Where the sidewalk ends

North Tucker has been removed north of Cole Street, outside the McDonald's. Here's the view 30 feet down.

Demolition is well under way on North Tucker Boulevard, the street that runs right in front my my office in downtown St. Louis. The street actually is a bridge that's been decaying in recent years, so it's coming down to make way for a new street.

Here's some lame video:

Dinning served

Mixed signals

Theater review: 'Wicked' is a winner at the Fox

Vicki Noon as Elphaba in "Wicked" (Photo by Joan Marcus)

Thank goodness for "Wicked."

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.

By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.19.10

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

Q&A: 'Wicked' actress says it's easy being green

Vicki Noon as Elphaba in "Wicked" (Photo by Joan Marcus)

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

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

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

Organized chaos

At Hummel's Pub

RedBox: the new craigslist

At Culinaria downtown

Q&A: Liza Minnelli

So you’ll be performing with the St. Louis Symphony Orchestra. Tell me about the show. Oh, my God. Well, it’s a wonderful symphony. I’ve performed with them before, and I love it. And I love Powell Symphony Hall. And I’m going to bring you the best show I can, as always.


What kind of music? Old favorites? Stuff from your new CD? I think what I’m going to be is I’m going to do some of my favorite symphony songs in the beginning. First, the symphony will perform, and then I’m going to come on and do some of the ones that I just love that I haven’t done for a while. And then the second part is really just the introduction of this new album I’ve made.

Tell me about the album. Well, the new album is called “Confessions,” and it’s every song that I ever heard sitting under the piano at my father’s house and my mother’s house and a lot other people’s houses — like Ira Gershwin. (Laughs)

You had quite the family growing up. Yeah, but everybody else had the same family. It was like a coal-mining town, you know. Everybody went to work and came home the same time. But there’s things like “You Fascinate Me So,” “Moments Like This,” “If I Had You,” “I Got Lost in His Arms” — isn’t that a good song? — “Close Your Eyes.” And it’s just myself and Billy Stritch.

And you’re also in the new “Sex and the City” movie! Yes!

Singing Beyoncé’s “Single Ladies”? I’m not allowed to tell you. Under pain of being shot in the foot.

What can you tell me? That I’m in the new movie, and I had a ball doing it. And I know all the girls, and we had great fun.

I love the new Snickers commercials. Aren’t they funny? Me too!

They do a really job of reaching a lot of demographics at once. I think so, too! (Laughs)

So can you define “diva” for me? I can’t. I grew up in Europe a lot when I was a kid, and “diva” was always an opera singer. You know, a grand dame — an opera singer. So I don’t get “diva.”

Do you think you’re a diva? I’m not an opera singer — no! I don’t live like a diva. I live like a worker. I get up, I go to dance class, I’m on schedule. I don’t quite know, really, what it means. I’m very happy about it, if it’s nice. (Laughs)

You were on one of my favorite TV shows — “Arrested Development.” Oh! Wasn’t that great?

Lucille 2 was such a funny character! Oh, I know, but all of them were so wonderful. We had such fun on that set.

I think it was ahead of its time. Oh, it was. We worked together like a real troupe. It was wonderful.

Will you come back for the movie? Oh, sure, if they ask me. You never know. And if I’m not working! (Laughs)

What have been some of your favorite roles through the years? Oh, I think “The Sterile Cuckoo” (1969) is the part that I fought for. I never wanted to be in movies, and then I read that book. My friend Tony Bill sent it to me, and I fought for that part for two years. I sat in offices, I did everything. All the girls that I sat in offices with had on kooky clothes, and I wore a pleated skirt with a zipper, and I didn’t think about that too much. That was my idea on the character. Her father ordered out of a catalog, and that’s how she dressed. But they were in such wacko clothes, I thought, “Oh, this’ll never happen.” And I get a call from Albert Finney saying we’d like to see you for a movie called “Charlie Bubbles” (1967). I said OK, and I go into the office and everybody’s dressed exactly the same, and I thought, “Oh, I’m never gonna get a part, and I don’t quite know what I’m doing here.” But he was so great, and he realized that I learned from that. He also realized he directed me in several very different directions. He saw that I was a director’s daughter, so I’m kind of used to seeing people being directed. Anyway, we hit it off, and a day later he called me and said, “Well, do you want to go to London?” I said, “Sure!” And that was that.

Who’s been your favorite performer to work with? Oh, God. There’s so many wonderful things about so many different people. I mean, standing on a stage with Frank (Sinatra) and Sammy (Davis Jr.), who are you gonna pick? I’ve been on stage with Aretha Franklin. You can’t pick — there’s something wonderful about everybody, if you look for it. And I think that’s the trick: to look for the good.

Anybody you’d like to work with? Lady Gaga! Oh, I think she’s great.

That would be so fun! Maybe if we did a disc together, we could do the video together. That would be funny. I think it would be interesting, because I think she respects me too. I think we’d get a kick out of it.

Have you met her? No, I haven’t met Lady Gaga.

I’m sure you could arrange that! No! Well, I could, but I don’t want to bug her! I’m sure she won’t want to bug me! And we’re both so busy! (Laughs)

You’ve said you consider yourself more of a storyteller than a singer. Explain what you mean by that. Well, when I was about 17, I went to see a guy called Charles Aznavour. I didn’t know who he was, and he was singing in French — I thought, “OK.” And this guy walked onstage, and I held my breath, and I don’t think I breathed once until he walked off. And I thought, “That’s what I want to do.” Each song was a little movie. There was a different character in each song — he was in the moment. So he became my mentor, and I asked him if he would be. I was singing one of his songs at the Coconut Grove in Hollywood, and he came in to see me — I had just started — and I looked down, and he’s sitting there. I thought I’d fall off the stage! And then he came backstage afterward. His English wasn’t great at that point — it was 120 years ago, right? (Laughs) So he wrote me a beautiful letter, and I asked him if he would be my mentor, and he said, “Of course!” And he literally became that. And he taught me, and he guided me, and he wrote songs for me. He was a huge influence in my life — as big as (John) Kander and (Fred) Ebb.

“Liza with a Z” in 1972 was the first live TV concert. What was it like to be part of something so groundbreaking? Normal? (Laughs) Because I’d worked with all these people before — remember, I’d just done “Cabaret.” ... But we went to rehearsal, and we rehearsed. And then we did it. It seemed odd to only have one performance, but that was OK, too.

That does seem odd. Well, not if you’re in the moment. And, boy, do you have to concentrate to do that. But it does take away nerves.

I’m sure people have no trouble pronouncing “Liza” now. Oh, thank you! That was Freddy (Ebb, who wrote “Liza with a Z”).

Your favorite movie of your mother’s is “Meet Me in St. Louis.” Yes! I’m here because of it.

Does our city hold a special place in your heart? Yeah! That’s where my mother and father met — making the movie.

What project will you tackle next? Oh, honey! I’ve got so much in front of me. I really go one step at a time and put my full heart and soul into what I’m doing. It’s the only way you can do it properly, and that’s how I was raised, you know? You do it right.

By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.03.10

Diva? Nah — Liza is still hard at work

Liza Minnelli in "Sex and the City 2" (New Line Cinema)

Liza Minnelli is no diva. Not if you ask her, anyway.

"I grew up in Europe a lot when I was a kid, and 'diva' was always an opera singer," Minnelli says. "So I don't get 'diva.'"

Minnelli, 64, who has an Oscar, an Emmy, a Golden Globe, four Tonys and a Grammy Legend Award, is portrayed as a diva alongside another musical legend, Aretha Franklin, in a recent TV commercial for Snickers candy bars.

"I don't live like a diva — I live like a worker," she says. "I get up, I go to dance class, I'm on a schedule."

Her schedule brings her to St. Louis on Saturday for a show with the St. Louis Symphony Orchestra.

"I've performed with them before, and I love it," she says. "I love Powell Symphony Hall."

Minnelli will sing a mix of her favorite American standards, plus selections from her new album, "Confessions," due out in September. The CD includes songs such as "You Fascinate Me So," "Moments Like This," "I Got Lost in His Arms" — "every song I ever heard sitting under the piano at my father's house and my mother's house and a lot of other people's houses," she says.

Growing up, Minnelli had quite a musical family — not counting her parents Judy Garland and Vincente Minnelli. Her godfather was Ira Gershwin, and her godmother was St. Louis-born Kay Thompson.

"Everybody else had the same family," she says matter-of-factly, "like a coal-mining town."

In the new film "Sex and the City 2," Minnelli covers Beyoncé's "Single Ladies," which she was tight-lipped about — "under pain of being shot in the foot" — when we spoke to her.

But she says she had a ball with the film.

"I know all the girls, and we had great fun," she says.

Another project Minnelli thinks would be a blast: working with another diva, Lady Gaga. The two have never performed together, but Minnelli would love the opportunity.

"I think she's great," she says. "Maybe if we did a disc together. That would be funny."

But for now, Minnelli isn't sure what she'll tackle next.

"I've got so much in front of me," she says. "I really go one step at a time and put my full heart and soul into what I'm doing. That's how I was raised, you know? You do it right."

By Gabe Hartwig • ©2010 St. Louis Post-Dispatch, STLtoday.com • Published 06.04.10