Sunday, June 20, 2010
Theater review: 'Wicked' is a winner at the Fox
Vicki Noon as Elphaba in "Wicked" (Photo by Joan Marcus)
Before Stephen Schwartz' hit musical came along, we were left to believe all sorts of scandalacious lies about the Wicked Witch of the West: Water will melt her. She's ugly. And, worst of all, she's wicked.
Well, hold on just a tick-tock.
"Wicked," based upon Gregory Maguire's 1995 novel by the same title, is a prequel to L. Frank Baum's "The Wonderful Wizard of Oz," published 95 years earlier. The story explores the lives of the Wicked Witch (whose name, we learn, is Elphaba) and Galinda the Good (who later changes her name to Glinda) before that wretched girl in the gingham dress drops into Oz.
This show doesn't exactly mimic the familiar imagery and characters from the "Oz" film, but there are moments that will put a smile on your face simply because they're so familiar.
One of them: "Lemons and melons and pears. Oh my!"
Vicki Noon plays Elphaba, a role she has been involved with since 2008 in Chicago. Noon's pretty face shines through the green makeup, and she's got the voice the role demands.
On Thursday night, Noon played Elphaba for most of Act 1; when she began feeling ill, standby Anne Brummel stepped in and finished the show with aplomb.
Natalie Daradich is Glinda, the perky, optimistic Good Witch who becomes Elphaba's unlikely ally. But when both witches fall in love with Fiyero (Chris Peluso), their unexpected friendship takes an unexpected turn.
"Wicked" is full of big, enchanting musical numbers that demand your uninterrupted attention. In "One Short Day," when Elphaba and Glinda visit the Emerald City, the Fox stage transforms into a beautiful kingdom colored with a million shades of green. It's so bright the actors wear sunglasses. (Green, of course.)
Daradich sings "Popular," Glinda's signature song, with plenty of perkiness. Her hilarious lesson in hair flipping could easily be swapped with Elle Woods' famous Bend and Snap from "Legally Blonde."
Brummel's rendition of "Defying Gravity," the song made popular on Broadway by Idina Menzel, was perfect. While not an exact replication, she successfully made the song her own.
Scenic design by Eugene Lee, lighting by Kenneth Posner and projections by Elaine J. McCarthy create magical settings and effects that are very cinematic. Costumes by Susan Hilferty are both elegant and over the top.
There isn't a weak spot on this tour; "Wicked" fans will get the spectacular show they're looking forward to.
Thursday, June 17, 2010
Theater review: Muddy Waters weighs marriage in new show
For its second show in an all-Eugene O'Neill season, Muddy Waters Theatre presents one of the playwright's least-known works from his least-explored genre: "Now I Ask You," a comedy.
It's not clear how much of the play O'Neill wrote himself — his then-wife, Agnes Boulton O'Neill, allegedly rewrote and edited the script after he had abandoned it. But the result is a three-act show packed with witty dialogue and thought-provoking arguments about free love versus marriage — ideas that are especially intriguing now, when marriage equality has taken center stage.
The play opens with a gunshot, an apparent suicide. But a comedy quickly ensues when we meet free-thinker Lucy Ashleigh, played superbly by Katie McGee. She brings the perfect blend of pretension and naïveté to the role, making Lucy obnoxious but still likable.
Robert Ashton and Andra Harkins contribute fine performances as Lucy's parents, who dispense pearls of wisdom as needed.
Lucy's patient husband Tom — whom she'd really prefer to keep on as a friend with benefits, thanks — is played charmingly by a blond Ben Ritchie.
"Why this useless formality of marriage?" Lucy wonders.
Frustrated by Lucy's desire not to be tied down by traditional marriage vows, and by her interest in flamboyant poet Gabriel Adams (Alan C. David), Tom's eyes soon wander to Leonora Barnes (Sarajane Alverson), an artist with a dislike of all things bourgeois.
Gabriel ("Don't call me Gabe!") and Leonora are married, a fact they don't like to discuss. "Marriage is for propagation," Leo says, "and artists shouldn't propagate." David and Alverson play their eccentric roles (with plenty of delicious lines) with plenty of moxie, but it's hard to detect what Lucy or Leo could possibly find attractive about smarmy Gabriel.
What's a girl to do? We hope Lucy figures it out quickly, before meeting the fate of her Henrik Ibsen hero, Hedda Gabler.
The play's well-appointed set, full of details that make it feel truly real, was designed by Sean M. Savoie. Mary Beth Amsier's costumes bring the characters and their various personalities to life. Jerry McAdams directs.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.17.10
It's not clear how much of the play O'Neill wrote himself — his then-wife, Agnes Boulton O'Neill, allegedly rewrote and edited the script after he had abandoned it. But the result is a three-act show packed with witty dialogue and thought-provoking arguments about free love versus marriage — ideas that are especially intriguing now, when marriage equality has taken center stage.
The play opens with a gunshot, an apparent suicide. But a comedy quickly ensues when we meet free-thinker Lucy Ashleigh, played superbly by Katie McGee. She brings the perfect blend of pretension and naïveté to the role, making Lucy obnoxious but still likable.
Robert Ashton and Andra Harkins contribute fine performances as Lucy's parents, who dispense pearls of wisdom as needed.
Lucy's patient husband Tom — whom she'd really prefer to keep on as a friend with benefits, thanks — is played charmingly by a blond Ben Ritchie.
"Why this useless formality of marriage?" Lucy wonders.
Frustrated by Lucy's desire not to be tied down by traditional marriage vows, and by her interest in flamboyant poet Gabriel Adams (Alan C. David), Tom's eyes soon wander to Leonora Barnes (Sarajane Alverson), an artist with a dislike of all things bourgeois.
Gabriel ("Don't call me Gabe!") and Leonora are married, a fact they don't like to discuss. "Marriage is for propagation," Leo says, "and artists shouldn't propagate." David and Alverson play their eccentric roles (with plenty of delicious lines) with plenty of moxie, but it's hard to detect what Lucy or Leo could possibly find attractive about smarmy Gabriel.
What's a girl to do? We hope Lucy figures it out quickly, before meeting the fate of her Henrik Ibsen hero, Hedda Gabler.
The play's well-appointed set, full of details that make it feel truly real, was designed by Sean M. Savoie. Mary Beth Amsier's costumes bring the characters and their various personalities to life. Jerry McAdams directs.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.17.10
Thursday, June 10, 2010
Q&A: 'Wicked' actress says it's easy being green
Vicki Noon got her start with the hit musical "Wicked" in Chicago in 2008, as the understudy for Elphaba, the misunderstood Wicked Witch of the West. We chatted with her about her starring role as Elphaba on the national tour.
Is it easy being green? The makeup really isn’t as harsh on the skin as it may seem. It feels very light, like any other form of stage makeup I’ve worn. Sometimes I even forget that I’m green. I literally get painted, then powdered, to try to keep the green from coming off of me and onto other cast mates and props. The whole process takes about 25 minutes. I just sit back, drink my tea and have some “girl talk” with my makeup artist, Joyce.
What’s your favorite part of being Elphaba? I feel so fortunate to play a role like Elphaba. She’s strong not only in her beliefs, but in presence. And vocally, as well. Elphaba is a demanding role, and as an actress you really yearn for a character like her. Every night after I’ve taken my bow I feel like I have accomplished something great.
You began as a standby for Elphaba. How does that differ from being an understudy? An understudy is still a part of the onstage show (in other roles) every night. As standby, I wasn’t in the onstage show, except when the Elphaba called out. It was sort of like being on-call in other professions. I didn’t necessarily have to go on in the role every night, but I had to be prepared to do so if needed.
Your character gets to fly. Any fun flying stories? No funny flying stories, but I do have a lot of falling stories. I fall a lot!
Elphaba is a complex character. Are you like her? I wouldn’t say that I’m like Elphaba. I’m a much more open and friendly person than Elphaba is. I didn’t have the sort of rough childhood that she did. I have a wonderful, loving family, and I’m lovey-dovey and warm. It’s still a struggle to beat that part of me out of my portrayal of Elphaba. Elphaba is strong, stubborn and rough around the edges. I do relate to her when it comes to feeling different or being picked on. I think we’ve all been there at some point in our lives: middle school.
What do you hope audiences take away from “Wicked”? I hope audiences walk away from “Wicked” feeling better than when they sat down. That’s the goal.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.11.10
Tuesday, June 8, 2010
Theater review: ‘Apology’ is a tedious way to spend an hour
If you had just one more hour to live, how would you spend it? Saying goodbyes to loved ones? Enjoying a favorite meal? Making peace with enemies?
Not John Faustus.
In Mickle Maher’s “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on this His Final Evening,” staged by the Midnight Company, Faustus fritters away his final hour explaining to a roomful of randomly assembled strangers — the audience, sitting on hard benches in the upstairs space at Dressel’s Pub — why his diary contains no actual documentation of his life.
Instead, its pages are filled with hash marks — the sort prisoners make on their cell walls to count the days.
If you’re unfamiliar with the show’s source material, the 15th-century legend of Faust, where have you been? The story of the doctor who sells his soul to the devil in exchange for 24 years of wealth, time travel and power has been the basis for countless works of music, opera, theater, poetry and fiction. At the culmination of 24 years, Faustus is whisked away to Hades.
In the Midnight Company production, artistic director Joe Hanrahan plays the aloof academic Faustus with conviction and plenty of energy, though his monologue in what amounts to a one-man show isn’t always completely engaging.
Travis Hanrahan is Mephistopheles, the prince of Hell who’s been Faustus’ servant these 24 years. Wearing an eerie, white mask that gives us only a glimpse at his eyes, he sits silently on a stool behind Faustus, occasionally shifting in his seat or tilting his head.
The Midnight Company excels at producing theater outside of the traditional theater setting. But in this situation, a more theatrical treatment — lighting that suggests a more foreboding mood, perhaps — may have helped to establish a clearer focus.
“Apology,” directed by Sarah Whitney, is mostly insightful, often clever and sometimes plain weird. But making yourself familiar with Faust’s story ahead of time (and packing a seat cushion) isn’t a bad idea.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.08.10
Not John Faustus.
In Mickle Maher’s “An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on this His Final Evening,” staged by the Midnight Company, Faustus fritters away his final hour explaining to a roomful of randomly assembled strangers — the audience, sitting on hard benches in the upstairs space at Dressel’s Pub — why his diary contains no actual documentation of his life.
Instead, its pages are filled with hash marks — the sort prisoners make on their cell walls to count the days.
If you’re unfamiliar with the show’s source material, the 15th-century legend of Faust, where have you been? The story of the doctor who sells his soul to the devil in exchange for 24 years of wealth, time travel and power has been the basis for countless works of music, opera, theater, poetry and fiction. At the culmination of 24 years, Faustus is whisked away to Hades.
In the Midnight Company production, artistic director Joe Hanrahan plays the aloof academic Faustus with conviction and plenty of energy, though his monologue in what amounts to a one-man show isn’t always completely engaging.
Travis Hanrahan is Mephistopheles, the prince of Hell who’s been Faustus’ servant these 24 years. Wearing an eerie, white mask that gives us only a glimpse at his eyes, he sits silently on a stool behind Faustus, occasionally shifting in his seat or tilting his head.
The Midnight Company excels at producing theater outside of the traditional theater setting. But in this situation, a more theatrical treatment — lighting that suggests a more foreboding mood, perhaps — may have helped to establish a clearer focus.
“Apology,” directed by Sarah Whitney, is mostly insightful, often clever and sometimes plain weird. But making yourself familiar with Faust’s story ahead of time (and packing a seat cushion) isn’t a bad idea.
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.08.10
Monday, June 7, 2010
Concert review: Minnelli flies by the seat of her pantsuit with SLSO
When Liza Minnelli walked onstage at Powell Hall on Saturday wearing an evening gown and heels, it was immediately clear something wasn’t quite right.
The 64-year-old performer, who kicked off her new tour in a performance with the St. Louis Symphony Orchestra, typically favors glittery pantsuits. And while she looked great — slimmer than she’s looked in years — something was bugging her. She appeared to be struggling to walk, and her breaths were heavy. She spent much of her time sitting.
After opening with “Sweetest Sounds” — during which she flubbed her entrance — and “Toot, Toot, Tootsie,” she left the stage and returned moments later wearing a pantsuit.
Also, she was barefoot.
“I have to be honest,” Minnelli later said. “I’ve got two false hips. I’ve got a shoulder that cracks. And I just had a knee replacement.”
It was a fitting introduction to the song “Why Don’t They Mention the Pain?,” during which she stopped and restarted the orchestra to get a cue just right.
Minnelli’s apparent pain aside, the evening was marked by many odd moments. At one point, she said, “I’ll be right back,” instructed her pianist and longtime collaborator Billy Stritch to sing (he did, beautifully), and exited stage right.
And later, after delivering a heartfelt speech about love, Minnelli stopped herself. “I just did the wrong introduction,” she said. “Sorry, kids.”
At times, the orchestra, conducted by Jamie Schmidt, completely overpowered Minnelli’s vocals. But at other times, the blend of the music and Minnelli’s big voice was just perfect.
Minnelli and her own sextet later broke from the orchestra to perform a moving selection of music from her new album, “Confessions,” due in September: “You Fascinate Me So,” “I Hadn’t Anyone ’Til You,” “This Heart of Mine,” “Close Your Eyes,” “He’s a Tramp” and “I Must Have That Man,” which originally was recorded by Minnelli’s godmother, St. Louisan Kay Thompson.
But Minnelli was at her best during the songs she’s sung for her fans a million times — “Teach Me Tonight,” “Maybe This Time,” “Cabaret” and “New York, New York” elicited much-deserved rock-concert-like squeals. At least one cigarette lighter was held in the air.
“I love you, Liza!” someone would shout from the audience.
“I love you, too,” she replied. “You know that.”
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.06.10
The 64-year-old performer, who kicked off her new tour in a performance with the St. Louis Symphony Orchestra, typically favors glittery pantsuits. And while she looked great — slimmer than she’s looked in years — something was bugging her. She appeared to be struggling to walk, and her breaths were heavy. She spent much of her time sitting.
After opening with “Sweetest Sounds” — during which she flubbed her entrance — and “Toot, Toot, Tootsie,” she left the stage and returned moments later wearing a pantsuit.
Also, she was barefoot.
“I have to be honest,” Minnelli later said. “I’ve got two false hips. I’ve got a shoulder that cracks. And I just had a knee replacement.”
It was a fitting introduction to the song “Why Don’t They Mention the Pain?,” during which she stopped and restarted the orchestra to get a cue just right.
Minnelli’s apparent pain aside, the evening was marked by many odd moments. At one point, she said, “I’ll be right back,” instructed her pianist and longtime collaborator Billy Stritch to sing (he did, beautifully), and exited stage right.
And later, after delivering a heartfelt speech about love, Minnelli stopped herself. “I just did the wrong introduction,” she said. “Sorry, kids.”
At times, the orchestra, conducted by Jamie Schmidt, completely overpowered Minnelli’s vocals. But at other times, the blend of the music and Minnelli’s big voice was just perfect.
Minnelli and her own sextet later broke from the orchestra to perform a moving selection of music from her new album, “Confessions,” due in September: “You Fascinate Me So,” “I Hadn’t Anyone ’Til You,” “This Heart of Mine,” “Close Your Eyes,” “He’s a Tramp” and “I Must Have That Man,” which originally was recorded by Minnelli’s godmother, St. Louisan Kay Thompson.
But Minnelli was at her best during the songs she’s sung for her fans a million times — “Teach Me Tonight,” “Maybe This Time,” “Cabaret” and “New York, New York” elicited much-deserved rock-concert-like squeals. At least one cigarette lighter was held in the air.
“I love you, Liza!” someone would shout from the audience.
“I love you, too,” she replied. “You know that.”
By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.06.10
Subscribe to:
Posts (Atom)