Stage Door St. Louis

Members of the cast of “Champion”- enjoying its world premiere at Opera Theatre-St. Louis. Photo: Ken Howard

It doesn’t take long into the World Premiere of the new jazz-opera, “Champion” at Opera Theatre-St. Louis to realize that you’re watching something historic. The libretto by Michael Cristofer and the music by jazz composer and musician Terence Blanchard unfold like a wave of fresh, dramatic power over the audience. Each moment gets more exciting than the last until we hit the mesmerizing finale. It’s truly a work of art and the jazz inspired score simply rolls over you with a feeling that you’re onto something great.

Of course, the tremendous cast and superlative direction by James Robinson helps the creation as does the spirited baton of George Manahan. This is a story based on real life events in the life of boxer Emile Griffith and his rise from the tragedy of accidently killing another boxer in the ring to a long reign as world champion and then his decline due to dementia caused by too many blows to the head. But another story surfaces about his closeted homosexuality (this is the 1960′s, after all) and how that affected his life in and outside the ring.

Simply put, this cast is amazing. Arthur Woodley shines as the older Emile, opening the opera in confusion as he wonders where his other shoe is. His adopted son and now caretaker, Luis, played with expert precision by Brian Arreola, tries to calm him down. Woodley, in a truly remarkable performance, observes through much of the flashbacks of his younger life, looming over the proceedings like a ghostly presence trying to change moments that went wrong and remember the good times with his addled perception of a curious life.

As the young Emile, Aubrey Allicock looks the part (even if he is a bit shorter in stature than his “older” self) and definitely brings the crowd to his side with his beautiful bass-baritone. He runs the gamut of emotions in this play and handles it all with grace and style. When he first comes to America from his native St. Thomas, he has plans to make hats, play baseball and become a singer. But when his mother introduces him to Howie Albert, who owns a hat factory, Howie recognizes the potential in his frame and upper body strength (from holding cement blocks over his head as a child as punishment) to become a welterweight boxer. Robert Orth gives a powerful performance as Howie- who becomes his manger and mentor on his road to fame and fortune.

All the while, his mother- who doesn’t recognize which one of her children he is when he arrives at her doorstep- tries to make his life an easy one in the states. Denyce Graves is outstanding as his mother, Emelda. Her second act aria, accompanied only by a bass, is one of the most stunning pieces of theatre I’ve ever seen. The bass player, Robert Hurst III, is part of the in-pit jazz rhythm trio that accompanies and often takes the lead with the St. Louis Symphony orchestra members. Combined with Fabian Almazan on piano and the amazing Jeff “Tain” Watts on drums, this is just one of many reasons that “Champion” sets itself apart from most conventional operas.

In 1962, Emile’s life is changed forever when he meets Benny “The Kid” Paret and, when taunted by Paret before and during the match about his gay life-style, he plants 17 hard blows on Paret in a matter of seven seconds and knocks him out. As a result of his injuries, Paret dies and then begins “haunting” Emile the rest of his life. As Paret (and later his son) Victor Ryan Robertson adds another great voice and acting talent to this overwhelming cast. His final scene with the older Emile is touching and brings a tear to most everyone’s eye. Despite his setback, Emile goes on to win the title and hold it for many years until his deteriorating mental state combined with guilt, drive him into a nosedive where he loses the title, his money and his prestige.

Arthur Woodley, Jordan Jones and Denyce Graves in “Champion.” Photo: Ken Howard

A very clever part of the script by Mr. Crisofer divides the proceedings into “rounds” with a ring announcer calling each chapter in Emile’s life. Christopher Hutchinson is brilliant as the announcer, even adding a confusing tone of voice when he announces parts of Emile’s life that have nothing to do with boxing. Rounding out the major cast is Meredith Arwady as the bar owner where Emile first “comes out” and realizes his sexual preference. She belts out her numbers akin to the great musical comedy star from across the pond, Tessie O’Shea. What a delightful character she brings to the proceedings.

After Emile is beat up by a bunch of bigoted thugs one night coming out of the bar, a quick transition to the older Emile takes place and he utters one of the many profound phrases of this remarkable play, “I kill a man in the ring and the whole world forgives me. I love a man and the whole world wants to kill me.”

The efficient set design of Allen Meyer and the astounding lights of Christopher Akerlind combine to make the play even more remarkable. Rusty Wandall’s sound design also shines as does the choreography of Sean Curran- particularly during the colorful festival sequence as Emile prepares to leave St. Thomas for the U.S.

This is simply an incredible piece of theatre that is destined to become a showcase in many an operatic season around the globe. Kudos to all involved but especially to this superb cast and the talents of Michael Cristofer and Terrence Blanchard. It’s a moment in the theatre that you’re not likely to forget. Contact Opera Theatre of St. Louis at 413-961-0644 for tickets or more information on this World Premiere. It runs in repertory with three other operas through June 30th.

Rachel Hanks, Amanda Swearingen and Michelle Hand gather in a laundromat for some other-worldly doings in OnSite’s production of “There’s A Gun In Your Goodbye Bag.”:

“There’s A Gun In Your Goodbye Bag” is a play set (and staged) in a laundromat. Three strikes against it, right? One for the title, Two for the show, Three for the setting, now go, cats, go! Sorry, I digress. So does this play but it’s such a fascinating study as it seems to cross dimensions and bring substance to hallucinations and everyday perceptions. Written by Elizabeth Birkenmeier, it could be the “No Exit” of today’s generation. Existentialism in a laundromat.

Young Ruby, played with amazing dexterity and insight by Amanda Swearingen, curls up on a washer in the laundromat that becomes the setting for the play. As the audience gathers and finds appropriate seating on coin-operated washers and dryers, folding tables or the random chairs for customers, Ruby enters with her backpack and appears to be taking a cat-nap on top of one of the appliances. When she awakens and stretches, we begin to hear her story of an attempt to gain something (time? energy? kharma?) by practicing polyphasic sleep- sleeping in 20-minute intervals throughout the day. However, it sounds like sleep depravation is all she’s accomplishing as her totals only add up to about two hours of sleep a day.

As she travels in and out of sleep and time, she conjures up people- close friends and chance acquaintances- that, for some reason are all doing their laundry or maybe searching her out. Michelle Hand turns in another beautiful performance as Iva. Whether she is the wife or sister of Gus (doesn’t really matter since this crosses through such conformity), she is brilliant. A tough, aggressive, domineering and exasperated wife and then turning into a timid and shy bundle of nerves in “another character” sharing the same name.

Gus is the milquetoast husband (or is he a vagrant off the street) who, at one point, goes on and on about making the best moonshine. Yet, when asked by Ruby later, Gus (perhaps in another guise) hasn’t the faintest idea of what moonshine is. Antonio Rodriquez travels easily among multiple characters making each his own. Then there’s the enigmatic character of Lenny (maybe a guy, maybe a girl, maybe both) who makes a grand, loud entrance into the laundromat and then discovers her old flame (or something else, perhaps?) in the form of Ruby. The delightful Rachel Hanks is both boisterous and tender in this role that perhaps touches Ruby more than any of the others. Add the subtle guitar background of Robert Birkenmeier and you’ve got a complete, out of body experience.

Rachel Hanks and Amanda Swearingen share a moment- or do they?- in “There’s A Gun In Your Goodbye Bag” at OnSite Theatre’s production in a laundromat.

With recurring themes and catch phrases such as “We only talked about things we knew how to talk about” (in one form or another), this journey through the time/space continuum is a fascinating character study as well as a damn fine play. Edward Coffield masterfully directs this incongruous chance meeting in a laundromat with savvy and wit. Despite the obvious problems involved such as noisy machines being used by actual customers, unorthodox seating arrangements and a slightly damp atmosphere due to laundry being done in a tight space and not much air circulation, this thing actually works. You won’t be disappointed by taking in this quirky little piece of ethereal fantasy in the most unconventional of places.

Kudos to OnSite Theatre, Elizabeth Birkenmeier and company in bringing us a most unusual and yet totally satisfying experience. “There’s A Gun In Your Goodbye Bag” plays at the Classic Coin Laundry in University City through June 29th. Bring a load of laundry and enjoy this fifty-minute flight into another dimension. Call OnSite Theatre at 314-686-0062 or at onsitetheatre.org for tickets or more information.

Greg Fenner as Paul (center) regales Gerry Love and Sarajane Alverson (as the Kittredge’s) and Robert Ashton as Geoffrey about his time at Harvard with the Kittredge children in Stray Dog’s “Six Degrees of Separation.” Photo: John Lamb

The more things change, the more they stay the same. Stray Dog Theatre presented John Guare’s disturbing play, “Six Degrees Of Separation” as their first production ten years ago. Returning to that source for the anniversary of the inception of their company, they show us why this story is still relevant today. Although “Six Degrees Of Kevin Bacon” has helped keep it in the public eye, it’s wonderful to revisit the original script and see why it’s still timely.

Is there anyone to root for in this mix of comedy and tragedy? The Kittredge’s are full of themselves as they try to ooze a two million dollar loan from their wealthy friend in order to make a killing on a “sure fire” deal. Although set in 1990, a two million dollar investment is still a pretty stiff “borrow” from even the best of friends. As their plying their “mark,” Geoffrey with drinks and planning which hoity-toity restaurant to splurge their money on to bait and hook him, their plans are interrupted by a young, injured by a supposed mugging, black man, Paul who is let in by the doorman and, just as he has conned the doorman, he begins to con the Kittredges with stories of being in school (Harvard, of course) with their children. He is so charming as he is literally given the shirt off Flanders Kittredge’s back (his is bloody and torn), cooks them a fabulous meal (so they don’t have to spend a fortune at the local, overpriced eatery) and then regales them with tales from Harvard.

Members of the cast of Stray Dog Theatre’s “Six Degrees of Separation” on the multi-level set. Photo: John Lamb

It’s all believable to them and all, of course, a classic con- including his claim to  being the son of Sidney Poitier (which they also fall for). Along with the running joke of all being cast in Poitier’s plans to make a of film of “Cats,” the whole thing is so implausible yet so irresistible that everyone is taken in. Through a series of reality checks, suddenly reprehensible behavior from Paul and confrontations with their children, the light suddenly dawns and then an unexpected turn of events at plays’ end makes this one of the most puzzling yet fascinating plays from the brilliant playwright, John Guare.

The riveting cast makes it all work. Sarajane Alverson is perfectly gullible as Ouisa Kittredge. She is so anxious to keep climbing up the social ladder and remain a responsible and dedicated champion of worthy causes that she can’t help but latch onto Paul’s charismatic character. Gerry Love is perfect as Flanders, her wheeling and dealing husband who has some reservations but goes along with his wife’s charitable demeanor. Greg Fenner is simply outstanding as the con man, Paul. He weaves a story that even has the audience falling under his spell. And, like Ouisa, we almost fall into his trap a second time.

Gerry Love and Sarajane Alverson contemplate the mistakes they may have made in trusting the intruder, Paul during “Six Degrees of Separation” at Stray Dog Theatre. Photo: John Lamb

Robert Ashton is delightful as the rich, South African philanthropist who agrees to Flanders’ plea for a loan, after a few drinks. Kay Love and Christopher R. Brenner make a splash as the Kittredge’s friends while a supporting cast rounds out this long one-act of gullibility and greed. “Get rich quick” schemes are still with us in abundance today and, this lesson from the early 90′s, is still as relevant today as it was then. If it’s too good to be true, it probably is.

Stray Dog Artistic Director, Gary F. Bell, returns to the helm to direct this production of “Six Degrees of Separation” just as he did ten years ago. It’s crisp and clean and right to the point. Justin Been’s set design is simple and effective while the Tyler Duenow lights add to the mix beautifully.

You’ve probably played the trivia game more than you’ve seen a production of the play, but “Six Degrees of Separation” makes a welcome return to the St. Louis theatre scene.  it’s nice to see an old friend every now and then and be reminded of how much we’ve missed him. So is the case with this delightful and almost forgotten play- solid and substantial as ever. Give Stray Dog Theatre a call at 314-865-1995 or visit online at straydogtheatre.org for tickets or more information. “Six Degrees Of Separation” plays through June 22nd.

The cast of “King Lear” at STLAS. Photo: John Lamb

A Shakespearean tragedy is not always a fun way to spend an evening. I’ve seen way too many productions where any combination of an inept cast, spotty direction or technical inadequacies tend to make the Bard unbearable. Not so with the St. Louis Actor’s Studio presentation of “King Lear.” An absolutely superb cast with snappy direction by Milton Zoth and sets and lights that work effectively on the small stage at Gaslight Theatre along with some tremendous work by costumer Teresa Doggett all add up to a most pleasant and gripping evening.

The return of John Contini to local theatre in the title role is welcome news indeed. He simply masters the complex monarch who tries to coax love and affection out of his three daughters and eventually goes mad doing so. His final sequence entering from the back of the theatre, some simple audience participation and then the dramatic finale on stage is nothing short of epic. Hand in hand is his right hand man, The Fool, given a broad (in both the tragic and comic sense) interpretation by the outstanding Bobby Miller. When he utters those immortal words, “I am a fool, you are nothing,” it strikes a chord at the heart of “King Lear.”

Bobby Miller, Justin Ivan Brown, John Contini and Rusty Gunther is STLAS’ production of “King Lear.” Photo: John Lamb

The three daughters are played by three actresses of note who display a wide variety of character while still showing the same false heart. Meghan Maguire as the decietful Goneril, Missy Heinemann- the flirtatious Regan and Jessica Laney as the devoted yet stoic Cordelia all give stellar performances.

William Roth is solid as the Earl of Gloucester with equally adept performances from his sons Edgar and Emond, played by Justin Ivan Brown and Rusty Gunther. Eric Dean White is the somewhat oily Earl of Kent while the cast is rounded out by David Wassilak as Oswald and Paul Cooper as a knight. The entire cast melds as a unit, all peaking with the same level of expertise and devotion to the Shakespeare script.

“King Lear” at STLAS with John Contini in the title role and William Roth as the Earl of Gloucester. Photo: John Lamb

Patrick Huber has done wonders with the lighting and set design on the small theatre space. Multi levels with doorways leading under the elevated areas and, of course, using the audience entries to extend the action. A circular disc in the background is home to several projections that allow for scene identification as well as other aspects of the script. Combined with those spectacular Teresa Doggett costumes, this is a consummate production that brings the action close to the audience and lets us identify with the characters like no “King Lear” we’ve seen before.

Milt Zoth and company are to be applauded for pulling off this feat. With the intimacy of the theatre space, it’s such an approachable production and you can feel the pain, deceit and misguided majesty of the King, his family and followers. “King Lear” plays at the Gaslight Theater through June 23rd. Contact St. Louis Actors’ Studio at 314-458-2978 or at http://www.stlas.org for tickets or more information.

The Incredible Cherry Sisters in the R-S Theatrics production form their “infamous” pyramid. Photo: Michael Young

The Cherry Sisters actually existed. And in Dan O’Brien’s play, “The Cherry Sisters Revisited,” presented by R-S Theatrics, we get a portrait of what made them so infamous, funny and, at times, very sad. They created a vaudeville act right before the turn of the century and, undaunted by catcalls and a shower of vegetables at nearly every performance, they continued for ten years of so before giving up the ghost.

And speaking of ghost, their father, Thomas, shows up in the play even though he’s dead, appearing to the girls on occasion and offering “fatherly” advice, mostly after a few nips of whiskey. In fact, early in the play, the girls are even referred to as “ghosts” which makes the play a bit confusing at first. But soon you’re having too much fun to sort all of that out after you get a peek at the horrific acts they put together to work the circuit. Amazingly, in real life, the Cherry Sisters even made it to Broadway for a short time. I think the audiences looked at it more as a “specialty” act designed for laughter even though the sisters took their songs and stories seriously.

Rachel Tibbetts as Effie and B. Weller as the manager in “The Cherry Sisters Revisited” at R-S Theatrics. Photo: Michael Young

Five talented and uproarious ladies treat us to the creation and fruition of “The Incredible Cherry Sisters.” Rachel Tibbetts is Effie, the often moody older sister who comes up with the idea and refuses to give in even when her sisters can see the handwriting on the wall. Mollie Amburgey is Lizzie, the “pretty” one who later courts and marries a suitor. Ellie Schwetye is Jessie, the stern, austere sister who fails to keep proper decorum with the act. Beth Wickenhauser is Addie, the “funny” sister who comes up with the lame jokes and stories and Nicole Angeli is Ella, the “backward” sister who is frequently off in space somewhere but probably exhibits the most sense of any of them. She also has the best lines and expressions of the night and takes full advantage of her “special” status.

This is a smart ensemble who work together flawlessly. It’s obvious that the actresses all like each other very much and had a blast coming up with the odd and slightly off-kilter series of variety acts- all finishing with the famous “pyramid.” With only five sisters (and later four and then three), it wasn’t a very impressive pyramid but, with tongues extended and obviously a great deal of exertion, they always make it look good.

The incredible Cherry Sisters and Pops in the R-S Theatrics production of “The Cherry Sisters Revisited.” Photo: Michael Young

Add to the mix the talents of B. Weller as their Pop and later as the love interest of Lizzie. It’s a bit odd as they seem to recognize him as Pops and even refer to him with that moniker in his other persona, but he woos and wins Lizzie which leads to a bit more dissension in the family. He brings dimension to both the drunken Irish father and the con man who becomes their agent and Lizzie’s husband.

It’s all pulled together by first-time professional director, Kirsten Wylder. She also has a flair for this family of oddities and brings both the humor and the pathos to the story as we’re in on the deaths of a few of the sisters along the way and the sad but seemingly satisfying life they lead as the “worst act in Vaudeville.” It’s really a story of never giving up on your dreams no matter the obstacles. Like Momma Rose alludes to in “Gypsy,” if they throw vegetables, just add them to the chow mein.

You’ll have a lot of fun at R-S Theatrics’ “The Cherry Sisters Revisited.” The enthusiastic cast and quirky nature of the family will keep you smiling and maybe even shed a tear or two. It plays at the Chapel near Skinker and Wydown through June 16th. Call them at 314-466-0071 for tickets or more information.

Zoe Vonder Haar and Jacqueline Petroccia as Louise Seger and Patsy Cline in Stages’ presentation of “Always…Patsy Cline.” Photo: Peter Wochniak

No singing and dancing chorus. No splashy musical numbers with taps ringing through the theatre. Not the usual Stages approach to musicals. Just two great actress/singers pouring out the story of Patsy Cline and her biggest fan, Louise Seger. My reviewer friends and most of the theatre community know I’m not a big fan of country music. But you’ve got to give credit where it’s due and these two actresses play the heck out of this love letter to a career cut way too short by a plane crash.

By my internal “applause-o-meter” trained on the audience and the word on the street about ticket sales, this is one of the biggest successes Stages has had in their long and fruitful run. You would have thought Patsy herself was on the stage as every

Jacqueline Petroccia as Patsy Cline in “Always…Patsy Cline” at Stages-St. Louis. Photo: Peter Wochniak

number was greeted with wild applause and then, of course, even louder applause when the number was over. And that’s a credit to a knock-out performance by Jacqueline Petroccia as the queen of country music. Uncannily, she captures the essence of Patsy’s voice and manner. She has a great blend of poise and naivete as she portrays a woman who must know she has a tremendous talent but is in awe that everyone else seems to think so as well. Still, she’s just that old country girl who finds this over zealous fan while playing a gig in Houston and follows her home to make bacon and eggs and winds up with true friendship. They talk the night away and then, as the show title indicates, they become even closer friends through letter writing (1961, folks- no internet and facebook) and she always closes her letters to Louise with “love always…Patsy Cline.”

While this is Ms. Petroccia’s first work with Stages, we all know and love the local gal filling the boots of Louise Seger, Zoe Vonder Haar. Whether it’s the persistent scheming of Dolly Levi or the bawdiness of Meg in “Brigadoon,” Zoe Vonder Haar has been thrilling St. Louis audiences- particularly at Stages- for several years. This is one of her most exuberant and genuine moments on stage, playing the role of a real person. After “discovering” Patsy Cline on the old Arthur Godfrey show and then bugging the local radio station to play her songs over and over again, she finally gets to meet her and the rest is history. Her wide-eyed innocence and tender feelings for her “idol” come through loud and clear with Vonder Haar’s wonderful performance.

Zoe Vonder Haar as Louise reads a letter from Patsy in Stages’ production of “Always…Patsy Cline.” Photo: Peter Wochniak

Both ladies- especially Zoe Vonder Haar- talk directly to the audience throughout the evening and, in the guise of Louise, she even makes several trips into the audience. At one point she even crawls through one of  the long, long aisles at the Kirkwood theatre to retrieve a willing man to bring on stage and dance with her. It all adds to the “down home” feeling this show engenders and it works well.

Michael Hamilton shows he can bring out the best in a small cast as well as those extravaganzas we’re used to from Stages. His direction and musical staging are top notch. James Wolk’s effective set design features the kitchen and living room of Louise and, behind the scrim at the back, it either lifts to feature Patsy at the Grand Ole Opry and other venues with her music, or is simply back-lit to feature more intimate moments in her performances. Matthew McCarthy provides those great lighting sequences while Lou Bird’s costumes are simply magnificent- particularly the various gowns and country duds for Patsy. It all comes together with the marvelous on stage (behind another scrim that is occasionally lit) band led by Lisa Campbell Albert.

Jacqueline Petroccia as Patsy belts out “Honky Tonk Angels” as Zoe Vonder Haar (as Louise) looks on. Photo: Peter Wochniak

It’s a vast departure for Stages but one that works beautifully. It might encourage them to attempt other smaller cast musicals (such as “The Fantasticks”) in the future. I love the big blockbusters like “Legally Blonde” and “My Fair Lady” that come up later in the summer, but it’s refreshing to see the excellence of Stages’ presentations combined with a more intimate show.

“Always…Patsy Cline” plays at Stages through June 30th. Give them a call at 314-821-2407 to get more information or try to get tickets. They’ve already added an additional performance on Sunday, June 23rd to accommodate the overwhelming popularity of this show.

Charles Bukowski (Zachary Allen Farmer) haunted by everyday demons in his life at New Line Theatre’s “Bukowsical.” Photo: Jill Ritter Lindberg

Scott Miller and his New Line Theatre never back down. Has a musical been a quick flop on or off Broadway? He’ll make it a hit and suddenly regional theatres are salivating to produce it. Is a musical considered too “out of the mainstream?” No problem, let’s give our audiences a choice and see what happens. Is this one too rude, crude and obnoxious? Let’s do it! And now, combining all three of the above theatrical no-no’s, New Line presents “Bukowsical,” the musical.

Ever heard of Charles Bukowski? Not even a lot of the local “literati” I talked to had been familiar with him. If they HAD heard of him, not many had read his stuff. He’s on the fringe of the beat generation and, if you know Ferlinghetti, Kerouac and other prolific writers of that era, you might have run across the writings of Charles Bukowski. The problem is, he ran off the rails more than the others. Despite living into his 70′s, his boozing, womanizing and other addictions made him a failure to most of the world and stifled his popularity so, it’s a perfect “case” for New Line. A sort of on-stage intervention.

Sweet Lady Booze (Marcy Wiegert) tempts Bukoski (Zachary Allen Farmer) in New Line’s “Bukowsical.” Photo: Jill Ritter Lindberg

More like a musical revue, we get to review his life in “Bukowsical.” From his early days being bullied by other students at school to the path of destruction he left in his wake by being in and out of reality and in and out of his creative mind, his was a tragic life. But in this show, this tragic life is treated more like “The Sound Of Music” than high drama. His chance encounter with Sweet Lady Booze, his hallucination of prominent writers of the time giving him advice and his random encounters with his One True Love all are given the song and dance treatment.

New Line veteran, Zachary Allen Farmer plays the ubiquitous Bukowski with the perfect combination of confusion and a classic stage drunk. Remarkably light on his feet during the many dances he struts through and the always steady singing voice are mixed with this solid acting performance. Joel Hackbarth is adept as well as he spreads himself over several roles including narrator for the proceedings and “Tennessee Williams” in that bizarre quartet of writers that urges Bukowski to “Get Dirty.”

An unorthodox moment during the uplifting tragedy that is “Bukowsical” at New Line. Photo: Jill Ritter Lindberg

From Bishop Fulton J. Sheen to Mickey Rourke, Ryan Foizey pops in and out of Charles Bukowski’s life with verve and great comic timing. New Line’s favorite leading lady lately, Kimi Short, shows why as she handles a wide range of emotions as Bukowski’s One True Love. Unfortunately, she doesn’t always feel that special and it leads to a major turning point in his life.

The rest of the well-rounded cast provides solid work in multiple roles including a perfect dead-pan Sylvia Plath and unrelenting teacher by Chrissy Young, Marcy Wiegert includes Sweet Lady Booze to her “Bukowsical” resume, Nicholas Kelly gets to play, among others, William Faulkner while the unlikely trio of William Burroughs, Sean Penn and Swifty Lazar are all handled by the spot-on Christopher Strawhun.

The opening, title number of “Bukowsical” at New Line Theatre. Photo: Jill Ritter Lindberg

Realizing what a unique show he has on his hands, Scott Miller brings us up from the depths of this rather sordid and sad life into musical comedy heaven. Incongruous numbers aided by the happy-go-lucky choreography of Robin Michelle Berger make you almost forget the despair and the unusual lyrics generously sprinkled with obscenities. Justin Smolik’s deft work with the small New Line Band gets the most out of the Gary Stockdale music while the book and lyrics by Stockdale and Spencer Green are clever despite the tragic subject matter and propensity for (Bukowski appropriate) foul language. In fact, the playwright/composer team was there for opening night.

Amy Kelley’s colorful costume design brought in that whole world of the beat generation and beyond and it’s all enhanced further by Scott L. Schoonover’s spare but effective set design and the workman lighting design of Kenneth Zinkl.

As you can tell, this is one of those New Line shows that’s not for everyone. If you’re easily offended, stay away. On the other hand, if you only get “slightly” offended by off color humor and sexual situations on stage, you might actually fall in love with “Bukowsical.” This just proves once again that Scott Miller is unafraid to bring anything to a St. Louis audience. And, once again, he manages to succeed. “Bukowsical” plays at the Washington University South Campus Theatre through June 22nd. Call 314-534-1111 for ticket information.

As a former amateur actor and director (last worked theatre at Maryville University before I retired from there in 2000, after 23 years), I’ve been enthralled with all of the testimonials on FB recently about people earning their equity cards. Reminds me of the annual SAG awards when the actors at the tables relate how they got their cards and finish with their name and then the phrase, “…and I’m an actor.”

A recent post by Bobby Miller mentioned his card was earned at the Barn Dinner Theatre. That brought back a flood of memories. I started reviewing theatre in the early ’70′s and The Barn and Plantation facilities offered a bizarre mix of on-again, off-again food with some on-again, off-again theatre depending on the star driving the vehicle. So much of the local talent endured constant mugging or trademark “bits” forced into legitimate plays but then we saw some great things when stars were seriously trying to do good work or, in some cases, when that local talent filled a show without a star driving it.

Before I launch into a few memories and observations, let me urge any Barn and Plantation veterans to respond to this post or contact me at stlcritic@aol.com with stories about your experiences there. Besides this edition of “Allen’s Alley,” Bobby and I have discussed expanding the story including the unusual history and any stories we get about these two unique facilities.

With so much “drama” going on during the comedies on stage, the audience was often more fun to watch. There was always the fun of watching what “sweet young thing” Gentry Trotter (a then local and rather flamboyant critic) would bring as his guest. During the ’70′s it was always exciting to see the new fashion trends for the discriminating male theatre-goer. Would they wear their leisure suit? Perhaps the latest Nehru jacket or- better yet- the even more short-lived Eisenhower jacket.

Then, of course, there were the cast parties after the play. What’s better than my wife getting a kiss on the hand from Cesare Romero?  Me getting a kiss on the lips from Angela Cartwright. Most of the “stars” were very nice and really made an attempt to mingle with the guests. Forrest Tucker and I traded jokes till past midnight- even though his performance on stage in “Hanky Panky” wasn’t the quality we hoped for (after he played Harold Hill in the touring company of “The Music Man” at the American Theatre). Ruta Lee went “lap to lap” with all the guys. Tommy Smothers was a kind and very serious soul. And, of course, there’s that kiss from Angela Cartwright!  Then there was the drunk (on stage during “Charley’s Aunt”) Donald O’Connor who didn’t show up to the cast party at all. We didn’t even bother attending the party after Martha Raye mugged her way through the horrible to begin with play, “Everybody Loves Opal.” At least the food was usually pretty good at the cast parties.

The last owner, Mike Moss, due to his shady shenanigans, probably went into investment banking after his theaters finally went bust. He was, as one of my friends close to the theaters said, “Mike The Monster.” He was in so much trouble near the end of the run with unions, actors and audiences that he finally slunk out of town and the Plantation transformed into a church.

But before that run ended, there were some unbelievable productions going on. You never knew what you were going to get as the local talent held most plays together, but stars, bad directorial decisions and often bad food before the show weren’t conducive to a good theatrical experience. Then, on occasion, you’d get an excellent all-around production. Of course, there were the odd mix of spiecial events too including Will B. Able’s “This Was Burlesque” and the drag show, “French Dressing.”

Through it all, many folks still involved in St. Louis theatre today were a part of this bizarre history. With titles like “Two And Two Make Sex,” “Never Get Smart With An Angel” and “Here Lies Jeremy Troy” mixing with more familiar shows like “The Odd Couple,” “Bell, Book and Candle” and even a musical or two like “I Do! I Do!”, they participated in an odd conglomeration of theatre. From Sarah (now Sally) Eaton in “Busybody” to Peter Mayer in “Cat On A Hot Tin Roof,” the local talent always “starred” in these shows. There were names like Bobby Miller, Amy Ruprecht, John Contini, Alan Clarey, Joan Hanson (and her husband Alan who directed several productions), James Anthony, Patton Hasegawa (now L. Patton Chiles), James Paul and Kevin Hofeditz- who later took his mentor’s last name and became Kevin Paul, Susie Wall, Whit Reichert, Gary Carlson, Millie Garvey (who also choreographed several musicals there), Richard Cosentino, “Buzz” Barton, Joneal Joplin and many, many more.

Then, as the theaters were beginning to breath their last, two actors who were in many of the productions and then married, Art and Kathy Romans, rented the Barn and remade it as The New Barn Dinner Theatre. The quality of the food and the productions dramatically improved. Suddenly we were getting wonderful shows like “The Moon Is Blue” with Susie Wall, Joneal Joplin and Neville Mur, “An Almost Perfect Person” with Maggie Ryan, James Paul and Peter Mayer, “Luv” with Susie Wall, Richard Pilcher and Gary Carlson, “The Owl and The Pussycat” with Bobby Miller and  Patton Hasegawa, and “The Rivalry” with Arthur C. Romans as Stephen Douglas and Joneal Joplin as Abraham Lincoln.

I talked to Kathy Leake Lucas, who, with her husband Art Romans, had that short 8 or 9 month run at the New Barn Dinner Theatre. They divorced in 1992 and Art died of stomach cancer in 1999. Kathy is now married to Jim Lucas and they live in Henderson, Nevada. She’s worked in real estate, has been a motivational speaker for the last eleven years and still sings as part of the Sweet Adeline’s Barbershop Chorus. But she’ll always be remembered as one of the “savior’s” of the Barn. Dinner theatre has never been the ideal form of theatre. You get somewhat rowdy crowds who eat AND drink before a show and so much of dinner theatre has been relegated to second tier plays often resulting in second class productions. In one of the productions- I believe it was Agatha Christie’s “Ten Little Indians”- the rather unruly crowd started yelling things at the actors like “Don’t listen to him- he’s the killer.” That’s almost as bad as a cell phone going off during one of today’s legitimate theatre productions.

We weren’t able to attend the last few plays as the Plantation Dinner Theater faded into oblivion. As I said, the owner got into some trouble with unions (particularly union painters, for some reason), I don’t remember the whole story- but I mentioned it in one of my reviews and he vehemently cut me off the press list.

With so much of that local talent on those stages over the years, though, I would really like to hear your experiences- the good, the bad and the horrific. As I said at the top, reply to the blog or my personal email at stlcritic@aol.com and we’ll share your stories. It was a fun, roller coaster ride and a great piece of St. Louis theatre history.

The Scarecrow, Lion, Dorothy and the Tinman “Ease On Down The Road” in the Black Rep production of “The Wiz.” Photo: Stewart Goldstein

Though not a strong show to begin with, “The Wiz” is transformed due to an impeccable cast at the Black Rep with plenty of energy, great singing voices and pinpoint choreography. It all blends to make a satisfying conclusion to their 2013 season. The score includes the charming “Ease On Down The Road” and the powerful “Brand New Day.”

Sisters Sarah and Sophia Stephens perform together with Sarah earning the yeoman role of Dorothy. She handles it with wide-eyed innocence and a spectacular singing voice that rings through the rafters of the old Grandel Square Theatre. She is poised and handles the acting and dancing chores as well as belting out the tuneful score. Her sister Sophia also shines but only briefly at show’s end when she enters as Glinda and also brings the house down with a smooth and silky singing voice.

Keith Tyrone as the Tinman loosens up after a shot of oil in “The Wiz” at the Black Rep. Photo: Stewart Goldstein

It’s the old “Wizard of Oz” story with a funky beat. Although not as tight as the original, the colorful cast of characters are all there and each gets a moment or two to stand out. Nakischa Joseph gets things started on the right foot as Aunt Em as she professes her love for her niece in the touching song, “The Feeling We Once Had.” As the show gets on the “road,” so to speak, Dorothy encounters the Munchkins and a delightful performance by Linda Kennedy as the Good Witch Of The North- also known as Addaperle. She soon discovers the Scarecrow in search of a brain- played with magnificent pliability by Ian Coulter-Buford. His number, “I Was Born The Day Before Yesterday,” shows off his singing skills as well as his Ray Bolger-esqu dances.

The smooth and sassy Tinman is Keith Tyrone. His “Slide Some Oil To Me” is a sexy turn that features some more intricate moves on the dance. Finally, the Lion enters in the person of Herman Gordon (who doubles as Uncle Henry). His fierce demeanor soon turns to his true colors as a “scaredy-cat.” He, too, gets his moment in the spotlight as he introduces himself as a “Mean Ole Lion.”

Cedric Neal is a powerhouse as the all-talk, no-action Wiz. His numbers, “So You Wanted To Meet The Wizard” and, especially his second act blockbusters, “Believe In Yourself” and the rousing “Y’All Got It!” are both scene-stealers. Raphaelle Darden makes her evil presence known as Evillene- the Wicked Witch of the West and Daniel Hodges does some fine work as her underling as well as the skittish Gatekeeper.

Ian Coulter-Buford as the Scarecrow tells Dorothy (played by Sarah Stephens) why he needs a brain as the Yellow Brick Road looks on. Photo: Stewart Goldstein

Director Ron Himes keeps the pace moving with the only slow-downs being a few of the scene changes that could have been crisper. Choreographer Cecil Slaughter has done wonders with the driving music and he is blessed with a dancing chorus who is precision-perfect. Musical director Charles Creath does a fine job but it’s too bad they couldn’t have put some brass into it because this show really needs that driving sound that only a brass section can deliver. But he has the chorus singing and blending beautifully to match the power of the featured cast.

The clever Dunsi Dai set design works well and the inventive Sean Savoie lights are a wonderful complement to the proceedings. The colorful costumes of Sarita Fellows are right on the mark from the Scarecrow, Tinman and Lion costumes right through to the other principles and the wonderful orange “brick” overalls and yellow shoes and poles of the four gents playing the Yellow Brick Road.

This is a really good production with a lot going for it. Give them a call at 314-534-3810 and join in the rousing good time that is “The Wiz” at the Black Rep. It runs through June 30th.

Led by veteran Rachel York as nightclub singer/evangelist Reno Sweeney, the national tour of “Anything Goes” gets rave reviews for a lively song and dance fest despite the creaky (although updated) script that accompanies the great Cole Porter score.

Written in 1934, it’s no wonder the well-worn plot doesn’t relate to our techno-filled world but oh, that wonderful music. Hits like the title tune, “I Get A Kick Out Of You,” “Blow, Gabriel, Blow,” “De-Lovely,” “Friendship” and “You’re The Top,” among others, makes this a non-stop hit parade. Combined with the crisp direction and out of this world choreography of Kathleen Marshall, you can’t help but get swept up in this crazy cruise that features romance on the high seas.

Rachel York is simply tireless. She shines in number after number including the exhausting “Anything Goes” that closes the first act. Not many shows get two standing ovations including one at the Act I close, but this one does. Her energy sparks the show but the rest of the cast chimes right in.

Josh Franklin is an energetic Billy Crocker who is in love with Alex Finke’s Hope Harcourt. Although we know she shares the love, she is engaged to a “sensible” millionaire, Lord Evelyn Oakleigh, played with a superb stiff upper lip by Edward Staudenmayer. Not helping true love win out is Hope’s mother, Evangeline Harcourt, played perfectly by Sandra Shipley. Fortunately for the paper-thin plot, she is being wooed by an old flame, Dennis Kelly’s Elisha Whitney. Rounding out this wacky cast of characters is Fred Applegate as a riotous Moonface Martin (public enemy No. 13).

All these folks make for a silly shipload of mayhem and music. Highlights include the fun duet (with a built in encore) of “Friendship” with Moonface and Reno, a delightful song and dance by Hope and Billy to another Porter standard, “Easy To Love,” the bright and powerful “Blow, Gabriel, Blow” and, of course that exciting title number that gets almost everyone involved.

Although difficult, even with the updated script, to make “Anything Goes” a viable show for today’s audiences, the spirit and the ’30′s musicals helps buoy it along and with such a tuneful score, it really can’t miss. Thanks to a brilliant cast and the innovative choreography of Ms. Marshall combined with excellent execution of same, this is a show that suddenly becomes a treat for everyone.

“Anything Goes” plays at the Fox Theatre through June 9th. Contact Metro-Tix for tickets and plan to attend this final musical of the season at the Fox as they end on a very happy note.