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New This Week:
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| Paula Stoff Dean |
My take: I first encountered the very talented Ms. Dean back in 2009 when we shared the stage in Stray Dog Theatre's first production of The Rocky Horror Show. I have since had opportunities to admire her work in other shows, including her remarkable Sally Bowes in Stray Dog's dark Cabaret a few years later. I expect fine things from her first cabaret show.
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| King Charles III Photo by Ron James |
My take: This odd bit of pseudo-Shakespearean near-furture speculative fiction is unusual and ingriguing enough to recommend sight unseen. Reviews have been mixed. At the Riverfront Times, Paul Friswold writes that the St. Louis Shakespeare production "more than fulfills" the play's theatrical potential. "In director Donna Northcott's capable hands," he notes, "Bartlett's bold conjecture about what kind of king that Queen Elizabeth II's oldest son might be becomes a fascinating morality story and a humanistic tragedy. At Ladue News, though, Mark Bretz says that while there are very strong performances in the major roles "St. Louis Shakespeare’s presentation is too uneven, stolid and perplexing to be fully satisfying." On the other other hand, Richard Green at Talkin' Broadway says it's "beautifully staged." Maybe you'll have to see for yourself.
Held Over:
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| The Light in the Piazza Photo by Michael Young |
My take: Corporate Broadway, like corporate Hollywood, has become a place for high-stakes gambling, where big producers spend bigger money on huge shows in the expectation of massive returns on their investments. In such an environment, it's remarkable that a modest, romantic show like Adam Guettel's The Light in the Piazza was produced at all. That it also ran over 500 performances and garnered a raft of awards in the process is downright miraculous. The book, by noted playwright Craig Lucas, handles this tale of “love among the ruins” with great warmth and, when appropriate, good humor. The score, by third-generation theatre composer Adam Guettel, is lavish and romantic without being saccharine. The R-S production has gotten good notices, so I have no hesitation in recommending it. At KDHX, for example, Tina Farmer calls it a "lovely gem of a show that finds a silver lining in a bittersweet tale of parental and romantic love." At Ladue News, Mark Bretz writes that it is "charming and beautifully sung." Performances of this piece are rare; don't miss it."
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| Lost in the Stars Photo by John Lamb |
My take: I'm a member of the cast of this show, so I'm hardly a disinterested party, but if you look through my reviews you'll see that I have had plenty of positive things to say about Union Avenue's work in the past. And this is a powerful work that is, I'm sorry to say, as relevant now as it was when it first appeared on Broadway in 1949. Check out my preview article and come see this remarkable masterpiece of musical theatre. There hasn't been a local production since St. Louis Community College at Forest Park presented it back in the last 1970s and I don't think there has ever been a locally produced professional production. This could be a once-in-a-lifetime opportunity. And reviews have been excellent.
The St. Lou Fringe Festival runs through August 25 at multiple venues in the Grand Center area including the Kranzberg Arts Center, Grandel Theatre and the .ZACK Arts Center. Performances include traditional theater, dance, music, comedy, circus arts, performance art, cabaret, and burlesque, with acts from St. Louis and around the country. "Fringe features an array of original material-meant to celebrate all of the arts. Tech is minimal and time is a factor at our festivals. Shows are often kept brief (Fringes most frequently have shows right around 60 minutes in length) and technical requirements kept simple (minor sets, streamlined cues, nothing elaborate)." For a complete schedule, visit stlouisfringe.com.
My take: From its humble beginnings as a loosely organized experiment back in 2012, the St. Lou Fringe has evolved into a major performing arts festival, featuring both national touring acts and local performers. It have, in short, come a long way, baby. The Fringe has garnered national media attention and has also formed partnership with many local arts and education organizations. No wonder festival founder Em Piro got a special award from the St. Louis Theater Circle back in 2014 for the Fringe's contribution to the local performing arts scene. There's no better time to fringe.
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