Two on the Aisle - The Podcast
Two on the Aisle - The Podcast
Two on the Aisle - Theatre Reviews for July 4, 2019
This podcast is from episode number 531 of the program, originally broadcast on Thursday, July 4, 2019 and features reviews of the plays:
- THE REVOLUTIONISTS, by Lauren Gunderson, at Insight Theatre Company
- INDECENT, by Paul Vogel, at Max & Louie Productions
- 1776, by Sherman Edwards & Peter Stone, at The Muny
- KINKY BOOTS, by Cyndi Lauper & Harvey Fierstein, at The Muny
- AN AMAZING STORY: GERMAN ABOLITIONISTS OF MISSOURI, Cecilia Nadal, at Gitana Productions
- HEDWIG AND THE ANGRY INCH, by John Cameroon Mitchell & Stephen Trask, at The Q Collective
- THE SELFISH GIANT, by Jaime Zayas & Venessa Waggoner-Zayas after Oscar Wilde, at Christ Memorial Productions
AND…
- DISNEY’S 101 DALMATIANS, by Marcy Heisler, Mel Leven et al., Stages St. Louis
You can also see video and still pictures of the shows that we've talked about in all of our episodes by looking for us on all social media platforms...YouTube, Facebook, Instagram, and Twitter. Search for "twontheaisle" on all of them. Here are the direct links:
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See you on July 18, 2019!
This is HEC Media. The views and opinions expressed on the following program do not reflect the views or opinions of HEC or this station.
Gerry Kowarsky:Today we have revolutions...And we discover moving stories from the past. Hi. I'm Gerry Kowarsky. And I'm Bob Wilcox. Come with us to the theatre, and we'll tell you what we've seen from our two seats on the aisle.
Rod Milam, Ancr:Welcome to… Two on the Aisle...the podcast...produced by HEC Media in St. Louis, Missouri. Two on the Aisle the podcast is an audio version of the televised and webcast program produced every two weeks that features a review of theater and opera productions around the St. Louis area along with a calendar of theater due to play around the region. The regular hosts of the program, Box Wilcox and Gerry Kowarsky have been hosting and reviewing all over town for more than 25 years on local cable and more recently on the internet. This podcast is from episode number 531 of the program, originally broadcast on Thursday, July 4, 2019 and features reviews of the plays: THE REVOLUTIONISTS at Insight Theatre Company INDECENTat Max& Louie Productions 1776, at The Muny KINKY BOOTS, at The Muny AN AMAZING STORY: GERMAN ABOLITIONISTS OF MISSOURI, at Gitana Productions HEDWIG AND THE ANGRY INCH, at The Q Collective THE SELFISH GIANT, at Christ Memorial Productions AND… DISNEY’S 101 DALMATIANS, Stages St. Louis Now to start our reviews for this episode…here’s Bob Wilcox.
Bob Wilcox:Lauren Gunderson is the most-produced playwright in America that nobody knows. Four of her plays have been seen here in the last five years: I and You, Silent Sky three times, Exit, Pursued by a Bear, and Miss Bennet: Christmas at Pemberley. Now Insight Theatre Company is performing a fifth, The Revolutionists. Women have central roles in all of them. Some are contemporary, some are historical, some were once real people, some are fiction. The Revolutionists are four women of the French Revolution. Olympe de Gouges was a playwright and political activist agitating for women's rights and the abolition of slavery. She is writing a play emphasizing the important role of women in the Revolution. She is joined by three women who want her to record and justify their roles. One is Charlotte Corday, a young revolutionary of the more moderate wing who has come from Normandy to Paris in order to murder Jean-Paul Marat, a leader of the radical wing and advocate of the Terror. Marianne Angelle has come from Haiti, where she and her husband have been leading the revolution of the free blacks and slaves against the French colonial government. Rather than an actual historical figure, playwright Gunderson has created Marianne from several real black activist women. The fourth and final female revolutionist is the queen herself, Marie Antoinette. Olympe in her play within the play envisions the queen leading the country in the creation of a limited monarchy, a republic with a royal figurehead. Marie herself, resplendent in royal gown and towering wig, lavishes her affection on the others, not always condescending but playing her role as she sees it, obviously ill educated, matured somewhere between childhood and adolescence but with surprising flashes of intelligence and concern, ultimately an unexpectedly sympathetic character. Laurie McConnell's performance is brilliant. Kimmie Kidd's Marianne pursues the liberty of her people with singleness of purpose and great range of emotion. Samantha Auch's Charlotte Corday shares that determination even more obsessively and even in brief youthful moments of fear, knowing her mission is suicidal. Jenni Ryan makes clear that the writer Olympe suffers the conflict between the active revolutionary and the observing and recording artist. What is the role of writer and artist in a revolution? Director Trish Brown keeps the tension tight. She has arranged the Marcelle Theatre with a central playing area, audience on four sides, and each character claims one of the four corners for entrances and exits.Set designer Leah McFall has little to add but props and furniture a needed. Julian King's costumes preserve class and geographical distinctions, with lighting design by Leah McFall and precise sound design by Julian King. Gunderson's plays have all been fascinating, and I'm beginning to remember her name.
Gerry Kowarsky:Yes. And they've all been very different too, which is a very good thing. Yes. Fine production.
Bob Wilcox:Yeah. Yeah. Certainly was.
Gerry Kowarsky:The word“play” is too small to describe“Indecent.” I’d rather call it a“saga,” even though the running time of Paula Vogel’s brilliant script is only 100 minutes. It received a local premiere worthy of a masterpiece from Max& Louie Productions.“Indecent” is the a history of classic play of the Yiddish theater,“The God of Vengeance,” by Scholem Asch, starting with the reaction of its first reader, Asch’s wife, when they were in bed.“The God of Vengeance” is a daring script in which the protagonist is a Jewish brothel owner who tries to shield his daughter from the taint of his profession. When he realizes his dream of a conventional marriage for her can never be fulfilled, he desecrates a Torah. We see that final moment early and often. We have to wait a long time see the most notorious sequence in“The God of Vengeance,” the rain scene, which features a kiss between two women. That scene figured in the obscenity charge that prompted a police raid during the play’s English language premiere on Broadway in 1923. The play was also attacked for its unflattering portrayal of Jews at a time when immigration quotas were preventing European Jews from coming to America.The time and the settings of“Indecent” range from Warsaw, Poland, in 1906, to Bridgeport, Connecticut, in the 1950s,“and everywhere in between,” the script says. A plethora of short scenes is often a sign that a play was not conceived for the stage. This is not the case with“Indecent.” It’s the work of a master of stagecraft. A simple device Vogel uses very effectively is starting each scene with a projected title in both English and Yiddish. Kevin Bowman designed the projections. The setting could change without delay on a set that was simply a space filled with planks and suitcases, with the latter serving as the props. In the Max& Louie production, everything that needed the ring of truth had it. The Yiddish dialect coached by Menachem Szus, Dunsai Dai’s scenic design, Teresa Doggett’s costumes and wigs, Ellen Isom’s choreography, Patrick Huber’s lighting, Phillip Evans’s sound, Stellie Siteman’s props, and the music directed by Ron McGowan and played by Alyssa Avery, Kris Pineda, and Jack Theiling. The acting in this production evolved from the broad stylization of Yiddish theater to a naturalistic style for late scenes of both joy and heartbreak. Director Joanne Gordon elicited excellent portrayals from TJ Lancaster as the stage manager, Paul Cereghino and Zoe Farmingdale as the ingénues, John Flack and Judi Mann as the elders, and Katie Karel and Tim Schall as the middles. If there were more performances of“Indecent,” I would recommend them unreservedly.
Bob Wilcox:As well you should because it's a fascinating piece and it was very well done.
Gerry Kowarsky:Max and Louie really did a great job.
Bob Wilcox:We have a theme of revolution running through some of our reviews today. It's the right time of year for that. The Muny has also taken advantage of the season and presented the musical about the very origin of our fourth of July celebration, 1776. Sherman Edwards was a composer and jazz pianist who occasionally taught high school history as his day job. This inspired him to write songs for a musical about the signing of the Declaration of Independence, which was universally condemned as a terrible idea, until playwright Peter Stone got hold of it, and together they turned the terrible idea into into a long Broadway run and a 1969 Best Musical Tony. At the Muny, director Rob Ruggiero and scenic designer Luke Cantarella placed the Philadelphia room where it happened in the middle of the Muny's new turntable. By rotating it they could show us different aspects of the Congress as it met to debate independence, with room downstage for the occasional small scene away from the hall. John Lasiter's lighting helped with that, as did Greg Emetaz's video design, which included the lovely touch of showing on the big screen the signature of each member of Congress as he signed the Declaration. Alejo Vietti designed the period costumes and Leah J. Loukas the essential powdered wigs, with dramatic sound design by John Shivers and David Patridge. James Moore conducted the orchestra, and occasional charming choreography came from Enrique Brown. Though we know the en ding, 1776 manages to create plenty of drama from the conflicts as these men reach that happy conclusion. Robert Petkoff's John Adams was the indefatigable driving force and irritant for independence, and Jenny Powers the wife back in Massachusetts he longed for. Keith Hines' Thomas Jefferson also longed for his Martha, charming Ali Ewoldt. Ben Davis as John Dickinson led the conservative opposition in the almost fascist Cool, Cool, Considerate Men. Bobby Conte Thornton's Edward Rutledge spread the guilt for slavery over all with the powerful Molasses to Rum. And Alex Prakkan as the Courier sang the intensely moving Momma Look Sharp. Michael James Reed presided firmly over the debate as John Hancock, ably assisted by Gary Glasgow as Congressional Secretary. Adam Heller was funny and wise as Benjamin Franklin. Ryan Andes ebullient Richard Henry Lee led the musical celebration of The Lees of Virginia, for which lyricist Edwards mined the dictionary for all words ending in-lee, successfully and delightfully. Successful and delightful were all in the large cast. And who knew? You really can make a splendid musical about the signing of the Declaration of Independence.
Gerry Kowarsky:It's the musical is splendid. The production was splendid and my what range, Ben Davis has to be Skye Masterson and then John Dickinson.
Bob Wilcox:Pretty good. Pretty good. Let's hear some of that music
Speaker 5:[Music Selection]
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Gerry Kowarsky:The Muny has begun its second hundred years with a hundred million dollar commitment to preserving a tradition that still matters. Part of that commitment is the complete renovation of the stage, miraculously accomplished between seasons. The benefits of that updating are becoming increasingly obvious. In the recent production of“Kinky Boots,” the new video screens at the sides of the stage added welcome specificity to the set for a shoe factory, while reducing the distance the cast members had to travel to and from center stage. The lifts around the conductor provided a slick new way for actors to make an entrance. But keeping the Muny relevant and growing will take more than just a better stage. That’s why it was so good to see the Muny presenting“Kinky Boots”. The rapturous response for this splendid production proved that Executive Producer Mike Isaacson has his finger on the pulse of the audience that matters for Muny’s the future. The show is based on the true story of British shoe factory that that saved itself from closure by going after the fetish trade. A documentary about the factory inspired a 2005 movie that was adapted for the stage by book writer Harvey Fierstein, composer-lyricist Cyndi Lauper, and director-choreographer Jerry Mitchell. Their brilliant work was superbly recreated at the Muny by director DB Bonds, choreographer Rusty Mowery, and music director Ryan Fielding Garrett. In the musical, Charlie Price comes up with a way to save the family business through a chance encounter with Lola, a drag entertainer who has a hard time finding high-heeled shoes that can support the weight of a fully-grown man. Charlie remembers Lola’s need when a laid-off worker advises him to enter an“underserved niche market.” To design stiletto heels that look great and can stand up to punishment, Charlie brings Lola to the factory, where her lifestyle rankles some of the workers. Learning to accept difference is as important to the factory’s future as developing the new product. J. Harrison Ghee as Lola and Graham Scott Fleming as Charlie Price excelled in their highly contrasting roles. As the two women in Charlie’s life, Taylor Louderman as Lauren and Caroline Bowman as Nicola were splendid performers. John Scherer as George and Paul Whitty as Don were a hoot as to two key workers in the factory. The look of the show had the requisite style thanks to Michael Schweikardt’s set, Shawn Duan’s video, Gregg Barnes’s costumes, and Nathan W. Scheuer’s lighting. At the end of the show, the shoe factory’s future looked bright. So did the Muny’s.
Bob Wilcox:Yes. I think it'll do all right now. But uh, it's sort of a strange show. I don't know that I'll ever go into my favorites, but I like it a little better every time I see it. I think, and certainly this production made me feel good and I love seeing Taylor Lauderman because we saw her from very young to now a great range of roles that she's doing. And it's good music. Let's hear some,
Speaker 6:[Music performance]
Bob Wilcox:We consider another revolution now. We call it the Civil War, but for the South is was a revolution like 1776 that freed the colonies from England. This would free them from the U.S. For the Union, it was a revolution to destroy the institution of slavery. Cecilia Nadal, Executive Director of Gitana Productions, while doing research discovered that many Germans emigrated to the U.S. in the 1840s, a period of revolt against the traditional rulers of the German states. Failed revolutionaries brought their longing for freedom and democracy when they came here. Many settled in Missouri, in the St. Louis area and along the Missouri river. Many became active abolitionists, because slavery so clearly violated their beliefs. Nadal wanted to tell their story, which not many Missourians know. She wrote a play about them, An Amazing Story: German Abolitionists of Missouri, and produced it. It is of course somewhat didactic, so that's the point. And she very inventively told it as a dramatic human story. Garrett Birkenfeld played a as that's the point. And she very inventively told it as a dramatic, human story. Garrett Bergfeld played a settled immigrant who edited an abolitionist newspaper in St. Charles. Sylvia Flex played his very supportive wife. Ross Rubright and Elizabeth Dunn played new immigrants. He'd been a journalist. The editor hired him, and the older couple took the younger under their wings. They faced resistance, both from those who objected to any immigrants and even more from supporters of slavery. After an abolitionist editor was killed in Illinois and his newspaper burned, threats increased, as did uncertainty and fear. Playwright Nadal enriches the scene with a free black played by Abraham Shaw, who helps the new immigrants but must suffer insults from a white slave owner played by Greg Matzker. Matzker also played a fellow immigrant and friend of the editor. He's anglicized his name to make life easier. He has slaves, but he has a change of heart and restores to their mother, played by Janelle Grace Johnson, children played by Naim Campbell and Xion Saunders, who had been sold away from her. Clifton Flex played another slave who benefits from a change of heart, and Lydia Foss played the editor's very charming niece. Vivian Watt directed, assisted by Julie Krieckhaus. Tim Poertner made clever use of projected silhouettes for the set and did lights and sound with costumes by Michele Siler and Jazmine Wade as stage manager. In this time of anti-immigrant feelings, I appreciate Cecilia Nadal reminding us of what these German immigrants did to abolish slavery, keep Missouri in the Union, and support reconstruction after the war.
Gerry Kowarsky:It was a story that I was unaware of and I was glad to find out about it.
Bob Wilcox:Yeah, I'm glad it's being told.
Gerry Kowarsky:The premise of“Hedwig and the Angry Inch” is that we are watching a concert given by a glam rocker named Hedwig, who calls herself an“internationally ignored song stylist.” The Angry Inch is her band. How it got that name is part of the story Hedwig about her tells her life, between songs that were inspired by her life. John Cameron Mitchell wrote the book for this musical. Stephen Trask supplied the lyrics and music. Their fascinating work had advocates of the highest caliber in the recent production by the Q Collective. Hedwig’s name at birth was Hansel. He was, in Hedwig’s words, a“slip of a girlyboy” who grew up in East Berlin during the Cold War. Hansel became convinced that he would have to travel to the West to find the ideal love he was seeking. This journey became possible when Hansel fell in love with a GI, but going to America as the soldier’s wife required a physical examination. To pass it, Hansel became Hedwig in botched operation that left her with the angry inch mentioned in the title. Ironically, the marriage and the operation would not have been necessary a year later, after the fall of the Berlin Wall. On the day it came down, Hedwig’s husband abandoned her in a trailer park in Kansas. Faced with fending for herself, Hedwig forged a new identity as a rock musician and took on a protégé, Tommy, the brother of a child for whom she babysat. They wrote songs together, and she came to see him as the one who would make her complete. This relationship failed, too, but Tommy didn’t. He went on to become a rock star with Hedwig’s songs. Hedwig is now following him around on his tour, playing in smaller venues in the same cities. In St. Louis, while Tommy was headlining at the Enterprise Center, Hedwig played in the Emerald Room at the Monocle, an appropriately intimate venue. The moment Luke Steingruby took the stage, his Hedwig was the epitome of a glam rocker: shamelessly flamboyant and utterly at ease with a non-gender-conforming identity. Steingruby’s understanding of Hedwig’s journey was so complete that the dialogue between the songs was as interesting as the numbers, and the numbers were terrific. The production featured excellent work by Sara Gene Dowling as Yitzhak, Hedwig husband and back-up singer; and by the band: music director Holly Barber, J. Michael, John Gerdes, and Joe Winters. Lauren Smith designed the costumes, makeup, and wigs; Brian M. Ebbinghaus designed the sound. Director Jordan Woods tied it all together. Steingruby is about to move to New York. His departure could not have been more impressive.
Bob Wilcox:Yeah, but I'm sorry he's leaving even. So it is a strange piece, but this is one of the better performances of it I think. Uh, and we might as well as long as we have an international ignored singer or available. Let's hear that singer.
Speaker 3:[Musical Performance]
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Bob Wilcox:Christ Memorial Productions is one of the community activities of Christ Memorial Lutheran Church. It's a community theatre, community theatre of very high quality, from the several productions I have seen. The people working there are obviously very talented and very dedicated. Their most recent production was something different. The program described The Selfish Giant as an original retelling of the Oscar Wilde classic featuring a blend of Circus Arts, Theater, and Orchestra. The orchestra was large and very good, orchestrated by Dan Goeller and conducted by Joe Paule, Sr. I wish I knew what they were playing. I didn't recognize any melodies. It was general background music, pleasant and right for the job it did. I saw some theatre, sets, costumes, lights, acting, dance. Mostly it was circus arts. It was much like Circus Flora and Circus Harmony. Because it used the Wilde story, it was more closely aligned with the telling of the story, though the circus acts occupied more of the performance than was strictly needed to tell the story. Jaime Zayas and Vanessa Waggoner-Zayas, who run the circus arts center Kinetic Tapestry Physical Theatre, directed, choreographed, and adapted The Selfish Giant. Zayas played the Giant, who, after visiting his friend the Cornish Ogre, returns home to find the village children playing in his garden. He chases them out and puts up a wall. But eventually the children persuade him that playing with them is better than loneliness, and the wall comes down and the children play in the garden. The Giant helps a little boy reach a trapeze, and they become friends. But the boy disappears for many years, as spring, summer, fall, and winter pass over the stage. The giant grows old and is dying, when the little boy reappears to guide him to his garden of paradise. As the years pass, the performers become dancing flowers, spring, summer, and autumn clowns, birds, snow, and butterflies on the aerial silks and hoop, ice and frost acrobatic partners, rope jumpers, a juggler of hail, a skating North Wind, all done with skill and style, and, sadly, too many to name. Dianne Mueller, who was also the narrator, designed the set, and she and Waggoner-Zayas designed costumes. Jaime Zayas designed lights and Rachel Mackenzie the makeup. Nate Rolland and Dan Geiger handled the video and Larry Jost the sound. I sometimes had a little trouble following the story in The Selfish Giant, but I was compensated by much that was thrilling, charming, and beautiful.
Gerry Kowarsky:Stages St. Louis could have just rented costumes for a show as popular as“Disney’s 101 Dalmatians,” but that’s not how Stages operates. It does not assume that children won’t notice cut corners. The costumes for“Disney’s 101 Dalmatians” were by Brad Musgrove, the designer for every Stages’ shows this season. His costumes for the dogs were all different. So were the personalities the ensemble supplied for the canine characters. This is surely the right way to introduce children to theater: give them the best you’ve got. That’s what Stages did throughout this delightful production. The musical is a live-action retelling of a story first adapted by Disney in a 1961 animated film. Pongo and Perdita are Dalmatians who live with their pups in the London home of Roger, a composer, his Anita, an artist, and Nanny, who cares for them all. The pups attract the attention of their neighbor Cruella De Vil, who covets them for her collection of fur. When Roger refuses to sell the pups, Cruella hatches a plot to steal them with the aid of her henchmen, Horace and Jasper. Pongo and Perdita enlist the aid of the Dogs of London to retrieve the stolen pups, and quite a few more. In portraying Cruella De Vil, Tyler Jent did not hold back when Cruella was luxuriating in her ruthlessness. Jent’s sophisticated comic flair was delightful, as was the broad comedy of Joshua Roach as Horace and Ryan Cooper as Jasper. The concern of the canine and human caretakers was conveyed in deeply felt performances by Drew Humphrey as Pongo, Dena Digiacinto as Perdita, Eric Michael Parker as Roger, Larissa White as Anita, and Laura Ernst as Nanny. The large ensemble performed with nonstop involvement and energy under Peggy Taphorn’s direction and choreography and Tali Allen’s musical direction. James Wolk’s scenic design, Sean M. Savoie’s lighting, and Stuart M. Elmore’s orchestral design helped the show look and sound great. Unfortunately, this show has already closed. Based on Stages’ track record, however, I can confidently predict the company will bring out its best once again for next year’s children’s show. They seemed to be pretty consistent with this. Don't take, let's hear. Disney usually provides some good music for shows. Let's hear some
Speaker 6:[ Musical performance]
Rod Milam, Ancr:Let's take a look at some of the productions going on around St Louis for the month of July, 2019. First we'll start with the dinner theaters: The Dinner Detective Hilton St. Louis Frontenac Murder Mystery Dinner Show Through July 27, 2019 Muuurder in Maaaybury! Lemp Mansion Comedy-Mystery Diner Theatre Through July 17 Flaming Saddles Bissell Mansion Murder Mystery Dinner Theatre Through July 28. 1776 The Muny Through July 3 The Revolutionists Insight Theatre Co. Through July 14 Candide Union Avenue Opera July 5-13 LaBute Theatre Festival St. Louis Actors’ Studio July 5-28 Rodgers& Hammerstein’s Cinderella The Muny July 8-16 2 Mama Mia! Southern Illinois Univ.-Edwardsville, July 12-21 For Colored Girls Who Have Considered Suicide/When the Rainbow Is Enuf Indy Co. July 12-14 Terry Barber: The Music of Freddie Mercury and Queen The Presenters Dolan July 13 Open Mic Night The Cabaret Project July 17 Footloose The Muny July 18-24 2019 Cabaret Gala The Cabaret Project July 18
Gerry Kowarsky:We'll be watching some of these productions and others from our two seats on the aisle
Bob Wilcox:and we'll be watching the mail in the email for your thoughts about theater in this program. And for items for the calendar.
Gerry Kowarsky:Send them to TWO ON THE AISLE, HEC Media, 3221 McKelvey Road, Bridgeton, MO 63044, or by email to tota@hectv.org.
Bob Wilcox:Join us next time on cable and the web for more musicals and world premiers.
Gerry Kowarsky:We'll see you then.
Rod Milam, Ancr:This episode of two on the aisle was Producer- Bob Wilcox Associate Producer- Gerry Kowarsky HEC Media Producer- Paul Langdon Hosts- Gerry Kowarsky and Bob Wilcox Television Director- Rick Rubbelke Segment Editors, and Videography- Kerry Marks, Paul Langdon, Ben Smith, and Rod Milam Audio- Paul Langdon Associate Producers and Studio Camera Operators- Kerry Marks and Ben Smith Set and Lighting- Paul Langdon, Kerry Marks, and Ben Smith Theme Music- Daniel McGowan HEC-Technical Support- Jayne Ballew HEC Media Assistant Producer, Social Media Broadcaster, Podcast Producer, and Podcast Host- Rod Milam Two on the Aisle was made possible with the support from the Regional Arts Commission of St. Louis Don’t forget that you can find all things Two on the Aisle online on Facebook, YouTube, Twitter, and Instagram. Just go to each social media platform…search for TWO- ON- THE- AISLE…and Like, Subscribe, and Follow us there. Thanks for downloading the Two on the Aisle Podcast. We’ll see you next time. This is an HEC Media podcast.