It's a Shatner world after all

Who: William Shatner
What: Shatner’s World: We Just Live in It
Where: The Peabody Opera House, St. Louis
When: April 12, 2012

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Not all one-person shows are created alike. Some are like quality off-the-rack suits that can be worn effectively by anyone of the right physical type; think “Belle of Amherst” or “Barrymore”. Others are like custom-tailored outfits designed for a unique individual; think most cabaret shows. “Shatner’s World: We Just Live in It” is that second type of show.

And, to paraphrase Rod Stewart, he wears it well.

“Shatner’s World” is, in fact, a kind of spoken word cabaret in which the veteran actor weaves stories drawn from his life on and off the stage into an entertaining narrative that not only reveals much of his character but also manages to lay out a kind of philosophy of life: never be afraid to take a chance and always say “yes”. Like all great cabaret shows, it has a logical progression, a dramatic shape, and a satisfying conclusion. Video and audio clips interspersed throughout the show nicely punctuate each section.

The William Shatner that is revealed in “Shatner’s World” is a remarkably charming and wise fellow; the sort of witty raconteur you’d love to have at a dinner party. He’s filled with fascinating stories about his Canadian childhood, his experiences as a young actor at the Stratford (Ont.) Shakespeare Festival, his work on Broadway and live television (including a hilarious story about a disastrous fight scene with Lon Chaney, Jr.), his love of horses, and the ups and downs of his personal life.

In one of many moments of self-mockery, he uses a funny story about his performance in the Broadway flop “The World of Suzie Wong” to explain “why I talk like this”. Heck, he even manages to slip in a quantum physics joke.

I was especially interested to hear how he came to terms with the way his best-known role came to dominate his life. As anyone who has ever seen “Long Day’s Journey Into Night” knows, early success in a popular medium can come to haunt an actor who has greater ambitions. Many artists have spent most of their lives running away from their Greatest Hit. Mr. Shatner tells of how an interview he did with Patrick Stewart, in which the famed actor says that if he died tomorrow he’d be happy to be known as Captain Picard, caused him to have “an epiphany” and understand that he could feel the same way about Captain Kirk.

Towards the end of the evening Mr. Shatner talks about how much he loves the spoken word. That love of language permeates the show. Whether he’s telling old burlesque jokes or relating a moving tale about a champion horse that he loved not wisely but too well, it’s clear that Mr. Shatner loves the well-turned phrase. At just over two hours with no intermission there are, perhaps, a few too many of them in “Shatner’s World”, but given that Mr. Shatner is something of a living library of recent theatre, television, and even recording history, I’d say that’s forgivable.

Finally: as anyone ambitious (or crazy) enough to have done one can attest, a successful one-person show is nearly always a team effort. Team Shatner consists of irector Scott Faris, scenic designer Edward Pierce, lighting designer Ken Billington, and sound designer Peter Fitzgerald. Congratulations to all of them for an entertaining evening.

Chuck's Choices for the weekend of April 12th

As always, the choices are purely my personal opinion. Take with a grain (or a shaker) of salt.

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It’s embarrassment of riches time in St. Louis, on both the theatre and concert scenes.

Angels in America, Part 1

Stray Dog Theatre presents Tony Kushner's Angels in America, Part 1: Millennium Approaches Thursdays through Saturdays at 7:30 PM, April 12-14, 26-28, and May 10-12. I'm including this one on the basis of both my admiration for the script, which is boundless, and my admiration for Stray Dog Theatre, which is based on the many positive experiences I've had as an actor working for the company.  They cast good people, in my experience, and treat them well.  Besides, the two Angels in America plays are not performed often as they are very challenging both for the audience and the producing company.  Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, call 314-865-1995.


Cavalia, its run extended yet again, continues through April 21 under the Really Big Top on Cerre Street at the I-64 Broadway exit. It’s 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. See my review at the KDHX web site. Visit www.cavalia.net or call 1-866-999-8111.

Exit the King

The West End Players Guild concludes their 101st season with Ionesco's Exit the King Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 13 through 22. Full disclosure: I’m on the board of directors of West End Players Guild, as well as the play reading committee. That said, this is not a script that has ever generated much enthusiasm on my part, so I was surprised at how engaging and (yes) funny I found the show to be when I sat in on a dress rehearsal this week. Credit director Renee Sevier-Monsey and her polished cast. Sets, costumes, and lights look pretty slick as well. Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org. You can see some underground rehearsal video at the West End Players blog.

 
"It's like a musical wrecking ball"

The St. Louis Symphony has been marketing this weekend’s concerts with a clever on-line campaign emphasizing the high energy (and volume) of Prokofiev’s rarely heard Ala and Lolly (Scythian Suite), Op. 20. Written in 1915, the piece was originally intended as a ballet for Serge Diaghilev based on a legendary pre-Christian race known as the Scythians. Diaghliev turned it down—maybe it sounded too similar to Stravinsky’s Le Sacre du Printemps from two years earlier—so Prokofiev turned it into an orchestral suite. Its 1916 premiere didn’t cause riots, but it did scandalize the conservative Russian musical establishment with its unapologetic dissonance and rhythmic drive. A timpanist at the premiere is said to have burst the skin of one of his drums at one especially violent moment.

The rest of the program should prove exciting as well: Rachmaninoff’s valedictory Symphonic Dances and Ravel’s Concerto for the Left Hand with the great pianist Leon Fleisher at the keyboard. David Robertson is on the podium. Performances are Saturday at 8 PM and Sunday at 3 PM, April 14 and 15. For more information, visit stlsymphony.org.

Jeffrey M. Wright

The Presenters Dolan present Jeffrey M. Wright in Southern Roots Friday and Saturday, April 13 and 14, at 8 PM at The Kranzberg Center, 501 North Grand in Grand Center. Carol Schmidt is pianist and music director for the show, which is directed by Tim Schall. In the interests of full disclosure, I must confess that I have worked with all of these folks at one time or another on stage. I have, as a result, a keen appreciation for their talents, which are substantial. I haven’t seen this particular show yet, of course, but in the past I have found Jeff to be a very engaging and skilled performer and have been impressed with Carol’s ability to tailor arrangements to a performer’s strengths. For more information, call 314-725-4200 stn. 10 or visit licketytix.com.