New This Week:
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| Glory Denied Photo by Dan Donovan |
My take: As I noted in my review, Glory Denied is difficult to watch. Not because of its flaws (although it does have a few) but because of its strengths. It's hard to watch because it does such a compelling job of presenting the true story of Col. Floyd James Thompson, the Green Beret whose nine-year ordeal as a prisoner of the North Vietnamese made him the longest held prisoner of war in US history. Subjected to torture (or, as we say in this country, "enhanced interrogation") by his captors, Thompson was eventually returned to the USA, only to find both the country and his life drastically changed. Union Avenue does an exceptional job presenting this somewhat problematic work, with very impressive performances by the four-person cast.
Held Over:
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| Antigone Photo by Joey Rumpell |
My take: Lucy Cashion has a well-established reputation for doing surprising and often astonishingly creative things with well-known theatrical material. Some of you will remember Moscow! her remarkable one-hour distillation of Chekov's The Three Sisters that was a hit of the St. Lou Fringe in 2015 or her Oedipus Apparatus, which completely re-shaped the playing space at West End Players Guild back in 2017. As Michelle Kenyon writes at her blog, this re-thinking of the Greek tragedy is "both convention-challenging and thought-provoking, showcasing a superb cast of local performers." On a theatre scene dominated by musicals, this show truly stands out.
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| Guys and Dolls Photo by John Lamb |
My take: I love Guys and Dolls. The show is based on the short story "The Idyll of Miss Sarah Brown" by Damon Runyon, a name much more famous in 1950 than today. A sports reporter and author of magazine fiction, Runyon romanticized the gamblers, hustlers, and hookers of the Big Apple into quaint characters with rough exteriors and hearts of genuine platinum. The book, by Abe Burrows, based on a treatment by screenwriter Jo Swerling, is faithful to its origins as it tells the story of two mismatched couples. And Frank Loesser's score displays a fine craftsmanship that is getting harder to find in commercial musicals these days. I'm sorry to say I missed the Muny's production earlier this year because of travel commitments, but I saw Stray Dog's version last night. It's not perfect, but it's great fun and has been getting a lot of love from the critics. At stltoday.com, Calvin Wilson calls it "immensely entertaining...the essence of old-school cool." At KDHX, Tina Farmer says it's "a thoroughly entertaining show that captures all the excitement and romance of the popular musical in a smaller, more intimate but no less compelling setting."
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| A Man of No Importance Photo by Michael Young |
My take: With a book by noted playwright Terrence McNally and a score by the team that brought you Ragtime and Once On This Island, A Man of No Importance is, as Michelle Kenyon writes at her blog, a "witty, charming and poignant show that deserves a wider audience...It's a well-constructed story with some important themes of community, self-expression, family relationships, and more, as well as an overarching tone of sheer love for the theatre. ..Go see this if you can." It's also the last show to be directed for R-S by company founder Christina Rios, who steps down from her position as head of the company at the end of the current season. It's apparently a strong finale, as Mark Bretz writes at Ladue News: "Rios and her inspired cast realize the cadence not only in their characters but in the era and locale as well. A Man of No Importance continues R-S’ tradition of presenting polished and pensive musicals such as Parade while doing so in uplifting fashion.
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