Stage Door St. Louis

Photo: Joey Rumpell

The film version of “Judgment At Nuremberg” was nominated for eleven Oscars and won two- one for Maximilian Schell as the defense attorney and one for adapted screenplay for Abby Mann. She had earlier written the play for the old Playhouse 90 television show and then revised the script for this stage version. It made courtroom drama popular which inspired “Perry Mason” and the slew of such shows we’ve had since. This one from The Midnight Company is a stellar production with excellent visual effects to enhance the proceedings.

Photo: Joey Rumpell

Joe Hanrahan, Artistic Director of Midnight, plays Judge Dan Haywood, the lead judge who, along with two others, must decide the fate of three men involved in the Third Reich and their participation in Nazi war crimes. With a laid back and keen eye for the facts, Mr. Hanrahan dissects the evidence and comes to his own conclusions while one of the other two judges balks at his findings. It’s a complicated case which must be weighed for the merits of their actions at the time and what they knew about the atrocities involving concentration camps and the horrific things that went on there. His final confrontation in the judges’ chambers and the outcome of the trial of the three men (judges in their own right at the time) are powerful stuff.

Photo: Joey Rumpell

Chuck Winning as prosecutor Colonel Tad Parker is dynamic in his delivery and has the power of the films from the camps that Hitler insisted on recording by the likes of filmmaker and propagandist Leni Riesenstahl (used extensively in the powerful documentary “Night And Fog”). His foe, Oscar Rolfe, is played with stunning bravado and even touching sympathy by Cassidy Flynn. His impassioned plea in his final summation is heartbreaking.

Photo: Joey Rumpell

The other judges are played by Jack Corey and Charles Heuvelman while the three on trial are played by the brilliant Steve Callahan, Terry TenBroek and Hal Morgan. Charlotte Dougherty is superb as the landlady to Judge Haywood for his stay in Nuremberg, Mrs. Habelstadt and a bravura performance from Rachel Tibbets as Frau Margarete Bertholt who the judge displaced in the apartment. She becomes the tour guide and close companion of the judge during his stay in Germany.

Photo: Joey Rumpell

Other characters including witnesses and military personnel include fine work by Francesca Ferrari and Jaz Tucker along with Mark Abels, Steve Garrett, Michael B. Perkins and Alex Fyles.

Photo: Joey Rumpell

Ellie Schwetye has directed with a strong knowledge of the time and importance of the material. She moves things along and keeps the two hour (with one intermission) play gripping and tense. The Jonah Sheckler set design is functional  but the video design of Michael B. Perkins makes the difference with a steady set of slides and film projected on the background to put us in the place whether it be the courtroom, the ruins of Nuremberg, the horrors of the concentration camps or other sites around the area. Bess Moynihan’s lights are just about perfect and the appropriate costumes of Sarah Porter complete the look that keeps the play riveted in the time period. A shout out to Pamela Reckamp as well for her excellent work in keeping the actors on point with their dialects.

Photo: Joey Rumpell

It’s hard to direct a cast this large in such an important work. Although some of the acting was a bit sketchy, the power of the story comes through in a production worthy of your time. It’s a reminder in these days  when where we’re seeing stories on social media about millennials who have no idea what a concentration camp was that we can never forget. “Judgment At Nuremberg” has a short run- only through this Sunday but you also have a chance to see two matinees (along with evening performances) on Saturday and Sunday. Contact the Missouri History Museum (where the play is being staged) at mohistory.org/judgement-at-nuremberg for tickets.

Jerry Vogel and Kari Ely in the Upstream Theater production of “A Tree, Falling.” Photo: Virginia Harold

Two of St. Louis’ finest actors bring a story about dementia to life with a touching and compassionate look at a performer with the failing disease and his “friendly visitor” who becomes his hope and lifeline. “A Tree, Falling” is by Australian playwright Ron Elisha and his play is a gentle and profound production at Upstream Theater.

Kari Ely as Lola tries to explain things to Jerry Vogel as Lenny in “A Tree, Falling” at Upstream Theater. Photo: ProPhotoSTL.com

Jerry Vogel is almost unrecognizable as Lenny- a man who has trouble remembering where he is but can recall incidents and names from his past that even the best of us couldn’t recall. His aging make up and his demeanor belie the usual spirit he portrays on stage. Rambling in speech and ambling in walk, he deftly portrays this man who constantly has to ask of his friendly visitor (I presume an Australian term for in home caregiver) what her name is and who she is.

Kari Ely as Lola tries to comfort the frustrated Jerry Vogel in Upstream Theatre’s production of “A Tree Falling.” Photo: ProPhotoSTL.com

Kari Ely as Lola brings a tender performance as she gradually comes to depend on Lenny as much as he does on her. Even when she explodes when Lenny has thrown her son’s keyboard into the pot belly stove soon gives way to compassion. It is a nuanced performance that makes this play work so well.

Jerry Vogel as Lenny carries the infamous keyboard in the Upstream Theater production of “A Tree, Falling.” Photo: ProPhotoSTL.com

Director Michael Dorsey has created that feel on stage with his equally powerful direction. He never lets things turn too maudlin and the result is an uplifting story that just may bring a tear to your eye. Christie Johnson’s set design cover several areas including Lenny’s kitchen that holds that infamous pot belly stove where he likes to throw things he doesn’t want or doesn’t recognize (short term memory is a real problem for him). Tony Anselmo provides a great lighting design and Laura Hanson’s costumes are appropriate to the characters.

Kari Ely embraces Jerry Vogel in “A Tree, Falling” at Upstream Theater. Photo: ProPhotoSTL.com

Upstream Theater has long presented plays from other countries (a lot of them translated by Artistic Director Philip Boehm) and this one from prolific Australian playwright Ron Elisha is a worthy addition. It plays through April 29th and you can go to http://www.upstreamtheater.org for tickets or more information.

John Contini, David Wassilak and Richard Lewis in “The Dresser” at St. Louis Actors’ Studio. Photo: Patrick Huber

Playwright Ronald Harwood has crafted several plays set in the theatre about actors, but “The Dresser” is probably his most poignant and deeply affecting play. It’s the current production at St. Louis Actors’ Studio. During the beginning of the war in Europe in 1942, air raid sirens shriek through the night as a troupe of actors attempts to stage “King Lear” in the English Provinces while everyone’s life seems to be on hold.

At the heart of the show are Sir, an aging actor who has bouts of insecurity and doubt which may show signs of approaching senility and his loyal dresser of 16 years, Norman. Though Sir has affection for Norman, he constantly berates him for his own forgetfulness as he tries to blame his battle with lines and other business on his dresser. On the other hand, Norman simply adores Sir and it shows in his devotion and his defense of Sir’s foibles to others who would argue against his failings.

David Wassilak gives an emotion-ridden performance as Norman. You can see the aguish in his face and hear it in his voice as he tries to support the faltering actor. On scene especially caught my eye as Sir’s long suffering wife, Her Ladyship, flips off a statement, “Who wants to see him act anyway?” After a pause, with a look of pity and, ironically, self doubt, Norman responds, “There’s bound to be someone.” That moment sums up the devotion and love he has for his mentor and hero.

John Contini as Sir and David Wassilak as Norman in the St. Louis Actors’ Studio production of “The Dresser.” Photo: Patrick Huber

Veteran John Contini who, in another ironic twist, actually played Lear on this stage a few season ago, is nothing short of brilliant as the aging actor. His bluster and bravado have not waned even if his ability to remember the opening line has. Chatting with Mr. Contini after the show, he said he feels this is an even more difficult role than that of King Lear. The nuance and balance between a proud actor and the fear that he may be losing his ability to continue is something to behold. It’s a polished and heartbreaking performance.

Missy Heinemann is superb as Her Ladyship. She too treads a tight line between her devotion to her husband and irritation with the often reckless decisions he is beginning to make. Emily Baker is hilarious as the stage manager, Madge, who really keeps the offstage production of “King Lear” running despite the air raid sirens and the questionable delays in getting Sir onto the stage and the hold-your-breath drama of getting him through yet another performance. Also a highlight is Bridgette Basa as a young actress who is rescued from yet another lascivious encounter with the rakish Sir in his dressing room.

As a particular whipping boy to Sir, Richard Lewis is sad but funny as he is dressed down  (dressed as a clown) by the actor while Chuck Brinkley gives dead pan humor to his role as one actor who stands up to the great Sir. Rounding out the cast are two non-speaking roles as Lear’s men, Jeremy Goldmeier and Anthony Heinemann.

Director Bobby Miller has brought a deft touch to this sad story laced with wicked humor. He brings out the sympathy without reaching too far into the maudlin. Patrick Huber has once again spun his magic on the intricate set design that makes a very small stage seem open and inviting. Dalton Robinson provides a wonderful lighting design and, another magician of the theatre, Teresa Doggett, has brought us an incredible costume design that evokes the majesty of the theatre in 1942.

I talked to Wayne Salomon after the performance (yes, we were in the men’s room at adjoining urinals) about how St. Louis Actors’ Studio is like the reincarnation of one of the greatest theatre troupes of old, Theatre Project Company. Wayne, along with Bobby Miller (one of the founding members), John Contini and David Wassilak were all part of TPC. In fact several folks I talked to at the cast party expressed the same feeling. In fact, we may hear more about Theatre Project Company in the future.

Missy Heinemann, Emily Baker, David Wassilak and John Contini in “The Dresser” at St. Louis Actors’ Studio. Photo: Patrick Huber

Enough reminiscing- audiences are just happy that we have such a distinguished company playing our area today. “The Dresser” is part of that heritage now and it will join the ranks of outstanding theatre produced in Gaslight Square over the years. “The Dresser” plays through April 29th. Give them a call at 314-458-2978 for tickets or more information.

The crowds surround Jesus (Omega Jones) in Stray Dog Theatre’s “Jesus Christ Superstar.” Photo: John Lamb

Despite the Easter Sunday presentation on NBC, I was looking forward to my favorite (though probably not his best) Andrew Lloyd Webber musical, “Jesus Christ Superstar.” Not to be outdone, Stray Dog Theatre matched them pretty much move for move, note for note and character for character and even outdid the TV team in several areas. Another triumph for our local theatre scene.

The Last Supper in “Jesus Christ Superstar at Stray Dog Theatre. Photo: John Lamb

Perhaps the most significant power play was Omega Jones as Jesus. Though John Legend is a pop star, that’s not the Jesus I want to see. A true theatre artist who possesses a powerful singing voice is what fits this show and Mr. Jones fills that bill. Whether taking the low road or belting it to the rafters in the appropriate setting of Tower Grove Abbey, he delivers in every respect and acts the hell (can I say that in an Abbey?) out of the role. Following closely in his footsteps is Stray Dog’s Judas Iscariot, Phil Leveling. His role may be the most demanding across the board vocally and he just gets stronger as the night goes on.

Omega Jones as Jesus, Heather Matthews as Mary and Phil Leveling as Judas in “Jesus Christ Superstar” at Stray Dog Theatre. Photo: John Lamb

Add to that the beautiful and golden voiced Heather Matthews as Mary Magdalene (who is also a superb actress) and you’ve got the trifecta at the top of this show that carries it through with a powerful story told in the most contemporary of manner. It doesn’t hurt to have a great supporting cast and excellent ensemble behind you and these people really throw themselves into this show. John Hey is a properly menacing Caiaphas  as he puts forth his best effort to destroy this King of the Jews before he gains too much popularity. As his major domo, Mike Hodges shines as well as a perfectly oily sidekick to one of the most powerful men in Rome. Mr. Hodges also bring a tremendous presence to the choreography that is no mean feat with such a large ensemble inside this somewhat limited space.

Lavonne Byers as Pilate rebukes Omega Jones as Jesus in Stray Dog Theatre’s production of “Jesus Christ Superstar.” Photo: John Lamb

Lavonne Byers never ceases to amaze and, unusually cast in the role of Pontius Pilate, she commands the stage when she’s on. Her breakdown when she can no longer condemn this “miserable puppet” Jesus, is a master class in singing/acting. Gerry Love trips out as the loquacious King Herod as he and his crew taunt Jesus. Riley Dunn also weighs in with a great performance as Simon Zealots as does the stunning collapse of Peter brought to us by Kevin Corpuz.

Gerry Love as Herod in “Jesus Christ Superstar” at Stray Dog Theatre. Photo: John Lamb

As usual, Stray Dog uses the aisles, the stage and even streaming through the pews at one point to utilize the entire space of the Abbey. Like a well oiled machine, the ensemble and principal cast take this popular show and stamp it with their own brand. The results are moving and spectacular.

Kevin Corpuz as Peter and Omega Jones as Jesus in Stray Dog Theatre’s “Jesus Christ Superstar.” Photo: John Lamb

Director Justin Been takes us on a religious and metaphysical journey through the last days of Jesus. He has pumped this entire cast with an enthusiasm that keeps the audience moving and rocking all night long. Music director Jennifer Buchheit also gets the band revved up bringing out the power and drive of the music as well as keeping bassist M. Joshua Ryan busy with that solid undertone in so many numbers. The Josh Smith set design is perfect for the various areas where the story is set and he has even cleverly hidden the band under the row of steps leading to the palace and various other spots. Eileen Engel’s costumes are a wide mix- most appropriate to Director Been’s vision as “a distant future in the Golgotha Territory.”

Jesus (Omega Jones) greets his followers as Caiaphas (Jon Hey) looks on in “Jesus Christ Superstar” at Stray Dog Theatre. Photo: John Lamb

Using one intermission, “Jesus Christ Superstar” still only runs about two hours. When this show comes along, you’ve got to see it. Fortunately you’ll see one of the better interpretations of the Webber and Rice masterpiece at Stray Dog Theatre. A lot of performances are already sold out so give them a call at 314-865-1995 for tickets or more information.

Ted Drury and Rober Thibault as Guldenstern and Rosencrantz (or is that Rosencrantz and Guildenstern?) at the St. Louis Shakespeare production. Photo: Ron James

Tom Stoppard dazzled audiences with his take on “Hamlet” back in the 60’s with a look at two minor characters who we follow in and around Elsinore while major folk from that Shakespeare drama drift in and out of their action. “Rosencrantz And Guildenstern Are Dead” was one of those watershed moments in theatre history when a clever idea melded with a clever script to drive a thirsty audience to the well to drink it all in. Now St. Louis Shakespeare has brought this colorful cast of characters to life again.

Wendy Renee Greenwood, Ted Drury, Nicholas Kelly and Robert Thibault in “Rosencrantz And Guildenstern Are Dead” at St. Louis Shakespeare. Photo: Ron James

You no doubt remember the pair of school chums of Hamlet who offer sage as well as frivolous advice to the Prince of Denmark. News of their death in “Hamlet” doesn’t evoke a tear or even a thought, actually but when they become the focus of the play and Polonius, Ophelia, Claudius, Gertrude and even the Player from the play that Hamlet hopes will “catch the conscious of the king,” take a back seat, it takes on a whole new story.

Robert Thibault and Ted Drury watch as Isaiah Di Lorenzo emotes during the St. Louis Shakespeare production of “Rosencrantz And Guildenstern Are Dead.” Photo: Ron James

Robert Thibaut and Ted Drury recapture the errant pair in a most ingenious way. Almost like a great comedy team from the 50’s or 60’s they set each other up and wax philosophical (not so astute, yet philosophical nonetheless) in the Tom Stoppard nonstop wordplay and nonsense that is “R&G.” From the infamous coin tossing game as the play opens (90-something “heads” in a row) to their myriad other games and bets and into the marvelous patter that accentuates their lives, this is a glimpse of what these two characters probably do when they are “off stage” during “Hamlet.” In the Rep’s recent production of Shakespeare’s work, their Hamlet took on a wise-cracking tone as well and it was a fascinating new look at the character. Thibaut and Drury also change the dynamics of this play a bit with a more unconventional look at the pair.

Eileen Engel as the pensive Ophelia in “Rosencrantz And Guildenstern Are Dead” at St. Louis Shakespeare. Photo: Ron James

King Claudius- who killed Hamlet’s father and took, not only his crown but his wife as well, is played with a matter of fact (I’m the king and there’s nothing you can do about it) attitude by Nicholas Kelly. Boisterous yet secure, he is joined by the stately Wendy Renee Greenwood as Gertrude. The lovely and slightly pensive Eileen Engel plays an almost mute Ophelia and Dan McGee is the proper and befuddled elder statesman, Polonius. Rounding out the major cast of “Hamlet” and the minor cast of “Rosencrantz…etc.” is Scott McDonald as the melancholy Dane himself. Brooding and reflective, he is everything you expect from the Dane and less (by the nature of this version).

The Players offer an impromptu performance during the St. Louis Shakespeare production of “Rosencrantz And Guildenstern Are Dead.” Photo: Ron James

The true supporting characters to Rosencrantz and Guildenstern are the players from “Hamlet” who are to perform in the royal court using a convenient piece in the repertoire that explores the killing of the king by his brother and the eventual take over of the throne. With bravado and just the right touch of “over the top,” Isaiah Di Lorenzo takes this Goth version of the lead player to new heights. From a coquettish lift of his kilt to dramatic poses and faces, he is the epitome of what this play needs. Where R & G are clever with their wordplay, the lead player takes the humor to the broadest level possible and it works beautifully.

Dan McGee as Polonius and Scott McDonald as Hamlet in “Rosencrantz And Guildenstern Are Dead” at St. Louis Shakespeare. Photo: Ron James

Joe Garner is the hapless “leading lady” persona of the troupe of players which also include Genevieve Collins as lead ukulele, Megan Wiegert, Cliff Turner and Michael Pierce. They all get their chance to shine in the off beat and almost impromptu performances they offer throughout the show.

Headed for England are Rosencrantz and Guildenstern with Hamlet on a deck chair in the background during the St. Louis Shakespeare production. Photo: Ron James

Artistic Director of St. Louis Shakespeare, Suki Peters, has directed with a nimble touch that brings out the clever humor of the piece while stamping it with her own sense of style and flair. Chuck Winning has brought a versatile set that transitions throughout the piece (it’s three acts, but moves very quickly). The Meredith LaBounty costumes are spot on adding touches of humor with an AC/DC tee shirt on one of the players and a God Save The Queen tee on Hamlet and, of course, the kilt that goes with the outrageous make up for the Player. Kevin Bowman’s lights are also quite effective.

Hamlet reflects with R & G during the St. Louis Shakespeare production of “Rosencrantz And Guildenstern Are Dead.” Photo: Ron James

“Rosencrantz And Guildenstern Are Dead” hasn’t been performed, to my knowledge, in the area for quite some time. Saw it quite a bit in the years following the Broadway run but that cutting edge wit and fascinating look at “Hamlet” from the back porch is always a welcome sight. St. Louis Shakespeare and Suki Peters have done it justice. It plays at the Ivory Theatre through April 15th. Contact boxoffice@stlshakespeare.org for tickets or more information.

Jazmine Wade and Frankie Ferrari pledge themselves to each other in the West End Players Guild production of “Cardboard Piano.”

With two acts set 15 years apart, “Cardboard Piano” has a lot to say in the season finale at West End Players Guild. From a church in Uganda in 1999 to the same setting in 2014, a lot more than just the church has changed and a few unexpected plot twists enhance this tender story that mixes love and war in a most unforgiving way.

With a war going on outside, two young women meet secretly to celebrate their wedding on New Years Eve of 1999 at a small church in Uganda. Frankie Ferrari is Chris and, although unofficial (even inside a church), she promises herself to her friend, Adiel (Jazmine Wade). Adeil’s parents operate the church and, of course, their forbidden love can’t happen any other way. They are interrupted by Pika, played by Darrious Varner, a soldier who is trying to escape another determined soldier played by Reginald Pierre.

Jazmine Wade and Frankie Ferrari tend to a wounded soldier, played by Darrious Varner in “Cardboard Piano” at WEPG.

The cast is outstanding even if the Hansol Jung play has a first act that drags a bit due to repetition. But the closing moments are horrific and bring the outside war stunningly into the church. It’s a payoff that transitions into the future in the second act with a plot twist the audience never sees coming.

In that second act, the same players take on different roles except for Ms. Ferrari who plays her same character, Chris. Jazmine Wade becomes Ruth, wife of the pastor of the newly renovated church, Paul, played by Mr. Pierre. He and Mr. Varner, who is now a friend of the church, Francis, become pivotal parts in the plot twists  building on the original story.

Linda Kennedy shines as director of “Cardboard Piano” with her strong touch mixing the fragile elements of the story in with pathos and passion. She leads the characters and the audience into a world we’re not familiar with but we soon relate to due to the brilliant direction handled by an equally competent cast.

Darrious Varner, Jazmine Wade and Frankie Ferrari in WEPG’s “Cardboard Piano.”

The simple but effective set and lighting design by Renee Sevier-Monsey add to the bare bones feel of the little church and Tracy Newcomb’s costumes add just the right elements. “Cardboard Piano” runs at WEPG through April 15th. Give them a call at 314-667-5686 for tickets or more information.

John Flack, Greg Johnston and Jim Butz discuss the fate of Spinoza in “New Jerusalem” at the New Jewish Theatre. Photo: Eric Woolsey

Playwright David Ives is well known for his outrageous comedies but, with a bit of mostly wry humor, this play takes on more serious subjects. New Jewish Theatre tackles his profound “New Jerusalem- The Interrogation of Baruch de Spinoza at Talmud Torah Congregation: Amsterdam, July 27, 1656.” Spinoza’s most relevant work is his “Ethics” and it changed the way of thinking about religion by a large part of the Western world. Spurning traditional thought of both Jewish and Christian religions, he looked at God as existing in all things but with finite parameters.

Jim Butz, Rob Riordin and Karlie Pinder in the New Jewish Theatre production of “New Jerusalem.” Photo: Eric Woolsey

For these revelations, he was branded early as an atheist and the leader of the Christian fundamentalists, Abraham van Valkenburgh, has decided he must be excommunicated. In Amsterdam at the time, Jews were “tolerated” rather than accepted into a mostly Christian community. They were allowed to practice their faith but not enter into discussion about it with Christians or profess it to anyone. So his interrogation- which is really a trial- begins in front of the local Jewish congregation overseen by Valkenburgh, Rabbi Saul Levi Mortera- his mentor, and Gaspar Rodrigues ben Israel, a noted member of the religion.

Will Bonfiglio and Rob Riordin discuss plans for the day in “New Jerusalem” at New Jewish Theatre. Photo: Eric Woolsey

Jim Butz opens the show as Valkenburgh literally storming the stage and calling for the doors to be closed and locked. He is relentless through this two act play as he hammers at the slightest hint that Spinoza may be garnering any sympathy- he wants to make an example of him. As the young Spinoza, Rob Riordin is not as blustery but equally adamant about his innocence and faith- despite the views that would seem to oppose his background. Their sparring takes on an interesting look into human nature.

Jennifer Theby-Quinn tells her tale to Jim Butz in the New Jewish Theatre production of “New Jerusalem.” Photo: Eric Woolsey

As the Rabbi, John Flack is magnificent as the teacher who resorts to begging Spinoza (perhaps for his soul more than anything) to denounce his leanings. Jews are in such a tenuous situation in Amsterdam as it is, he believes the whole community may suffer. Will Bonfiglio amazes once again with a surprising twist as Spinoza’s best friend, Simon de Vries. The tables get turned several times during this production which just adds to the pseudo-courtroom drama that unfolds.

Rob Riordin and Karlie Pinder share a moment in “New Jerusalem” at New Jewish Theatre. Photo: Eric Woolsey

Greg Johnston plays the rigid ben Israel and Karlie Pinder is solid as Spinoza’s on again/off again girlfriend, Clara van den Eden. Lot’s of twists in this relationship as well. But the biggest turn is from Spinoza’s half sister, Rebekah de Spinoza, played with fire and fury by Jennifer Theby-Quinn. Charging in like a bat out of hell, she is determined as well to send her brother into excommunication but circumstances soon change in her corner as well. That is the power of Spinoza and his strong arguments. It all comes down to the ruling as the Rabbi holds his fate in his hands.

Will Bonfiglio and Rob Riordin in the New Jewish Theatre production of “New Jerusalem.” Photo: Eric Woolsey

Director Tim Ocel has handled this courtroom battle with a deft hand. Aided by the marvelous in-the-round and slightly tilted set of Peter and Margery Spack, he is able to keep the action moving with a great view from all sides of the theatre. The set features a raised center platform with a chess board look which enhances the chess-like moves from everyone involved. The Jon Ontiveros lighting design is brilliant as well as are the utilitarian costumes designed by Michele Friedman Siler.

John Flack as the Rabbi pleads with Rob Riordin as Spinoza in “New Jerusalem” at New Jewish Theatre. Photo: Eric Woolsey

This is far from a dull interrogation, it crackles with one-two punches from every side of the argument and sprinkled with wit and charm. David Ives’ lines like Spinoza’s take on some of the teachings- “There is no Jewish dogma, only bickering”- spice up an already dose of clever and pertinent dialogue. Enjoy this entertaining and informative look at the development of Spinoza and his teachings as it plays at the New Jewish Theatre through April 22nd. Give them a call at 314-442-3283 for tickets or more information.

Part theatre, part history lesson, part rock concert and all spectacle, “Hamilton” has finally arrived in our town and the Fabulous Fox will be packed for the next three weeks in anticipation. This is really something special as this road company far surpasses anything you could hope for.

Like another Tony winner, “1776,” “Hamilton” is based on true history lessons about the early days of our “scrappy, hungry” country. Centering on the Hamilton/Burr relationship, we get a visit from early patriots and even King George as we try to settle into a new country that is torn away from England in the first act and then infighting around the new country in the second act. Like the feud in “Amadeus,” Burr is Salieri to Hamilton’s Mozart- jealousy gets the better of Burr and he fights for recognition while Alexander Hamilton continues his meteoric rise.

Austin Scott is a powerful Hamilton as he, as a nineteen year old immigrant, has plans to make his voice be heard. From his humble “Alexander Hamilton” opening number through the popular “My Shot” and into marriage, his dalliance and into his heartbreaking “Hurricane” and the impressive and haunting “Unimaginable,” we are obsessed about his obsessions and his drive.

As Burr, Nicholas Christopher dazzles in this love/hate relationship with Hamilton and strives to best him at every “competition”- real or imagined. One thing that is quickly apparent in this production is that every cast member is blessed with a beautiful singing voice and diction and enunciation beyond compare. Listening to the CD practically non-stop for the past two weeks, some of the songs become a bit unintelligible but even the fast rap numbers on the Fox stage are clear and concise.

Alexander’s eventual bride, Eliza Schuyler, daughter of one of the wealthiest gents in the country, is played to perfection by Julia K. Harriman. Her sweet voice and powerful acting skills are on display all evening long. Sabrina Sloan is another Schuyler sister, Angelica, who becomes confidante to Hamilton and, along with the third sister, Peggy, played  by Isa Briones, become a dominant trio. Ms. Briones also doubles as Maria Reynolds, the young married woman who causes Hamilton to stray.

Chris De’Sean Lee doubles as Lafayette and Thomas Jefferson- a pair that demands almost polar opposites. He manages a slightly mangled French accent and then opens the second act as the flamboyant Jefferson who has been doing some dallying himself in France during the American Revolution. Chaundre Broomfield-Hall also does double duty as Hercules Mulligan and the irrepressible James Madison while Ruben J. Carbajal provides laughs turned to sadness as both John Laurens and then Hamilton’s son, Philip.

Rounding out the major cast are two marvelous performances- Carvens Lissaint as George Washington and Peter Matthew Smith as King George. Lissaint’s Washington is strong and determined but knows when it’s time to move on. Smith’s King is satirical and right on just as we need a bit of comic relief. He makes a valid point but can’t help but feel these “rebels” are about to overthrow the most powerful country and military and naval force in the world.

As I said at the beginning, this is a spectacle in the most awesome way. The David Korins set design is the perfect space with open space, balconies and ladders that move and don’t move. It can- and does- become every part of the time including Yorktown, New York and everywhere in between. The phenomenal orchestra, led by Alex Lacamoire, is right on the mark- moving from scene to scene and providing a few sound effects along the way. And that rock concert I talked about is due mainly to the constantly moving lighting design of Howell Binkley- a veritable light show that spins the head around. Andy Blankenbuehler’s choreography recreates the spectacular Broadway show that won “Hamilton” one of its many Tony’s. And finally, the magnificent staging by Thomas Kail which moves the three hour long show like a downhill racer.

This overwhelming piece is the masterpiece created by Lin-Manuel Miranda. Mixing rap, ballads, soaring melodies, touching moments and historical fact into one beautiful piece around the first Treasurer in our country’s beginnings and the creator of the banking system we still follow today. And he slips in subtle reminders of other musicals along the way as I distinctly heard a lyric “you’ve got be carefully taught,” “Sit down, John” and a few others sprinkled throughout. It’s mind boggling that such a perfect piece of theatre could come about with so many disparate parts. But it works like a well oiled machine and will live forever in my memory as one of the most spectacular evenings I’ve ever spent in a theatre.

“Hamilton” plays at the Fox Theatre through April 22nd. There are several “lotteries” out there to win tickets or get bargain tickets and there may be a few you can actually purchase despite the rumor that the run is sold out. Any way to get there is going to be a win-win for any theatre fan. Catch it if you can.