted to the 88.1 KDHX blog]

Eat Your Heart Out by Courtney Baron
Directed by Adam Greenfield
Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 1, 2012

My live video blog with Joan Lipkin

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The synopsis: Alice and Gabe are desperate to adopt a child. Nance, a single mom just starting to date, struggles to connect with her teenage daughter Evie. And Evie wishes her best friend Colin could fall for her rather than just trying to fix things. With both humor and aching insight, these lives are woven together in a tale of parental hopes and fears, and of hearts consumed by longing."

Courtney Baron's Eat Your Heart Out starts as a fast-paced and somewhat superficial comedy but eventually turns into something much more serious and even tragic. It's a show that begins with a series of declarations but ends with a question. Adam Greenfield's direction is crisp and brisk—perhaps a bit too much so, resulting an a rapid-fire exchange of dialog that might be more appropriate for video than live theatre. Still, it's a play and a production that provided much fodder for discussion in the bar afterwards and ultimately deals with very real issues of pain, rejection, and the difficulty of real-world love, even if it does sometimes feel more like the unfinished first act of a more substantial work.

Any reservations about the script do not, however, extend to the performers, all of whom were fine. Kate Eastwood Norris is all edgy energy as Nance and while Alex Moggridge's Tom was a bit bland, that appears to be exactly what the script calls for. Sarah Grodsky showed a heartbreaking vulnerability as Evie. Jordan Brodess brought out all the pain and flip attitude of Colin. Kate Arrington and Mike DiSalvo was a great team as the increasingly desperate Alice and Gabe, whom Nance treats with far less sympathy than they seem to deserve.

Upon reflection, I'm not sure that Eat Your Heart Out is quite ready for prime time yet. As it stands, the characters aren't as fully realized as they could be and something really needs to be done with that ending. Still, it shows promise, and that's part of what Humana is about.

Join in the discussion on Twitter with the #hf36 hash tag and follow me @clavazzi. Look for Joan Lipkin's reviews at The Vital Voice.

Sunday, March 25, 2012

St. Louis theatre calendar for the week of March 26, 2012

Updated Friday, March 30

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's ArtsZipper site.

I'm now adding my own purely personal comments to events about which I think I have anything worthwhile to say. Because that's what bloggers do. If I have left your show out, please leave a comment with all the details.

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The Conservatory of Theatre Arts at Webster University presents 100 Saints You Should Know by Kate Fodor Friday at 7:30 PM, Saturday at 2 and 7:30 PM, and Sunday at 2 PM, March 30 through April 1. “In 100 Saints You Should Know, a priest who must reconcile his desires with his role in the church, a teenage boy confused about his own sexual identity, and a young woman desperate for spiritual validation, are all brought together on one fateful night in which they will discover the tenuous common ground they share.” Performances take place in the Stage III Auditorium in Webster Hall on the Webster University campus. The student-directed show is part of the Directing Capstone Projects series. For more information, call 314-968-7128.

The Presenters Dolan presents Donna Weinsting and Lara Buck Antolik in Bold, Bawdy, Blonde - and Funny, an evening of music and political satire, on Friday and Saturday at 8 PM, March 30 and 31. “This election season, standards meet standup and politics greets parody in this all new cabaret. Donna Weinsting and Lara Buck Antolik bring equal opportunity humor and song to both sides of the aisle.” Greg Schweizer is pianist and music director for the show, which is directed by Tim Schall. Performances take place at The Kranzberg Center, 501 North Grand in Grand Center. For more information, call 314-725-4200 stn. 10 or visit licketytix.com.

Bring it On: the Musical
The Fox Theatre presents Bring It On: The Musical, based on the film about a competition between high school cheerleading squads, March 27 through April 8. The Fox Theatre is at 527 North Grand in Grand Center. For more information, call 314-534-1678.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on “select Saturdays” (and the occasional Friday) at Maggie O'Brien's, 2000 Market Street. For more information, you may call 800-650-6449 or visit byebyeliver.com/stlouis.

Washington University Performing Arts Department presents Carter Lewis's Camden and Lilly Thursday through Saturday at 8 PM and Saturday and Sunday at 2 PM, March 29 through April 1. Camden and Lilly “is the story of a devoted brother and sister trying to survive the strange and unaccountable death of their eccentric mother. It is a journey filled with opera, dancing and fantastical impossibilities as it is written and presented by Lilly for her 9th grade English class.“ Performances take place in the Edison Theatre in the Mallinckrodt Center on the Washington University campus. For more information, call (314) 935-5858.


Cavalia Promotional Video

Cavalia: A Magical Encounter Between Human and Horse runs through April 16. Cavalia is “a lavish production involving 38 riders, aerialists, acrobats, dancers, and musicians, and featuring 45 magnificent horses from all over the world. A show unlike any other, Cavalia celebrates the relationship between humans and horses, virtually reinventing the equestrian arts.” Performances take place under the White Big Top at the corner of South 7th and Cerre Streets, across Highway 40 from Busch Stadium in St. Louis. For more information, you may visit www.cavalia.net or call 1-866-999-8111. Read the 88.1 KDHX review!

The Comedy of Errors
The Repertory Theatre of St. Louis presents Shakespeare's The Comedy of Errors through April 8. Performances take place on the main stage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

Shakespeare Festival St. Louis presents public performances of its two touring shows on Friday through Sunday, March 30-April 1. Othello in a Breath will be performed at 7 PM and Cruel to be Kind? At 8:30 PM; Cruel to be Kind? Will be repeated Sunday at 1:30 PM. Performances take place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. Guests attending the performances are asked to bring a donation of one or more canned goods to support Union Avenue in their efforts to support those in need. For more information, visit shakespearefestivalstlouis.org.

No Child
The Black Rep presents Patrese McClain in Nilaja Sun's one-woman show No Child through April 1. The March 15 preview will be preceded by an interview with Ms. Sun by actor Antonio Fargas. Performances take place at the Grandel Theatre, 3610 Grandel Square. For more information, visit theblackrep.org or call 314-534-3810. Read the 88.1 KDHX review!

The Gateway Men's Chorus celebrates 25 years on stage with Our Song, featuring music from Follies, Les Miserables, A Star Is Born, The Wizard Of Oz, Funny Girl, Patsy Cline and Lady Gaga. The performance takes place on Saturday, March 31 at the 560 Music Center in University City. For more information, visit gmcstl.org.

The Florissant Fine Arts Council presents Stand By Your Man: The Tammie Wynette Story on Saturday, March 31, at 8 PM. The performance takes place in the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, visit florissantfinearts.com or call 314-921-5678.

Monday, March 19, 2012

Stagger Lee shot Billy

Over the next few days the Repertory Theatre of St. Louis is offering theatregoers a rare opportunity to participate in the genesis of new works for the theatre. The Ignite! New Play Festival presents staged reading of plays commissioned by the Rep. The intent is to nurture the new plays until they get to the point where they’re ready for full productions. Talkback sessions after each reading offer audience members the chance to say what they did or didn’t like and possibly influence the shape of the final piece.

The one and only fully staged production of the Ignite! festival is Ayad Akhtar’s smart thriller The Invisible Hand, which can be seen in the Rep Studio through March 25th, but the first reading—the first act of the musical Stagger Lee on Thursday, March 15th—was almost as impressive.

Based on the graphic novel of the same name (which I’d strongly recommend), Stagger Lee combines a fictional love story with the largely true tale of how Lee “Stag Lee” Shelton shot Billy Lyons in a St. Louis saloon in 1895. The killing and subsequent trial became grist for songwriters’ mills almost immediately—and still is.

The show has music by Stew and Heidi Rodewald and book and lyrics by Derek McCulloch (who also wrote the original graphic novel). The cast assembled for the reading were J. Samuel Davis, Rebecca Jones, Javier Munoz, Ken Page, Stacey Sargeant, and Paul Stovall. Amanda Dehnert directed, with musical direction by Jon Spurney.

Both Stagger Lee and the Ignite! festival show real promise. There are two more readings in the Ignite! New Play Festival on Tuesday and Wednesday, March 20 and 21; details at http://www.repstl.org/ignite

Sunday, March 18, 2012

Something to do with spring

Humana Festival Poster“In the Spring,” wrote Tennyson, “a young man's fancy lightly turns to thoughts of love.” Were he still with us today, he might have added, “and, if he’s a theatre geek, to thoughts of the Humana Festival of New American Plays.”

All right, so it doesn’t scan. But the fact is, anyone who is interested in the state of theatre in the USA today can’t afford to pass up the Humana Festival. Now in its 36th year, the festival is a seven-week celebration of new plays produced by the Actors Theatre of Louisville. The company presents seven new works (winnowed down from an average of 2000 submissions each year) in the course of the festival, which takes place in their sumptuous downtown digs.

How sumptuous? Located in historic structures on Main Street, the Actors Theatre consists of the 637-seat Pamela Brown Auditorium, with a thrust stage; the 159-seat Victor Jory Theatre, a three-quarter arena performance space; and the 318-seat Bingham Theatre, a flexible arena space. Add in the palatial lobby, a restaurant, and a nine-story parking garage, and you have the kind of facility most theatre companies dream about. Better yet, it’s only part of a general revitalization of downtown Louisville that includes fine hotels, restaurants, and bars, all within an easy walk of the theatre.

The Humana Festival is a valuable resource for other theatre companies as well as folks who simply love theatre. I'm on the board of directors and play reading committee at the West End Players Guild here in St. Louis (our motto: "big theatre in a small space"), and I can attest to the festival as a source of new plays for our seasons.

I’ll be attending the festival this year in my professional capacity as the senior performing arts critic at 88.1 KDHX. I’ll be posing live video blogs from the festival, including capsule reviews of each show with my long-time friend and noted playwright Joan Lipkin (who’s covering the festival for The Vital Voice). Just look for “Lavazzi and Lipkin Live from Louisville” on YouTube or check out my posts at the KDHX blog. I’ll also be posting daily updates to the theatre reviews area at KDHX.

Want to know more? Check out the complete list of 2012 festival plays at the Humana Festival web site. And join in the discussion on Twitter with the #HF36 and #humanafest hash tags. You can also follow me on Twitter @clavazzi.

Saturday, March 17, 2012

St. Louis theatre calendar for the week of March 19, 2012

Updated Tuesday, March 20

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's ArtsZipper site.

I'm now adding my own purely personal comments to events about which I think I have anything worthwhile to say. Because that's what bloggers do. If I have left your show out, please leave a comment with all the details.

Share on Google+

The Theatre Guild of Webster Groves presents David Ives's comedy All in the Timing through March 25. Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information, visit theaterguildwg.org or call 314-962-0876. Read the 88.1 KDHX review!

First Run Theatre presents the 10th Annual Reading Festival, featuring staged reading of the finalists of the annual script submission contest, Friday through Sunday, March 23 through 25. Performances take place in the Thomas Hunter Theatre at DeSmet Jesuit High School, 233 N New Ballas Road.. For more information email info at firstruntheatre.com, or visit www.firstruntheatre.com.

Bug
The Repertory Theatre of St. Louis presents a staged reading of Bicycle Girl by Rogelio Martinez on Wednesday, March 21, at 7:30 PM as part of the Ignite! New Play Festival. “In 1939 two girls from very different backgrounds travel across America by bicycle. Their destination is New York and the World's Fair with its promise of revealing the World of Tomorrow.” The reading takes place at the Sally S. Levy Opera Center, 210 Hazel in Webster Groves. For more information, visit repstl.org.

Muddy Waters Theatre Company presents Tracy Letts's drama Bug Fridays and Saturdays at 7:30 PM and Sundays at 2 PM through March 25 Performances take place at the Kranzberg Arts Center, 501 North Grand at Olive in Grand Center. For more information, call 314-799-8399. Read the 88.1 KDHX review!

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on “select Saturdays” (and the occasional Friday) at Maggie O'Brien's, 2000 Market Street. For more information, you may call 800-650-6449 or visit byebyeliver.com/stlouis.

 
Cavalia Promotional Video

Cavalia: A Magical Encounter Between Human and Horse, opens on Wednesday, March 21 and runs through April 1. Cavalia is “a lavish production involving 38 riders, aerialists, acrobats, dancers, and musicians, and featuring 45 magnificent horses from all over the world. A show unlike any other, Cavalia celebrates the relationship between humans and horses, virtually reinventing the equestrian arts.” Performances take place under the White Big Top at the corner of South 7th and Cerre Streets, across Highway 40 from Busch Stadium in St. Louis. For more information, you may visit www.cavalia.net or call 1-866-999-8111.

The Comedy of Errors
The Repertory Theatre of St. Louis presents Shakespeare's The Comedy of Errors through April 8. Performances take place on the main stage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

Cry Baby
New Line Theatre presents the American regional premiere of the rock musical Cry Baby Thursdays through Saturdays at 8 PM through March 24. Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, call 314-534-1111. Read the 88.1 KDHX review!

The Conservatory of Theatre Arts at Webster University presents the musical Edgar Allan Poe's Nevermore Friday at 7:30 PM, Saturday at 2 and 7:30 PM, and Sunday at 2 PM, March 23 through 25. Performances take place in the Stage III Auditorium in Webster Hall on the Webster University campus. The student-directed show is part of the Directing Capstone Projects series. For more information, call 314-968-7128.

The Repertory Theatre of St. Louis presents a staged reading of Gidion's Knot by Johnna Adams on Tuesday, March 20, at 7:30 PM as part of the Ignite! New Play Festival. “Over the course of what is not your ordinary parent/teacher conference, Gidion's mother and his emotionally overwhelmed teacher have a fraught conversation about Gidion. As his story is slowly uncovered, these two caring women come to terms with their excruciating feelings of culpability.” The reading takes place at the Sally S. Levy Opera Center, 210 Hazel in Webster Groves. For more information, visit repstl.org.

The Invisible Hand
The Repertory Theatre of St. Louis presents the drama The Invisible Hand through March 25. Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

Alton Little Theater presents the comedy Laughter on the 23rd Floor through March 25 at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

No Child...
The Black Rep presents Patrese McClain in Nilaja Sun's one-woman show No Child through April 1.  Performances take place at the Grandel Theatre, 3610 Grandel Square. For more information, visit theblackrep.org or call 314-534-3810. Read the 88.1 KDHX review!

Dramatic License Productions presents Tamara Tungate and Kevin Kurth in their cabaret show Oh What A Night on Saturday, March 24, at 8 PM. “These two fabulous singers perform dazzling vocal duets from the Great American Songbook.” The performance takes place at Dramatic License Productions in on the upper level of Chesterfield Mall across from Houlihan's. For more information, visit KMKMUSIC.com.

Southern Illinois University Edwardsville Music Department presents Puccini's Suor Angelica and A Little Nightmare Music by Peter Schickele (writing as his comic alter ego P.D.Q. Bach). Performances are Friday and Saturday at 7:30 PM, March 23 and 24, in the Dunham Hall theater on the campus in Edwardsville, IL. For more information, call 618-650-2774.

The Department of Theatre, Dance, and Media Arts at the University of Missouri at St. Louis presents Moliere's comedy Tartuffe through March 24. Performances take place in the E. Desmond and Mary Ann Lee Theater at the Blanche M. Touhill Performing Arts Center on the UMSL campus. For more information, visit touhill.org or call 314-516-4949. Read the 88.1 KDHX review!

The Value of Names
New Jewish Theatre presents The Value of Names through April 1. Performances take place at the Marvin and Harlene Wool Studio Theatre at the JCCA, 2 Millstone Campus Drive. For more information, call 314-442-3283 or visit www.newjewishtheatre.org. Read the 88.1 KDHX review!

The Chapel presents mezzo soprano Merry Keller, soprano Joy Boland, and pianist Martha Shaffer in Wade in the Water, an evening of “art songs, arias, spirituals, folks songs, and a few surprises”, on Saturday, March 24, at 8 PM. The performance takes at The Chapel Venue, 6238 Alexander Drive at Skinker. For more information, visit brownpapertickest.com/event/228178.

Alpha Players present You Can't Take it With You through March 25 at The Florissant Civic Center Theater, Parker Rd. at Waterford Dr. in Florissant, MO. For more information, visit alphaplayers.org or call 314-921-5678.

Sunday, March 11, 2012

Market day

Who: The Repertory Theatre of St. Louis
What: The Invisible Hand
When: March 7 through 25, 2012
Where: The Studio Theatre at the Loretto-Hilton Center

The Rep is kicking off their Ignite! New Play Festival with the world premiere of Ayad Akhtar’s thriller The Invisible Hand. It’s an intellectual fireworks display that combines the now-familiar hostage drama with a revelatory (at least to me) lesson in 20th-century economic history. A play in which the 1944 Bretton Woods Agreements on monetary management occupy a central role might not sound like an exciting and engrossing evening of theatre but, trust me, it is.

As The Invisible Hand opens, investment banker Nick Bright (John Hickock) is being held for ransom in Pakistan by Islamic militants. Before the ten million dollars they’re demanding can be raised, however, their group is declared a terrorist organization and all negotiation ceases. Faced with the threat of execution, Nick strikes a deal with his captor, Bashir (Bhavesh Patel): he’ll give them his life savings of three million and, using the same skills that made him a major player in the financial markets, build it up to ten.

It’s a deal fraught with moral ambiguity, the depth of which does not become fully apparent until the final moments of this taut and compelling seventy-five-minute thrill ride of a play.

Mr. Akhtar’s characters are believable, well drawn, and utterly free of the stereotyping that might tempt a lesser writer. His dialog is sharp, often witty, and manages to convey complex ideas in an entertaining and entirely comprehensible way. In many respects The Invisible Hand does for international finance what Copenhagen does for nuclear physics—it turns potentially abstruse ideas into vital theatre.

The Rep’s production is as good as the script, which is saying a lot. Director Seth Gordon’s pacing in just right. His blocking and Scott C. Neale’s realistic three-quarter round set insure that every seat in the studio theatre is a good one. Rusty Wandall’s sound with its artful use of nightly news audio collages and Ann Wrightson’s spare lighting add to the effect. Video clips and a stock ticker are also used effectively during the fluid scene changes.

Mr. Hickock and Mr. Patel carry the bulk of the show’s action, and do so brilliantly. Both are always completely in the moment, nicely capturing the subtle shifts in power that Mr. Akhtar’s script has given them. They inhabit these roles with complete conviction.

There’s fine work here as well from Ahmed Hassan as Dar, whom Nick introduces to the world of free market capitalism with tragic results, and Michael James Reed as both a mutely threatening guard and the Agent (whose plot function I can’t discuss without dropping a spoiler).

For me, it’s a great evening of theatre when I leave feeling both entertained and enlightened. The Invisible Hand does both and does them awfully well. It's also a welcome antidote to the unexamined optimism of free market absolutists which, in this political climate, makes it essential. Don’t miss it.

The Invisible Hand continues at the Rep Studio Theatre through March 25. For more information, you may visit repstl.org or call 314-968-4925.

St. Louis theatre calendar for the week of March 12, 2012

Updated Wednesday, March 14

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's ArtsZipper site.

I'm now adding my own purely personal comments to events about which I think I have anything worthwhile to say. Because that's what bloggers do. If I have left your show out, please leave a comment with all the details.

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The Theatre Guild of Webster Groves presents David Ives's comedy All in the Timing March 16 through 25. Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information, visit theaterguildwg.org or call 314-962-0876.

The Arabian Nights
St. Louis Shakespeare presents Mary Zimmerman's adaptation of The Arabian Nights through March 18. Performances take place at the Black Cat Theatre on Sutton in Maplewood. For more information, call 314-361-5664 or visit stlshakespeare.org. Read the 88.1 KDHX review!

Muddy Waters Theatre Company presents Tracy Letts's drama Bug Fridays and Saturdays at 7:30 PM and Sundays at 2 PM, March 16 through 25 Performances take place at the Kranzberg Arts Center, 501 North Grand at Olive in Grand Center. For more information, call 314-799-8399.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on “select Saturdays” (and the occasional Friday) at Maggie O'Brien's, 2000 Market Street. For more information, you may call 800-650-6449 or visit byebyeliver.com/stlouis.

The Comedy of Errors
The Repertory Theatre of St. Louis presents Shakespeare's The Comedy of Errors March 14 through April 8. Performances take place on the main stage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Cry Baby
New Line Theatre presents the American regional premiere of the rock musical Cry Baby Thursdays through Saturdays at 8 PM through March 24. Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, call 314-534-1111. Read the 88.1 KDHX review!

Insight Theatre Company and the Missouri History Museum present The Glass Menagerie through March 18. Performances take place in the Lee Auditorium at the Missouri History Museum in Forest Park. For more information, call 314-361-9017 or visit mohistory.org. Read the 88.1 KDHX review!

First Run Theatre presents a staged reading of Mario Farwell's Icarus Wings Friday through Sunday at 7:30 PM, March 16 through 18. Performances take place at The Chapel, 6238 Alexander Drive. For more information, call (314) 352-5114 or visit www.firstruntheatre.com.

The Invisible Hand
The Repertory Theatre of St. Louis presents the drama The Invisible Hand through March 25. Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

Alton Little Theater presents the comedy Laughter on the 23rd Floor March 16 through 25 at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

The Touhill Performing Arts Center presents Hal Holbrook in Mark Twain Tonight on Friday, March 16, at 8 PM. The Touhill Performing Arts Center in on the University of Missouri-St. Louis campus. For more information, you may visit www.touhill.org or call (314) 516-4949.

Kirkwood Theatre Guild presents the farce Nana's Naughty Knickers through March 18. Performances take place at the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956. Read the 88.1 KDHX review!

Nilaja Sun in No Child
The Black Rep presents playwright and performer Nilaja Sun in her one-woman show No Child March 14 through April 1. The March 15 preview will be preceded by an interview with Ms. Sun by actor Antonio Fargas. Performances take place at the Grandel Theatre, 3610 Grandel Square. For more information, visit theblackrep.org or call 314-534-3810.

The Imaginary Theatre Company presents Puss in Boots Saturday, March 17, at Heagney Theatre at Nerinx Hall High School. For more information, visit repstl.org or call 314-968-4925.

The Repertory Theatre of St. Louis presents a staged reading of the musical Stagger Lee on Thursday, March 15, at 3 PM as part of the Ignite! New Play Festival. Based on the graphic novel by Derek McCulloch and Shepherd Hendrix, Stagger Lee has music by Stew and Heidi Rodewald and lyrics by Stew. The reading takes place at the Sally S. Levy Opera Center, 210 Hazel in Webster Groves. For more information, visit repstl.org.

The Department of Theatre, Dance, and Media Arts at the University of Missouri at St. Louis presents Moliere's comedy Tartuffe March 16 through 24. Performances take place in the E. Desmond and Mary Ann Lee Theater at the Blanche M. Touhill Performing Arts Center on the UMSL campus. For more information, visit touhill.org or call 314-516-4949.

The Value of Names
New Jewish Theatre presents The Value of Names March 15 through April 1. Performances take place at the Marvin and Harlene Wool Studio Theatre at the JCCA, 2 Millstone Campus Drive. For more information, call 314-442-3283 or visit www.newjewishtheatre.org.

Alpha Players present You Can't Take it With You March 16 through 25 at The Florissant Civic Center Theater, Parker Rd. at Waterford Dr. in Florissant, MO. For more information, visit alphaplayers.org or call 314-921-5678.

Sunday, March 04, 2012

St. Louis theatre calendar for the week of March 5, 2012

Updated Wednesday, March 7

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's ArtsZipper site.

I'm now adding my own purely personal comments to events about which I think I have anything worthwhile to say. Because that's what bloggers do. If I have left your show out, please leave a comment with all the details.

Share on Google+

St. Louis Shakespeare presents Mary Zimmerman's adaptation of The Arabian Nights March 9 through 18. Performances take place at the Black Cat Theatre on Sutton in Maplewood. For more information, call 314-361-5664 or visit stlshakespeare.org.

The West County YMCA Y-Rep Teens present The Brothers Grimm Spectaculathon March 8 through 10. The West County YMCA is at 16464 Burkhardt Place in Chesterfield, MO. For more information, call 636.532.6515 ext. 227.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on “select Saturdays” (and the occasional Friday) at Maggie O'Brien's, 2000 Market Street. For more information, you may call 800-650-6449 or visit byebyeliver.com/stlouis.

Tim Schall's Advanced Cabaret Performance Studio presents A Cabaret Showcase Afternoon on Sunday, March 11, at 4 PM. Featured performers are Shirley Aschinger, Kari Donavan, Patrick Kerwin, Charlene Reimann, and Donna Rothenberg. Carol Schmidt is the music director for the show, which is directed by Tim Schall. The performance takes place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, visit www.brownpapertickets.com.

Cry Baby
New Line Theatre presents the American regional premiere of the rock musical Cry Baby Thursdays through Saturdays at 8 PM through March 24. Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, call 314-534-1111. Read the 88.1 KDHX review!

Dramatic License Productions presents The Glass Menagerie through March 8. For more information, call 636-220-7012 or visit dramaticlicenseproductions.com. Read the 88.1 KDHX review!

Insight Theatre Company presents The Glass Menagerie March 8 through 18. Performances take place in the Heagney Theatre, 530 East Lockwood on the campus of Nerinx Hall High School in Webster Groves. For more information, call 314-556-1293 or visit insighttheatrecompany.com.

The St. Louis Family Theatre Series presents the Magick Theatre production of If You Give a Moose a Muffin Friday at 7:30 PM and Saturday at 2 PM, March 9 and 10. Performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 314-921-5678 or visit www.florissantmo.com.

The Invisible Hand
The Repertory Theatre of St. Louis presents the drama The Invisible Hand March 7 through 25. Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Kirkwood Theatre Guild presents the farce Nana's Naughty Knickers March 9 through 18. Performances take place at the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956.

Lindenwood University presents the musical Once Upon a Mattress Thursday through Saturday at 7:30 and Sunday at 2 PM PM, March 8 through 11. Performances take place in the Bezemes Family Theatre at the J. Scheidegger Center for the Arts on the Lindenwood campus in St. Charles, MO. For more information, call 636-949-4433 or visit lindenwood.edu/center.

The Pulitzer Foundation for the Arts presents Staging Reflections of the Buddha through March 10. On Saturday, March 10, the performance will be held at 5 pm followed by a lantern ceremony at 7 pm. “Former prisoners and veterans, who have been trained as actors, will guide the audience through the galleries, moving through the Reflections of the Buddha exhibit. The project is designed to break down social barriers by establishing common ground between the audience and the actors.” The Pulitzer Foundation for the Arts is at 3716 Washington in Grand Center. For more information, visit www.stagingbuddha.pulitzerarts.org.