Stray Dog’s Silly ‘Xanadu’ Captures the Show’s Campy Kitschy Fun

Stray Dog’s Silly ‘Xanadu’ Captures the Show’s Campy Kitschy Fun

By Lynn Venhaus

“Xanadu” is a silly bunch of nonsense – and that is its intention. A spoof of the ridiculous 1980 romantic musical fantasy movie must be playful, and Stray Dog Theatre leans into the stage musical comedy sendup with full-bodied camp.

The theater company’s affinity for broad comedy romps is well-known, and they’ve presented these types of crowd-pleasers for years, from “Evil Dead: The Musical” and “Triassic Parq” to Charles Busch’s oeuvre “Red Scare at Sunset,” “Vampire Lesbians of Sodom” and “Psycho Beach Party,” among them.

And they gleefully double-down on this show’s cheesiness. Director Justin Been takes great delight in skewering the movie’s premise as a turgid soap opera that’s part “Saturday Night Live” sketch (think of the deliberate exaggerated acting in “The Californians”) and part old-timey Hollywood studio system dream factory, sprinkled with fairy dust.

To fully understand the surprising transformation from movie to Broadway, here’s a little backstory. Somehow, after the film was totally trashed upon its release, it developed a cult audience, and then in 2007, a stage adaptation was Tony-nominated for Best Musical. Stranger things.

The comical book was written by Douglas Carter Beane, who won a Drama Desk Award for it and is known for his musical adaptations of “Cinderella” and “Sister Act.” He wrote the 1995 movie “To Wong Foo, Thanks for Everything! Julie Newmar.” Stray Dog Theatre produced his Tony-nominated play, “The Little Dog Laughed,” in 2014.

Being familiar with the movie “Xanadu” is not a prerequisite to enjoy this farcical show, but it helps if you have some knowledge of ancient Greek mythology, for Beane incorporates the shlocky epic “Clash of the Titans” into his themes, including the Immortals.

Photo by John Lamb

The wackadoodle screenplay by Richard Danus and Marc Rubel was already inspired by the 1947 Rita Hayworth movie “Down to Earth,” which features muses showing up to teach Earthlings a lesson. Fun fact: Xanadu is the exotic name of Mongolian emperor Kublai Khan’s summer palace.

This far-fetched plot doesn’t take itself seriously – or shouldn’t. Set in Los Angeles, the 44-year-old movie focused on a beautiful muse (pop star Olivia Newton-John riding the ‘Grease’ wave) who inspires a young hunky artist (Michael Beck, fresh from “The Warriors”) and his older friend (Gene Kelly! Yes, the ‘Singin’ in the Rain’ icon) to convert a dilapidated auditorium into a hip roller-skating club, all set to the beat of Yacht Rock songs.

She is forbidden to fall in love with a mortal, but two mean-spirited sisters (Calliope and Melpomene) concoct a curse, and chaos ensues. Is it surprising that it was nominated for six Razzie Awards?

At the first Golden Raspberry Awards in 1981, the movie lost the worst picture award to another truly awful musical, “Can’t Stop the Music,” which was a pseudo-autobiography of the Village People and starred then-Bruce Jenner (now Kaitlyn), Oscar nominee Valerie Perrine and Steve Guttenberg (Gotta love the ‘80s!). But the “Xanadu” director Robert Greenwald did take a Razzie home.

See if this makes any kind of sense: Artist Sonny Malone – Phil Leveling having a blast doing ‘beach’ dressed like Malibu Ken and talking like a righteous dude – has completed a mural at Venice Beach that he’s not satisfied with, so he wants to end it all.

He has a chance encounter with Clio, a muse masquerading as a fetching Aussie named Kira who roller skates and wears leg warmers. She sprang eternally from the Mount Olympus artwork, and her effect has made him change his mind. She is played with a wink and a smile by Shannon Lampkin Campbell.

They pair well on their duets “Suddenly” and “Suspended in Time.”

Shannon Lampkin Campbell and Phil Leveling. Photo by John Lamb

However, she didn’t arrive alone. Because Sonny envisioned the Immortals, her six sisters (Zeus’ daughters) magically appear, cavorting in their goddess cosplay – two are guys in drag.

Eight are part of the ensemble in multiple roles: Mateo Bluemel, Sarah Gene Dowling, Lindsey Grojean, Chelsie Johnston, Madison Mesiti, Drew Mizell, Katie Orr, and Lauren Tenenbaum.

Dowling, as Calliope, and Johnston, as Melpomene, inject much humor in “Evil Woman” and “Strange Magic,” two of Electric Light Orchestra’s power-pop songs added to the stage musical.

Sonny’s new dream is to turn an old theater into a roller disco. He tries to convince a wealthy real estate magnet Danny McGuire, a former Big Band musician, to give him the property, and eventually they become partners. But the road to success is rocky.

Kira’s presence re-awakens part of Danny’s past where he had a memorable fling with a look-alike named Kitty. This is all played for laughs, as well it should. That leads to a snazzy ‘40s-style song-and-dance because Gene Kelly played the film role, so of course (“When You’re Away from Me”).

Scott Degitz-Fries, a lithe dancer whose smooth moves on local stages are always admirable, is effortless in these dancing sequences. He has mad roller-skating skills and is a former competitive figure skater (made it to the national finals in high school), so he also served as roller-skating consultant.

Everyone else is trying very hard, and skills vary, but you can’t knock people doing their best given such a demanding challenge.

Photo by John Lamb.

Choreographer Mike Hodges worked the moves out with Degitz-Fries, and he created the bouncy musical group numbers so that it accurately resembles late ‘70s, early ‘80s dance-floor action: “I’m Alive,” “Magic,” and “All Over the World,” with a grand “Xanadu” are bright spots.

A mash-up scene that attempts to duplicate the movie’s “Battle of the Bands” between The Tubes, which was a rock band then (you may recall their 1983 “She’s a Beauty”), and an Andrews Sisters type girl-group circa World War II. Called “Dancin’,” it is a tad messy, and the ill-fitting costumes hamper the girl duo in their movements because of the clingy fabric. Cute little hats, nevertheless.

Costume designer Colleen Michelson’s dresses are mostly distracting and unflattering. Overall, the muses’ cheap-looking chiffon outfits don’t seem suitable, with tacky designs and shoddy material – unless it’s done on purpose? Are they meant to be versions of flimsy Johnny Brock Halloween costumes for quirky ‘80s looks? Costumers must adhere to budgets, but to me, the styles are a disconnect for the female characters. Now the Mount Olympus white gowns are fine, and the guys’ attire is, too.

Music director Leah Schultz and her zesty band keep the beat peppy – Adam Rugo on guitar, Randon Lane on second keyboard, and Joe Winters on percussion. They have added some amusing riffs, too.

Leveling is strong leading the power ballad “Don’t Walk Away” that ends Act I on a good note, while the finale “Xanadu” gets the crowd on their feet.

Campbell set the right tone for Newton-John’s signature 1975 hit “Have You Never Been Mellow” that was added to the stage musical and winds up a memorable ensemble piece.

Photo by John Lamb.

ELO’s Jeff Lynne is credited with music numbers, as is John Farrar, Newton-John’s longtime producer. Their work propelled the soundtrack to skyrocketing sales that ended that year with twice-platinum numbers.

Director Been also simply constructed the set so that movement could flow on the small stage, and it was illuminated well by lighting designer Tyler Duenow.

Because of its lightweight goofy premise that can only be stretched so far, one’s relieved when the wrap-up comes around 2 hours (with an intermission). Pacing is uneven at times, and the show can get a little shaggy. The meaning of this falderal? “Xanadu” is “true love and the ability to create and share art.”

The film came out at a time when everyone had been trying to duplicate the magic of “Saturday Night Fever” and disco, so hot for a brief time, was waning. And the stage musical came out at a time that jukebox musicals were emerging as a trend, such as “Mamma Mia!” and the retro “Hairspray.” Ah, that elusive “Next Big Thing.”

This production of “Xanadu” is well-meaning fluff, with entertaining tongue-in-cheek performances, so don’t expect more – just go with the good vibes coming from kitschy pop culture.

“Xanadu” is going to hit people differently, depending on when and how this tale came into their lives – whether they were young listening to the soundtrack on their Walkman, or today, enjoying a sentimental walk down memory lane.

Photo by John Lamb.

Stray Dog Theatre presents “Xanadu” from April 4 to April 27, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. April 14 and April 21 at the Tower Grove Abbey, 2348 Tennessee Ave, St. Louis, MO 63104/ For tickets or more information, visit www.straydogtheatre.org

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

By Lynn Venhaus

Ah, the rose-colored glasses that we view our youth through can differ, depending on what generation, but one thing we have in common: the nostalgia for the music we came of age listening to, whether it was the Boy Bands of the late ‘90s, the MTV New Wave in the ‘80s, the British Invasion of the ‘60s or the short-lived disco-dance craze of the 1970s.

Today’s electronic dance music has roots in those syncopated rhythms that topped the charts some 45 years ago. If you were ever grooving to up-tempo hits at a nightclub, then the stage musical version of the 1977 cultural phenomenon film, “Saturday Night Fever,” is for you.

The jukebox musical, adapted in 1998 for London’s West End, which made it to Broadway the next year, features the legendary hits from the Bee Gees, plus other classic disco tracks – who can forget The Trammps’ “Disco Inferno” — “burn that mother down.” Most of the time the actors sing the chart-toppers.

Providing many funky sounds of the day is live-wire Chris Moore as the Afro-coiffed DJ Monty, rocking gold platform shoes and a shiny silver shirt, with Jade Anaiis Hillery belting out a few tunes like she was Chaka Khan. As Candy, she leads on the aforementioned “Disco Inferno,” plus sings “Night Fever” and “Nights on Broadway.” The pair duet on “More Than a Woman.”

Side note: I heard Yvonne Elliman’s “If I Can’t Have You” at the grocery store the other evening! To emphasize how this music has endured – have you been to a wedding reception recently? The soundtrack spawned four No. 1 singles, won the Grammy Award for Album of the Year, still ranks among the best-selling soundtrack albums worldwide, and to date, has sales figures of over 40 million copies.

This Stray Dog Theatre production is marked by a larger-than-usual band to bring the sounds alive, inspired choreography by Michael Hodges, and a star-making performance by Drew Mizell as Tony Manero. The man can strut.

Drew Mizell as Tony Manero. Photo by John Lamb.

While the 19-year-old character is forever stamped as the role that earned John Travolta his first of two Oscar nominations and dancing reputation, Mizell has the moves to pull off such an iconic part. His ease on the dance floor is admirable, and his extensive dance training is evident.

Mizell, whose first show at Stray Dog was an impressive performance as both Cinderella’s Prince and Florinda in “Into the Woods,” also nails the Brooklyn accent and the attitude to make the character likable.

Tony, anxious about life after high school and what his future will look like, is not content just to hang out with his goon-like pals, who seem locked in dead ends. He wants more than working at a paint store. At night, at the Odyssey 2001 discotheque, he is king of the dance floor. But at home, yeesh. His mother and father are yellers, and he can’t ever measure up to his older brother, Frank Jr., a priest.

But Frank Jr. has a crisis of faith and returns home. Another standout is Sean Seifert, a natural at portraying the brother as a good man who doesn’t have all the answers. (He also pulls off a dual role as Gus, one of Tony’s inner circle who creates other issues).

When Tony meets Stephanie Mangano, he is taken by her physicality, refinement and her desire to cross that bridge for a better life in Manhattan. With a shot to win $1,000 at a dance contest, Tony and Stephanie team up, their eyes on the prize — and eventually each other.

With sophisticated airs and ambition, Stephanie is more Uptown Girl than the kind Tony hangs out with, including his needy ex Annette, who has fallen hard for him, but it’s unrequited.

Sara Rae Womack brings out the humor in Stephanie’s images of the glamorous world, name-dropping at her entry level job, and has a solo ballad, “What Kind of Fool,” while Lindsey Grojean conveys the desperation of Annette’s lonely and confused young woman in a powerful “If I Can’t Have You,” delivering the show’s best vocals.

Triple-threat Maggie Nold is sympathetic as Pauline, who is caught up in a familiar teen pregnancy scenario. She demonstrates the realities of her situation well – but as the ensemble is handling multiple roles, it’s a tad odd to see her happily dancing and smiling soon after a funeral scene.

Ella Drake as Doreen and Kayla Dressman as Connie get their moment as dancing queens in their spirited competition number,.while Mizell and Womack hit the sweet spot with their “More Than a Woman” big dance number.

Using heavily exaggerated Brooklyn accents, the Manero family, and Tony’s peers, adhere to the stereotypes of that era, staying in those lanes. Oh, those gender caricatures — ‘hoochie mama’s and swinging playboys – were cringy then and certainly now.

Think of it as a period piece – because the best buddies are not that likable, total losers with their off-putting macho bravado, which is why the flimsy broadly-drawn book remains the show’s weakest element. Because their crude talk and bully swagger are mostly foreign in today’s ‘polite’ society, overall, this cast doesn’t seem entirely comfortable playing these roles. Now, dancing is first-rate, clearly polished and well-rehearsed.

The guys playing the deadbeat friends — Justin Bouckaert as the conflicted and struggling Bobby, Jayson Heil as Double-J and Michael Cox as Joey — are caught between a rock and a hard place because they are so immature and misguided, their idea of what manhood is, while not uncommon then, is far from what it should be. But that’s the point – to show how trouble-prone Tony is separating from the pack.

This version has cleaned up some of the more problematic “R-rated” portions of the script, as in gang-rape, violence, and intense sexuality, which is not necessary for this story. The movie’s darker and grittier aspects have been removed, for the most part, just hinted at or briefly alluded to for conflicts.

What director Justin Been does effectively is capture that malaise of the late ‘70s, when economic issues affected blue-collar laborers, and social unrest simmered in “the summer of Sam” (serial killer Son of Sam terrorized the city). The disaffected youth escaped to the discos. (“Feel the city breakin’ and everybody shakin'” — “Stayin’ Alive”).

As the one-note parents Flo and Frank Manero, pros Kay Love and Matt Anderson display their lung power shouting at their family. Nadja Kapetanovich is sincere in the brief role of Linda, the dutiful daughter put in the middle between her cranky parents and defiant brothers.

Sara Rae Womack, Drew Mizell

The home scenes reflect on the misery of marginalized people while the disco and dance studio are where the energy flows. But the story is really secondary to the song-and-dance appeal of the musical.

Scenic Designer Josh Smith crafted a dance floor with colored lights for the stage, with help of lighting designer Tyler Duenow, which may not be visible to all the audience members. He also expanded the Tower Grove Abbey stage with stairs and a bridge doubling for the DJ booth at the club and the Verrazzano-Narrows Bridge, a suspension bridge that connects Brooklyn to Staten Island.

They’ve made room for a large band, led by music director/conductor Leah Schultz on piano, with Marie Brown, Tai Davis, and Beau Lewis on cello for select performances, Mo Carr on trumpet, Steve Frisbee on violin, John Gerdes and Xander Gerdes on bass for select performances, Lea Gerdes and Mary Wiley on reeds for select performances, Adam Levin on trombone, Adam Rugo on guitar and Joe Winters on percussion.

Among their instrumental numbers are the classic Sounds of Philadelphia “A Fifth of Beethoven,” plus “After the Fall,” and “Salsation.”

The costumes collected by Colleen Michelson are a mixed bag – some duplicated the gaudy polyester trends of the ‘70s, while others are ‘kinda, sorta’ representative of the period. The dance floor attire, for working-class kids on weekends, needs to be faux-chic instead of Sunday church dress best. Some of the outfits were more flattering than others, and dresses had nice swirling effects. And the iconic white suit has its moment in the spotlight – always big sentimental crowd reaction.

Those infectious, danceable beats will get you on your feet every time. After all, as the Bee Gees told us – “You should be dancing” — and of course you came for the good beats that you could dance to, and don’t forget your boogie shoes. There is a Disco Mix curtain call. Dance 10, Story 3.

Stray Dog Theatre presents the musical “Saturday Night Fever” Oct. 5-Oct. 28, Thursdays through Saturdays at 8 p.m., with additional performances 2 p.m. Sundays, Oct. 15 and 22, at the Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information or tickets, visit: www.straydogtheatre.org. Seating is general admission.

All photos by John Lamb

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

Feed Your Fire with Tesseract Theatre’s Celebratory ‘Kinky Boots’

By Lynn Venhaus
With its big heart and lofty ambitions, Tesseract Theatre Company has performed its first big splashy musical in St. Louis, and “Kinky Boots” is a chef’s kiss of a show, a celebration of possibilities and a tour-de-force performance by Tielere Cheatem as Simon/Lola.

Cheatem, a standout local performer and St. Louis Theater Circle Award winner, as housekeeper Jacob in New Line Theatre’s “La Cage Aux Folles” in 2019, has always had a ‘je ne sais quoi’ quality on stage, but as Lola, they are magnificent.

Cheatem makes the role that won Billy Porter a Tony Award their own and seizes that stage in authentic diva mode, with a ferocity and a passion that is remarkable to behold. It’s a fully realized, multi-layered performance.

Overcoming obstacles is the ebullient show’s theme, along with acceptance and tolerance, so it is understandable that moving to a larger space than they are used to, The Grandel Theatre, would present its own challenges. Opening night Aug. 17 was marred by sound problems, but Gruenloh said they have worked to solve those issues.

Tesseract’s previous small-scale musicals, “Ordinary Days” in November 2022 and “The Last Five Years” in February 2023, were performed at the .Zack Theatre. Tesseract’s “Kinky Boots” is also the second regional production after the Muny’s premiere in 2019.

Cheatem has a sweet chemistry with co-lead Kelvin Urday as Charlie Price, who inherited a failing shoe factory from his dad. They are a palpable pairing, and when they duet to “Not My Father’s Son,” their harmony tugs at the heartstrings.

In fact, the ballads about parental expectations and other relationships are memorable – Lola’s tearful “Hold Me in Your Heart” and Charlie’s “Soul of a Man.”

Aaron Tucker Jr. as Harry in “Take What You Got.” Photo by Taylor Gruenloh.

Urday displays confidence in his characterization of Charlie, who reluctantly took over the fourth-generation family business, Price & Son, which is on the verge of bankruptcy, and the weight of his father’s legacy leads him to much soul-searching. His earnest delivery of his “Step One” solo is also noteworthy.

Inspired by the life force that is the eccentric Lola, whose drag attire includes unsteady stilettos, the factory begins a niche business model, and those glittery sturdy “kinky boots” are made well to meet the needs of flamboyant performers-in-drag.

The musical “Kinky Boots” is based on a 2005 British film starring Chiwetel Ejiofor as Simon/Lola and Joel Edgerton as Charlie, which was based on a true story and a BBC documentary, and premiered at the 2006 Sundance Film Festival, catching the eye of some Broadway producers.

Thus began its journey to the stage. It premiered on Broadway in 2013, the adaptation by four-time Tony winner Harvey Fierstein and music and lyrics by first-timer Cyndi Lauper, the Grammy-winning pop icon, who won a Tony for the score, which is an infectious mix of club music and heartfelt ballads. The musical won six Tonys, including best musical, from a season-high 13 nominations.

It also won London’s Olivier Award for Best Musical and the Grammy Award for Best Musical Theatre album. It ran for six years and 1,400 performances until April 7, 2019.

The Tesseract ensemble includes some seasoned veterans, like versatile Marshall Jennings as the intimidating and homophobic foreman Don, dynamic Carrie Wenos as sassy line worker Trish, Loren Goudreau in her local debut as amiable worker Pat, who are all seamless. Kent Coffel, ‘an iron man’ in local theater this summer, is a good fit as Charlie’s proud hard-working dad and briefly seen as manager George.

Kaitlin Gant announces her presence as factory worker Lauren who fancies Charlie. Her standout number is the humorous “The History of Wrong Guys.”

Strong singer Chelsie Johnston, recently seen in “Nine” at New Line, has the thankless role as Charlie’s posh girlfriend Nicola, who is a status conscious social climber and meant to not be likable.

And there are some new-to-St. Louis performers, so to feel their joy is inspiring. They look like they are so happy to be on that stage, relatable in that ‘work family’ way, and emphasizing the message “You can change the world if you change your mind.”

Lindsey Grojean, Sarah Lueken, David Pisoni, Tori Ray, Corinna Redford, Michelle Sauer, Josie Schnelten and Aaron Tucker Jr. are a merry bunch as the factory ensemble. Tucker is stellar giving advice as Charlie’s childhood pal in a spirited “Take What You Got” and Redford is hilarious as the stage manager in Milan.

Lola and The Angels. Photo by Taylor Gruenloh

Splendid are The Angels – Lola’s six drag queen back-up singers at the seedy nightclub where they perform a cabaret act, notable with their in-your-face bravado. The always outstanding Mike Hodges and Jordan Woods, also local choreographers, as well as the ever-radiant Dylan Stanley, with their effervescent energy are matched by flashy newbies Todd Garten, Ronnie Wingbermuehle, and Nick Zobrist. They sparkle in “Land of Lola” and “Sex is in the Heel.”

Asher Woodward and Mark Ambrose Hill are impressive as the young Charlie and Lola respectively.

The cast brings the fun out in the cheery Act 1 finale “Everybody Say Yeah,” and is ecstatic in the up-on-your-feet anthem closer “Raise You Up/Just Be,” which is a marvelous way to spread hope in a universal message.

Taylor Gruenloh, who directed this musical first at the Missouri University Science & Technology in the spring, where he is an assistant professor in theatre, has honored the uplifting nature of the book, focusing on humanity – and made the humor zing. He knows how to get laughs, too, and deftly works in physical comedy.

He also ensured that the British accents were spot on – hurray!

“In This Corner.” Photo by Taylor Gruenloh

He shares the same affection for the material as celebrated music director Nicolas Valdez and experienced choreographer Maggie Nold, with Michelle Sauer the dance captain.

However, Valdez is not conducting a 12-piece orchestra but using recorded tracks from the publisher Music Theatre International that includes orchestrations and arrangements by Stephen Oremus for the performances. Charlie Heil was a music supervisor.

Zachary Phelps’ costume designs are stunning, and to learn that he’s a 19-year-old college student makes it even more astonishing. He also was the makeup assistant. The well-fitted wigs were designed by Sarah Gene Dowling and the wig supervisor was Analyse Thropic.

Technical director Kevin Salwasser and sound designer/supervisor Phillip Evans had to master the issues at the Grandel, as did lighting designer Max Demski.

Scenic designer Taylor Gruenloh created a believable and modest set, with a working conveyor belt, and was able to keep the action flowing. He also kept the focus on the performers.

On one level, it’s a feel-good dance party. Yet, Tesseract’s production is another exclamation point on the need for inclusion and individuality. And that is “The Most Beautiful Thing in the World.”

You may fall head-over-high-heels with this cast and crew, and you could be singing “Raise You Up” at the jubilant curtain call, which should empower everyone to “Feed your fire,” and perhaps like me, leave dancing in the aisles.

Tesseract Theatre Company presents “Kinky Boots” Thursday through Saturday, Aug. 17-27, at 7:30 p.m., with Sunday matinees at 2 p.m., at the Grandel Theatre, 3610 Grandel Square, St. Louis. Tickets are available at MetroTix.com. Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

Dylan Stanley, one of the Angels. Photo by Taylor Gruenloh.

Oh What Fun A Wild and Weird Cult Musical Can Be This Time of Year

Oh What Fun A Wild and Weird Cult Musical Can Be This Time of Year

By Lynn Venhaus

A little bit of horror and a lot of hilarity ensues in the madcap cult musical “Ride the Cyclone: The Musical,” now playing in a festive amusement park-like atmosphere at the Tower Grove Abbey.

For those unfamiliar with this musical comedy by Jacob Richmond and Brooke Maxwell, six peppy performers portray teenagers from a Canadian parochial school chamber choir whose lives are cut short in a freak accident aboard a roller coaster.

And that’s not the only thing freaky in this zany production that has a distinct viewpoint about the universal mysteries of life, death, and the afterlife – mostly funny, but sometimes sad, and surprisingly touching.

After they wind up in Limbo, a mechanical fortune teller, The Amazing Karnak, offers the dead kids a chance to return to life – but only one will be selected in this strange game of survivor. So, each tells their stories of living in Uranium City, Saskatchewan, and of their experiences at St. Cassian High School.

Five are kooky variations of John Hughes-like characters while the sixth, Jane Doe, was decapitated in the calamity and her body wasn’t claimed. Dawn Schmid plays the mysterious and ethereal outlier, showcasing her elegant voice in the opening number “Dream of Life” and later, “The Ballad of Jane Doe,” in which she talks about not knowing her identity.

The other five try to set themselves apart, and they accomplish that. This is a merry band of accomplished performers who make each character their own.

Photo by John Lamb

Eileen Engel, channeling Reese Witherspoon’s Tracy Flick character in “Election,” is the classic annoying over-achiever who is so certain she should be spared – and is snide in her comments to others, her entitlement front and center. Her name Ocean O’Connell Rosenberg. Seriously. Her catch phrase is “Democracy rocks!”

Her number, “What the World Needs,” brings out her personality traits and she leads the ensemble on “Every Story’s Got a Lesson.”

Riley Dunn may be having the most fun on stage as a very angry adopted young man, Mischa Bachinski, from the Ukraine. He’s an aspiring rapper, so of course, he must show off in “This Song is Awesome” and then display his softer side when recalling his internet girlfriend “Talia.”

In death, Stephen Henley’s earnest Ricky Potts, mute with a degenerative disease — catch phrase “Level Up!” — apparently has a new lease on life, as he is no longer disabled, and thrives with his discovered abilities. Part mensch, and pure team player with an overactive imagination, he sure has fun in his fantasies with “Space Age Bachelor Man.”

Grace Langford is eager-to-please Constance Blackwood, who is upset that she’s always labeled “nice,” has a love-hate relationship with her hometown and has a secret to later share. (And it’s a doozy). She belts out “Jawbreaker” and then after she changes her mind, “Sugarcloud.”

Mike Hodges has done double-duty as choreography and performer, and he gets to be outrageous as a gay kid in a small town who has never encountered anyone in his tribe. His saucy “Noel’s Lament” is the bawdiest number.

 “The Other Side” is a spirited introduction.

The choreography is a delightful mix of “High School Musical,” “Cabaret,” “La Cage aux Folles,” even shades of “Cats,” and contemporary music videos.

The kids take a break from their “Look at Me!”attitudes to sing the tender “The New Birthday Song” to Jane Doe.

Engel also does double duty, as costume designer, with looks that run the gamut from the drab Catholic school jumpers to Hodges’ more risqué outfits

A well-known local actor voices Karnak, and his narration is superb. The program doesn’t reveal who he is, so I’ll keep that quiet until we’re allowed to share, no spoiler from me.

The musical was first performed in 2008, but did not have its American premiere, in Chicago, until 2015, and then mounted off-Broadway the next year.

It has developed a cult following, somewhat like “The Rocky Horror Show,” and audience members came from several different states, whooping it up, their enthusiasm contagious.

This is a fast-paced show – 90 minutes without an intermission. While it flows smoothly, a tremendous amount of difficulty is apparent because of the level of stage craft, but it’s all handled with aplomb.

Photo by John Lamb

Director Justin Been has cleverly staged the intricate movements, with timing a crucial element, and skillfully coordinated the moving parts – as there are many cues for sound, lights, and special effects. Many video projections are used, too, snapshots from their lives.

Longtime tech creative Tyler Duenow has masterfully taken the lighting design to new heights — a terrific mix of spooky, strange and status quo, while sound designer Jacob Baxley’s crisp work is noteworthy too.

Scenic designer Josh Smith has appointed the small space well, with the Karnak a creepy standout (not confined to a glass case like in “Big.”)

The witty script leans towards the sarcastic, with some laugh-out-loud observations, Been, along with his cast, has enlivened the show with up-to-date references (script allows it)

The band is onstage and appears to be having fun. Led by music director Leah Schultz, who also plays piano and recorder, musicians include Michaela Kuba on bass and cello, Adam Rugo on guitar and Joe Winters on percussion.

A macabre and mirthful show might not evoke the spirit of Christmas, but it sure spread joy to the world in Tower Grove Abbey – a cheering audience, exuberant cast and top-of-their game creative team made it a pleasant holiday-time diversion.

Stray Dog Theatre presents “Ride the Cyclone: The Musical” Thursdays through Saturdays December 1-17, with additional performances on Sunday, Dec. 11, and Wednesday, Dec. 14, both at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. This show contains mature language, smoke effects, strobing lights, and sudden loud noises. Masks are not required but encouraged. For more information or for tickets, visit www.straydogtheatre.org.

Photo by John Lamb

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

Jolly Fun and Zippy Improv at Stray Dog’s Delightful ‘Spelling Bee’

By Lynn Venhaus
How do you define J-O-C-U-L-A-R-I-T-Y? The literal translation is “The 25th Annual Putnam County Spelling Bee,” now playing at Stray Dog Theatre.

A splendid summer sojourn, the jaunty musical comedy celebrates American traditions and meritocracy, our inherent competitive spirt, and freak-flag waving.

At a nondescript middle school, a sextet of smarty-pants sixth graders competes for a $200 savings bond and a towering trophy at the annual big-deal event. Three adults handle the proceedings, and four audience members are selected to participate, too.

And the blithe spirits on stage and in the audience instinctually know this is far more pleasurable than Mensa members getting together for Scrabble, especially with its clever audience-participation cachet.

However, those who didn’t make the honor roll need not worry, for SAT scores aren’t required at the door, and it’s a very accessible and inclusive work. The catchy music and savvy lyrics by William Finn (“Falsettos,” “A New Brain”) and the whip-smart Tony-winning book by Rachel Sheinkin offer something for everyone.

In this enjoyable production, adroitly directed by Justin Been, the dexterous cast has mastered the nimble word play and spit-take worthy improvisations for a rollicking good time. They got game.

The in-sync ensemble expertly colors outside the lines, shading their idiosyncratic characters with humor and humanity. Unlike “You’re a Good Man, Charlie Brown,” where grown-ups also play kids, this is a show with mature content.

Kevin Corpuz is returning champ Charlito “Chip” Tolentino, a strident Boy Scout who is struggling with puberty and distracted by a female in audience; Grace Langford is resolute newcomer Olive Ostrosky, whose mom is in India and dad is always working; and Sara Rae Womack is fervid Marcy Park, an over-achieving transfer student.

Clayton Humburg is mellow Leaf Coneybear, home-schooled son of hippies; Dawn Schmid is high-strung Logainne “Schwartzy” SchwartzandGrubenierre, politically aware and pushed by her two dads to win at all costs; and Kevin O’Brien is last year’s egghead finalist William Morris Barfee, whose name is really pronounced Bar-Fay, because of an accent aigu, and not Bar-Fee, like the announcer repeats.

Photo by John Lamb

While everyone’s comic timing is admirable, O’Brien elicits many laughs as he embodies a know-it-all misfit unfortunately hampered by one working nostril. Hunching his shoulders, rolling his eyes, and sighing in exasperation, O’Brien is in his element. He has the most peculiar way of spelling out the words – with his “Magic Foot.”

Barfee is one of those supporting roles that is an awards nomination magnet, like Adolfo in “The Drowsy Chaperone” and the UPS guy in “Legally Blonde – The Musical.” Dan Fogler, now of “Fantastic Beasts” who recently played Francis Ford Coppola in “The Offer,” won a Tony Award for originating the role.

The middle-school spellers are joined by four individuals that have volunteered for the gig – signing up in the lobby beforehand.  Good sports, they are called on to spell, without any special treatment, which is a key element to the fun. They might have to spell Lysergic Acid Diethylamide, or cow.

The three adults in the room include ‘comfort counselor’ Mitch Mahoney (Chris Kernan), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Stephanie Merritt), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Jason Meyers), who has returned as a judge after personal time off to work out some ‘things.’

Their perspicacity is evident – and the three veterans are oh-so-smooth with the innuendos and deadpan humor. Merritt is guileful as the supremely assured and unflappable announcer – think Patty Simcox from “Grease” as an adult.

She glibly describes the contestants with seemingly innocent comments and a few double-entendres. You don’t want to miss a word, for you might do a double-take (Wait – what?).

Hilarity ensues whenever the puckish Meyers wryly uses a word in a sentence or describes his feelings. He elevates the script’s wit (those inappropriate comments!) with his crackerjack delivery. Just don’t get him started on Klondike’s decision to drop the Choco Taco! He’s a tad jittery.

Photo by John Lamb

Several performers double as ancillary characters, such as parents – for instance, Kernan and Humburg are Logainne’s importunate fathers. Corpuz shows up as Jesus Christ. (You’ll just have to see).

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two. It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The ingenious construction has managed to keep it fresh 17 years later by relying on the actors to be on the ball with au courant references.

Been astutely uses the state of play as an advantage, maintaining a balance of friskiness and sweetness that makes sure everyone is in on the jokes. No mean-spirited sarcasm here.

The cast’s exemplary improv skills make this a very funny, free-wheeling show. But let’s not forget the music is an integral part, too, and each character nails a signature song. Besides Barfee’s “Magic Foot,” there is — Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me.” Chip: “Chip’s Lament.”

Rona’s “My Favorite Moment of the Bee” is a running theme throughout, Mitch serenades the last audience speller with “Prayer of the Comfort Counselor,” and Panch is in “Spelling Montage.”

The troupe’s strong voices harmonize well in the group numbers, too.

Photo by John Lamb

Music Director Leah Schultz smoothly keeps the tempo on track, and is on piano, joined by Kelly Austermann on reeds and Joe Winters on percussion. Choreographer Mike Hodges keeps the moves light-hearted and breezy.

Jacob Baxley’s sound design enhances Rona’s championship spotlight, as does Tyler Duenow’s lighting design.

Eileen Engel’s costume designs distinctly outfit the personalities – and allow them to move easily, whether in the minimal dancing or walking through the aisles.

The Tower Grove Abbey’s small stage is well-suited for the show’s sparse set design, put together by Been.

For logophiles, the principal contestants are relatable. — perhaps a bit more eccentric, but these quirky characters have all learned an early invaluable life lesson: Knowledge is power.

My fellow nerds will feel at one with their tribe. For we know that summer vacation fun isn’t defined by theme park rides, water slides, and sports camps, but by summer reading lists – whether it’s for a library club, school enrichment class or a free personal pan pizza in the Pizza Hut Book It! Program.

It’s still the only musical where the cool kids are here for the orthography. Revenge of the nerds, indeed. So, Wordle can wait – and this show cannot, for there are 8 performances remaining.

Stray Dog Theatre presents the musical “The 25th Annual Putnam County Spelling Bee Thursdays through Saturdays from Aug. 4 to Aug. 20 at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 14 and 8 p.m. Wednesday, Aug. 17 at the Tower Grove Abbey, 2336 Tennessee Avenue in Tower Grove East. For more information, visit www.straydogtheatre.org

Note: Tickets are only offered in physically distanced groups of two or four.

Photo by John Lamb.

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

Stray Dog’s Brave, Fierce ‘The Normal Heart’ Is Not Just History, It’s Personal

By Lynn Venhaus
At once an urgent call to action, historical political drama, and heart-wrenching story of love and friendship, “The Normal Heart” captures a specific time and place while resonating as a cautionary tale.

With an ensemble cast devoted to making every emotional beat authentic, Stray Dog Theatre’s brave and fearless production chronicles the growing AIDS crisis in New York City from 1981 through 1984, and how badly it was bungled.

It was a harrowing time, and gay activist Larry Kramer’s 1985 mostly autobiographical play is haunting as it conveys the confusion and chaos.

This work is a gripping account of how leaders in the gay community fought an indifferent, inefficient, and ineffective political system that ignored their plight until they couldn’t, as deaths were escalating in alarming way.

With a keen eye on the bigger picture, the company’s artistic director, Gary F. Bell, shrewdly directed principal character Ned Weeks’ journey from angry protestor to frustrated and furious advocate demanding change. It’s not just history, it’s personal.

During the early 1980s, Bell lived in New York City as the acquired immunodeficiency syndrome began decimating a terrified gay population. With the early years of another global pandemic not yet in the rearview mirror, Bell builds on that lack of knowledge and awareness to be relatable.

Many homosexuals were forced to live a closeted life, for fear of retaliation and being ostracized, or fired at work, or target of hate crimes. It was a very different time. And then, as the HIV/AIDS outbreak spread, so much fear and ignorance added fuel to the misunderstandings.

For those who remember living in the shadows 40 years ago, the pain of being unseen, unheard and dismissed during a growing public health crisis is palpable. Others who have been marginalized can identify, too.

Sarjane Alverson and Joey Saunders. Photo by John Lamb

Bell’s lean, cut-to-the-chase presentation focuses on perspective for the look back while being mindful of current parallels so that it feels contemporary and fresh.

In his best work to date, Peirick, a Stray Dog regular, brings an in-your-face intensity to Ned’s mission to make sense of what is happening while confusion reigns in the medical, political, and social circles in his orbit.

He shows how frightened Ned is for those around him, and how his laser-beam attention isn’t immediately shared by peers, much to his dismay. He pushes, he’s abrasive, he’s relentless – and eventually, he rattles the right cages and rallies others to see how the clock is ticking.

Newcomer Joey Saunders plays Felix Turner, a New York Times fashion writer who becomes involved in a serious relationship with Ned. When he is diagnosed with AIDS, how he deals with the decline from symptoms to the illness taking over his life is gut-wrenching and makes it deeply personal.

The other guys view their roles as important vessels, a duty they take seriously, as they all “go there,” daring to plumb emotions for a stunning depth of feeling.

In a dramatic turn as banker Bruce Niles, Jeffrey Wright pours out his anguish to tell how his lover died and the humiliation that followed, while Jon Hey melts down as the overwhelmed Mickey Marcus, frustrated by the lack of results.

It’s impossible not to be moved or not care about these people, to get into their heads and hearts as they confront the biggest health crisis of their time.

Stephen Henley, Jeremy Goldmeier, Stephen Peirick and Jon Hey. Photo by John Lamb

Characters get sick and die. Their lovers, co-workers, friends and family show symptoms and it doesn’t end well. Or those people refuse to accept and believe what is really happening.

Stephen Henley brings compassion to the Southern-style Tommy Boatright and Michael Hodges plays the dual roles of Craig Donner and Grady.

Three portray outsiders that are integral to the story.

A perfectly cast Sarajane Alverson is strong as Dr. Emma Brookner, who is in a wheelchair from childhood polio – a powerful visual. She is a crucial character who delivers the medical findings and sounds alarm bells

Jeremy Goldmeier has the thankless task of being the hard-edged municipal assistant Hiram Keebler and David Wassilak is buttoned-up Ben Weeks, Ned’s distant lawyer brother.

The austere set optimizes a growing set of file boxes as the HIV/AIDS cases surge and death toll mounts. Justin Been handled the scenic design and the sound work, punctuating the heightened emotions with dramatic instrumental music.

Kramer, always demanding, wanted to move the needle on tolerance and acceptance, which is why, 40 years later, this play has a far-reaching impact.

It is always hard to see so much time and energy spent on hate, even in historical context, but through art, there is also a glimmer of hope.

A play this pertinent has expanded its purpose at a time when we need to pay attention, for we must never forget. The organizers of today stand on the shoulders of giants, and Stray Dog is providing an important service to a new generation.

Stray Dog Theatre presents “The Normal Heart” from June 9 to 25, Thursday through Saturday at 8 p.m., with a Sunday, June 19, matinee at 2 p.m., at The Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

Stephen Peirick and Joey Saunders. Photo by John Lamb

A ‘Guys and Dolls’ with Gusto and Gumption at Stray Dog Theatre

A ‘Guys and Dolls’ with Gusto and Gumption at Stray Dog Theatre

By Lynn Venhaus
Managing Editor
Stray Dog Theatre’s “Guys and Dolls” has gusto from the guys and gumption from
the dolls, giving it an extra shot of pizzazz.

This snazzy ensemble puts oomph in every song and every
scene, and the young cast provides a freshness to the material that makes this
delightful confection very charming.

One of Broadway’s most beloved golden-age classics, the 1950
Frank Loesser musical comedy is such a fixture in school and community theater
that you’d be hard-pressed to find someone who hasn’t seen it, been on a crew
or acted in it.

Nearly everyone who has a connection to the play looks back
on it fondly, as you just can’t find fault with those peppy numbers, no matter
how times have changed. The colorful characters are based on Damon Runyon’s
short stories, included in Jo Swerling’s book and polished by the renowned late
comedy writer Abe Burrows.

“Sit Down, You’re Rockin’ the Boat” – Photo by John LambGary F. Bell’s tight direction, along with Jennifer
Buchheit’s effervescent musical direction and Mike Hodges’ dynamic choreography,
has created a high-spirited production that pops with personality.

The show is not merely a blast from the past but a peppery,
spry and amusing tale of high rollers and holy rollers finding common ground in
the hustle and bustle of Times Square.

This production is distinguished by Sara Rae Womack’s bubbly Adelaide, Kevin O’Brien’s conflicted and goofy Nathan Detroit and Mike Wells’ happy-go-lucky Nicely-Nicely Johnson, whose warm tenor propels “Sit Down, You’re Rockin’ the Boat” to be the showstopper it should be.

Womack, employing a Betty Boop voice, delivers one of her
strongest performances to date as the optimistic entertainer Miss Adelaide, who
has been engaged to Nathan for 14 years. It’s complicated. Womack hits the
sweet spot giving long-suffering Adelaide sass but a genuine sincerity too. She
and the sunny O’Brien are terrific together, especially in “Sue Me.” And she is
a born showgirl leading the Hot Box Girls in “A Bushel and a Peck” and “Take
Back Your Mink.”

The Hot Box Girls. Photo by John LambWomack, O’Brien and Wells have energy to spare, and their
enthusiasm playing these roles is contagious, as are the wise-guys and Hot Box Girls
who all appear to be having fun.

The animated players Cory Frank as Benny Southstreet, Stephen Henley as Harry the Horse, Yianni Perahoritis as Angie the Ox, Bryce Miller as Rusty Charlie and Jordan Wolk as Liver Lips Louie shake the dust from dodgier versions and deliver that unique slang-antiquated dialogue splendidly. Then, there is comical Zachary Stefaniak just killing it as the imposing hustler Big Jule. He makes the most of his crap-game moments and doesn’t have to say much to elicit laughs.

The endearing guys have us at “Fugue for Tinhorns” and then
it’s crisply-staged jaunty song and dance, and joyful interactions after that –
especially a robust “The Oldest Established” and the title song, “Luck Be a
Lady.”

“Fugue for Tinhorns” Photo by John LambOn the other hand, Jayde Mitchell has a beautiful, well-trained
voice and croons his numbers with skill as cool Sky Masterson – especially “I’ll
Know” and “My Time of Day,” but doesn’t exhibit enough swagger as the debonair mobster.
 

Perky Angela Bubash, who smiles broadly on stage in every Stray
Dog Theatre musical she’s been in, appears to be playing against type as the
uptight Sarah Brown, a prim and proper spiritually-guided woman who questions
her ability to convert sinners to saints and then gets mixed up falling in love
with Sky. It’s a tough character to warm up to anyway – stiff and unyielding
until she drinks rum in Havana and softens to the charismatic bad boy, but Bubash’s
vocal range doesn’t always suit the demanding role, as displayed in “I’ve Never
Been in Love Before.”
It doesn’t help the romantic storyline that Bubash and Mitchell have zilch
chemistry on stage. She fares better with Womack in “Marry the Man Today.” And
they blend well with their groups. The Save-a-Soul Mission force is led gracefully
by Howard S. Bell as kind and warm-hearted Arvide Abernathy, Sarah’s
grandfather, whose added Irish accent is a plus. His superb rendition of “More
I Cannot Wish You” is touching and one of the highlights.

Jennifer Brown is a confident General Cartwright while Kaitlin Gant as Martha and Alyssa Durbin as Agatha are earnest Mission ‘dolls.’ However, Brown’s blocking in “Sit Down, You’re Rocking the Boat” obscures others from view.

Elizabeth Semko, Alyssa Wolf, Molly Marie Meyer and Kayla
Dressman are in sync and sparkle as the fizzy Hot Box Girls. Chris Moore is the
agitated Lt. Brannigan.

“Sit Down, You’re Rocking the Boat” showstopper. Photo by John LambThe entire ensemble hits it out of the park with “Sit Down,
You’re Rockin’ the Boat,” so that “The Happy Ending” seems just a perfunctory wrap-up,
but the musical is a jolly good time.

The large band of 11 talented musicians executed the grand
score in style and kept a lively tempo throughout, with fine work by music
director Jennifer Buchheit on piano; Joe Akers and Ron Foster on trumpet; Lea
Gerdes, Joseph Hendricks and Ian Hayden on reeds; Mallory Golden on violin, P.
Tom Hanson on trombone, Michaela Kuba on cello, M. Joshua Ryan on bass and Joe
Winters on percussion.

While it’s a space crunch because of logistics, Josh Smith’s scenic design made the cityscape tall in re-imagining Times Square on that small stage while lighting designer Tyler Duenow focused on bright lights for the city that never sleeps. Costume designer Lauren Smith captured the era well. Audio Engineer Jane Wilson’s sound was smooth.

This upbeat musical stands the test of time, and SDT has made it a refreshing summer punch. Sit back, let the world go by, and enjoy!

Stray Dog Theatre presents “Guys and Dolls” Aug. 8 – 24, with performances Thursday through Saturday at 8 p.m. at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis 63104. Special matinee at 2 p.m. on Sunday, Aug. 18 and added evening performance on Wednesday, Aug. 21 at 8 p.m. Many shows are sold out or near sell-out, so visit the website at www.straydogtheatre.org or call 314-865-1995 for tickets or more information.

Full disclosure: the reviewer has directed two community theater productions of “Guys and Dolls,” in 1992 and 2011.

Photo by John Lamb