James Lindhorst - Page 3

This STAGES St. Louis production of Disney’s NEWSIES is a thrilling production on a grand scale with a large cast and phenomenal production value. In her debut as choreographer of a full-blown professional production Lindsay Joy Lancaster electrified the sold-out Kirkwood Performing Arts Center with her athletic blend of classical and contemporary dance. Director Steve Bebout collaborated with his cast and crew to tell a stirring David versus Goliath story that was exceptionally entertaining with exquisite execution. Actor Daniel Marconi creates an audacious and gritty Jack Kelly.

WAITRESS is another must-see musical production in the Muny’s 106th season. Brown’s direction is incredible. She accomplishes the near impossible staging an intimate musical on a massive stage. Credit her and the entire technical team for pulling off miraculous Muny magic. Vosk is brilliant. The entire cast is superb. They deliver delightful vocals and find all the humor baked into the script. The Muny’s Waitress simply gets everything right. It is a sweet little slice of musical theater pie. 

On August 15th Chorus of Fools will make their St. Louis debut with “Twice Upon a Stage,” featuring the one act plays CANDLIGHT DINNER and THE REASON WHY.  They two plays were selected by a reading committee from a group of 20 submissions. CANDLELIGHT DINNER is written by Jim Danek and THE REASON WHY was penned by E.K. Doolin. Both will be directed by Satterfield and will be acted by the members of the Chorus of Fools ensemble. 

The city of Hermann, Missouri rests on the banks of the Missouri River and is the home to some of Missouri’s most popular wineries. In the heart of downtown Hermann, just over an hour west of St. Louis, is a small old movie house. The Showboat Community Theater sits just a half block east of Route 19 on 4th Street.

The New Jewish Theatre’s production of John Logan’s RED is sensational. Knoll’s directorial vision immerses the audience into Rothko’s studio, his painting techniques, and his fragile mind. Harris and Petrillo’s phenomenal portrayal and the production staff’s sensational work create a stimulating and layered story about both the artist and his art. 

Set designer Ann Beyersdorfer and choreographer Lindsay Joy Lancaster are making their STAGES St. Louis debut working on the upcoming production of Disney’s NEWSIES. Beyersdorfer, a Belleville, Illinois native, is a world class set designer who has created sets for Broadway, National Tours, Saturday Night Live, and the St. Louis Muny. Lancaster, a native of Cincinnati, Ohio, is the head of dance at The Institute for American Musical Theatre. Both sat down with Broadway World during their dinner break to talk about what brought them to STAGES St. Louis, how excited they are to work on this production of Disney’s NEWSIES, and the fresh perspectives they are bringing to the show. 

The Repertory Theatre of St. Louis is proud to present the return of the Steve Woolf Studio Series - Adventurous Theatre for Adventurous Theateregoers for the 2024/25 Season in the Emerson Studio of the Loretto-Hilton Center on the campus of Webster University. The two-play series features a wickedly funny comedy, THE ROOMMATE by Jen Silverman running October 26 - November 17, 2024, and the fast-paced engaging play ATHENA by Gracie Gardner, January 15 - February 8, 2025. 

What did our critic think of FIDDLER ON THE ROOF at The Muny?What can be said about an absolutely perfect production of one of the most well written musicals of all time? Hurling superlatives seems cliché but there is nothing about The Muny’s latest offering of the classic FIDDLER ON THE ROOF that can be criticized. From the opening when the town’s residents circle to share their “Traditions,” to their closing moments mourning the loss of their community “Anatevka,” this production makes you laugh and cry, and laugh and cry repeatedly. It is emotion-packed storytelling at its finest with superb direction, divine choreography, outstanding orchestral accompaniment, pristine sound, and a dream cast acting and singing at the top of their game. The costume, set, video, and lighting design are picture perfect.  

Often new works at festivals, both plays and musicals, are unoriginal and rely on conventions that are commonly used. CASCADE’S FIRE is an adventurous undertaking that deserves to be seen. Gruenloh’s book is unconventional, and his lyrics are remarkable in their originality. Wernke’s piano score creates lugubrious motif but would benefit from some thoughtful edits and the performance of more skilled vocal musicians. It is a bold new work with an innovative plot and unique story arc. Tesseract is giving their audience a rarity with something that bravely challenges the conformities of musical theatre.  

The quality of Maliakel’s voice is flawless with elegant tone and timbre. His phrasing is impeccable. His diction is magnificent. He possesses a resonant multi-octave range with rich and delicious vowels. Oh, those vowels! His elongated and euphonious Es in the titular song from “She Loves Me” reverberated throughout the room. Maliakel’s cabaret show is exactly what one wants in a musical theater performer’s solo show, carefully selected song choices that are familiar and not self-indulgent. His melodious singing and his relatable banter connected the insanely talented performer with his audience. The marvelous Maliakel has certainly proven that he is a vocal musician, a technician, an accomplished actor, a sensational singer, and an exceptional entertainer in any size venue. Hopefully, St. Louis will get to see him again soon on a local stage.

Fresh off his critically acclaimed run as Prince Eric in The Muny’s production of Disney’s THE LITTLE MERMAID, Michael Maliakel is bringing his cabaret show to Blue Strawberry in St. Louis. Maliakel played the lead role in Aladdin on Broadway for three years, has toured the country with the 25th Anniversary production of THE PHANTOM OF THE OPERA, and recently made his Kennedy Center Debut in Andrew Lloyd Webber’s SUNSET BOULEVARD. He sat down with Broadway World to talk about his upcoming shows at Blue Strawberry and his experience working at The Muny. 

FIDDLER ON THE ROOF premiered on Broadway on September 22, 1964. For the past 60-years it has been part of the fabric of the American musical theatre. This Friday evening, when FIDDLER ON THE ROOF opens at The Muny, the fiddler will be perched high upon a rooftop in Forest Park and play those familiar iconic notes. Adam Heller, as Tevye, and the rest of the cast will take the stage and sing about the importance of tradition in their village of Anatevka.  

The 10th Annual LaBute New Theatre Festival runs through July 28th at The Gaslight Theater. Jayne Hannah’s “Love in the Time of Nothing” is and inspirational love story that will tug at your heartstrings. It is magnificent in its storytelling convention and is the play of the festival that cannot be missed.

Holt's direction is sharp. Backer, Hanrahan and Howe’s snappy line delivery, awkward silence, and discernible discomfort make for fantastic performances. But Pinter’s script is just too murky for my taste. Kate and Anna’s relationship is hazy. What happened between them remains vague. Deeley’s acquaintance with Anna is ambiguous. Everything is veiled and nothing is revealed. All are the literary conventions that are the hallmarks of Pinter’s writing, but for me, the nebulous conclusion was not satisfying.

Gunn, Corpuz, Urday, Wilkinson and company delivered a compelling and entertaining production of the new musical MY HEART SAYS GO. The mundanities with the score and book are what keep this production from really soaring. Indigo’s coming-of-age story is not particularly different from what has been seen in other stories where a child makes a choice that is met with a parent’s disapproval. The themes are consistent with most stories about young adults pursing their dreams. Perhaps if the promising score were more dynamic and memorable, the familiar follow-your-heart story could reach new heights.  

The Muny’s production of Disney’s THE LITTLE MERMAID is a visually stunning explosion of color. Director John Tartaglia, his actors and technical teams collaborate to tell a memorable story that feels more animated movie than live musical theater. It is Tartaglia’s vision and leadership, the enthusiasm and vocal performance of his talented cast, and the vibrant effervescence of the set, costumes/wigs, choreography, puppets, lighting, video projections, sound, and music that make this an exuberant production.  

“There are so many things that excite me about this production of THE LITTLE MERMAID, but the most exciting thing is the number of kids and teenagers who are in the show,” she said. Jackson called the young performers the future of musical theater. She took that from the choreographer Patrick O’Neill who says, “the future of musical theater is in good hands.”   Jackson spoke warmly about the people here. She finds it incredible the way St. Louisans value theatre. “Performing outside in this beautiful park for the people of this community is,” she paused, took a deep breath, let out a long sigh, and said, “just so special.”  

First Run Artistic Director, Gwynneth Rausch and the Director of the two one act plays, Phil Wright, shared their excitement about Williamson and Shen’s comedies, CASH FLOW and THE CONVERSATION ABOUT THE KEYS, PART I: TIM WITHOUT THALIA. Both comedies are about the chaos in relationships between men and women. Having two equally strong one act plays submitted with similar themes gave First Run Theatre the opportunity to produce both as a double bill. Rausch called these plays, “Two clever and perceptive little gems about men and women.”

ROMANOV FAMILY YARD SALE has as many laughs as the stuff the family is trying to purge. While there is always “another funny bit,” the story works because the audiences’ hearts beat in unison with their new friends the Romanovs. It is an immersive theatrical experience that is oddly patriotic and filled with wit, charm, silliness, and a little melancholic bittersweetness. After visiting the ROMANOV FAMILY YARD SALE I want to grab my family and friends and drag them by the nape of their necks to meet the Romanovs and shop their treasures.  

Acclaimed theatre director Michael Wilson will be spending the summer in St. Louis to helm the Tennessee Williams Festival St. Louis’ production of CAT ON A HOT TIN ROOF. Wilson, who has long examined the works of Tennessee Williams could not pass up the opportunity to work in St. Louis.