Stray Dog Theatre’s Rollicking ‘Rock of Ages’ Is Nothin’ But a Good Time

Stray Dog Theatre’s Rollicking ‘Rock of Ages’ Is Nothin’ But a Good Time

By Lynn Venhaus

Get ready to rock! Fans of 1980s rock ‘n roll can rejoice – they’ll be able to hear the catchy melodies of head-banging heavy metal hair bands in the delightful jukebox musical “Rock of Ages” presented with brio by Stray Dog Theatre.

Go ahead, wave your phone and sing along to those earworm choruses. If you have as much fun as the exuberant cast does performing this high-spirited, energetic mega-mix tape bonanza, you will have nothing but a good time.

Without missing a beat, this cast of characters salutes the glory days of guitar-driven music in heavy rotation on MTV, set in a Sunset Strip music club that’s an epicenter of rock-star hipness.

The time and place are The Bourbon Room, 1987. You will soon be amused by the distinctive vintage fashions and hairstyles, from leather and acid-washed jeans to neon colors and aerobics wear, accessorized by mullets, perms, feathered bangs, teased hair and fluffy blow-outs, all volumized by many cans of hairspray.

The authentic big hair looks were crafted for each character, with many wearing wigs designed with a terrific eye by Sarah Gene Dowling. Rock god Stacee Jaxx’s bleached-blond mop even had dark roots showing from underneath his teeny rhinestone-bedazzled cowboy hat.

Dawn Schmid and Clayton Humburg. Photo by Stray Dog Theatre.

Costume designer Colleen Michelson found a treasure trove of retro looks, with the women looking like they were in Pat Benatar music videos and the guys emulating roadies backstage at Van Halen concerts. They stayed in the hard rock lane, not expanding to punk or new wave, to suit the music.

Everybody involved in the show just clicked – the cast, the band, the backstage crew, and the creatives, all unified by director Justin Been’s vision and light-hearted approach.

A surprise smash hit that ran on Broadway for six years, debuting in 2009 and closing in 2015 after 2,328 performances, “Rock of Ages” garnered five Tony Award nominations, including Best Musical.

On tour, it played to enthusiastic crowds at the Fox Theatre in 2012, 2013 and 2019, eager to indulge in a cheeky, cheesy and irreverent blast from the past. Its first two stops that I attended in St. Louis were raucous celebrations of that golden era that pumped up the crowd.

But Tower Grove Abbey’s stage allows for a more intimate feeling, an opportunity for sincere interactions while the house band on stage is shredding guitar licks and demonstrating their technical skills.

Led by music director Mallory Golden on keyboards, Jonathan Beck and Johnny Reitano play guitars, M. Joshua Ryan is on bass, and Jake Luebbert on percussion. The music fills the house but doesn’t overpower the singers.

Much like the clever way the songs of ABBA were woven through two acts of the global hit “Mamma Mia!”, some of classic rock’s biggest bands allowed their power ballads and rock anthems to be used as the soundtrack – including Bon Jovi, Foreigner, Journey, REO Speedwagon, Poison, Styx, and Twisted Sister, with arrangements and orchestrations by Ethan Popp. There are more than two dozen hits incorporated into the very slim plot.

Naturally, the show-stopping upbeat and joyous finale is none other than Journey’s 1981 “Don’t Stop Believin,’ the cultural phenomenon that is now officially the “biggest song of all time,” (so says Forbes because it’s an 18-time platinum-certified single and holds the record for the most digital downloads of the 20th century.)

But the show is no amateur karaoke night. It features some of the best vocals you’ll likely hear on local stages all year. As their scorching solos indicate, Drew Mizell and Dawn Schmid soar — especially his “Oh Sherrie” by Journey and “I Wanna Rock” by Twisted Sister, and her “Harden My Heart” by Quarterflash..

Their harmonies are well-integrated in their duets, especially supergroup Damn Yankees power ballad “High Enough” and Survivor’s “The Search is Over.”  

It’s a testament to their talent and vocal prowess that you feel like you are hearing some of these songs in a new and meaningful way, and wow, can they belt. One of their heartfelt medleys is Warrant’s “Heaven,” Extreme’s “More Than Words” and Mr. Big’s “To Be with You.”

Dawn Schmid and Drew Mizell. Photo by Stray Dog Theatre.

The story by Chris D’Arienzo is silly, but it doesn’t matter if it’s as predictable as Axel Rose’s arrogance and a “Dynasty” catfight between Joan Collins and Linda Evans because of its nostalgic pull.

Throwing a wrench into this made-for-each-other couple is Stacee Jaxx, a caricature of the egomaniac rock star, whose moves on Sherrie will lead to all sorts of problems. Clayton Humburg, giving off major swagger and cool-guy wannabe vibes, knows how to play the role leaning into its absurdity. He is not the sharpest tool in the shed, particularly when under the influence.

The trio team up for enjoyable renditions of Foreigner’s “Waiting for a Girl Like You” and “I Want to Know What Love Is,” plus Bon Jovi’s “Wanted: Dead or Alive,” and a blend of Asia’s “Heat of the Moment” with Joan Jett and the Blackhearts’ “I Hate Myself for Loving You.”

Comic relief comes in the form of German developers Hertz (Jacob Wilkinson) and his son Franz (Luke A. Smith), who want to take over the block to redevelop the area and are met with fiery resistance by activist Regina and her cohorts.

Regina is a firecracker played by Sarah Polizzi, whose flair for broad over-the-top comedy fits well here. She’s a daffy disruptor with good intentions. She and Franz connect, and that is one funny coupling, especially when he sings Pat Benatar’s “Hit Me with Your Best Shot.” She also leads the ensemble in Twisted Sister’s spirited rebel yell “We’re Not Gonna Take It.”

Bradley Bliven and Jeffrey M. Wright. Photo by Stray Dog Theatre.

Jaded club owner Dennis Dupree, played by the ever-reliable Jeffrey Wright, is a street-smarts guy who has seen some things and knows some things, and rocks a sweet mullet. He’s a good match with his loyal sound guy, scene-stealer Lonny, who is portrayed by the breakout star in his Stray Dog debut, Bradley Bliven.

Bliven is charming and very funny in the dual role of narrator and secondary lead character, which features a bromance between Dennis and Lonny where they sing REO Speedwagon’s “Can’t Fight This Feeling” as a hilarious duet.

An appealing aspect of the show is that Lonny can mock the era with self-deprecating humor while offering a running commentary on what’s happening, breaking the fourth wall in a way that gets big laughs. And in today’s lingo, is very meta in its awareness.

He opens the show, with the ensemble’s lively take on Quiet Riot’s cover of “Cum on Feel the Noize” (oh, the misspellings of these titles!), then leads into David Lee Roth’s post-Van Halen “Just Like Paradise” and Poison’s “Nothin’ but a Good Time” with Dennis and Drew too.

The Velvet Room is an adjacent men’s club with Jade Anaiis as a soulful Mama Justice, the wise and benevolent earth mama to her girl workers. She sings Def Leppard’s “Pour Some Sugar on Me” with Sherrie and Lonny.

Sarah Polizzi and Ruben Medina-Perez. Photo by Stray Dog Theatre.

The versatile ensemble features Sara Rae Womack as Waitress #1, Corrinna Redford as Ja’Keith Gill, and Ruben Medina-Perez as Joey Primo.

The company kicks it up a notch for their vigorous group numbers, including the first act closer “Here I Go Again” by Whitesnake and second act opening “The Final Countdown” by arena rockers Europe.

As he always does, choreographer Mike Hodges wonderfully captures the time-capsule dance moves and the theatrical poses of those popular aerobics’ videotapes.

Rob Lippert created a lived-in atmosphere in his effective scenic design, cleverly adding height where it was needed, and the staging was enhanced by lighting designer Tyler Duenow’s illumination.

Whether ‘80s music is your jam, you lived through the decade or just enjoy a party-like atmosphere with a non-stop hit parade of jukebox heroes, “Rock of Ages” is a whole lotta fun and packed with many performance highlights.

Few things in life are as mood-lifting as impromptu sing-alongs with a room full of strangers, all singing out with glee (and not realizing you know the lyrics already!), bobbing your heads and smiling with great joy. Rock on!

Stray Dog Theatre’s production of “Rock of Ages” is being presented April 3 to April 26, with performances Thursday, Friday and Saturday at 8 p.m., and special matinees on Sundays, April 6 and 13 at 2 p.m. All performances take place at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. The show’s run-time is 2 hours and 15 minutes, with a 10-minute intermission, and is for mature audiences. For tickets or more information, visit www.straydogtheatre.org.

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

Stray Dog Theatre’s ‘The Curious Savage’ is Sweet Comical Kiss

By Lynn Venhaus

A sweet and tender-hearted foray into found families, “The Curious Savage” is brought to vivid life with warmth by an eclectic cast of 11 characters.

Reminiscent at times of the screwball antics of “You Can’t Take It with You,” this 1950 amiable comedy by playwright John Patrick kicks off Stray Dog Theatre’s season with a heartwarming effort.

Set in a live-in psychiatric center called The Cloisters, Ethel Savage has been placed there by her three awful stepchildren. Greedy, self-centered and rude, the trio are cartoonish villains played in over-the-top characterizations by seasoned pros Matt Anderson, Sarajane Clark and Joseph Garner, who have great fun being despicable.

Anderson is a condescending senator, Clark is a vain actress who has been married six times, and Garner is a haughty judge. All display degrees of entitlement and indignation, for they think their father’s second wife is mentally unstable. She inherited $10 million and wants to give it to people who want to pursue their dreams.

The bratty kids want the money for themselves, therefore, wreak havoc at the sanitarium by badgering her, bullying the staff and disrupting the fragile ecosystem among the patients.

Tyson Cole, Liz Mischel, Gansner and Lindsey Grojean. Photo by John Lamb.

In an amusing performance, Liz Mischel excels as a crazy-like-a-fox senior citizen, whose compassion and kindness is in stark contrast to her stepchildren’s demanding threats.

Ethel quickly ingratiates herself with the staff and the residents, and bonds form with the damaged/broken people whose mental trauma resulted in a sanitarium stay.

Director Gary F. Bell deftly directed this piece to bring out The Cloisters’ characters’ goodness and dignity, and the staff’s humanity. While what they say is often funny, they are not punchlines to any cruel jokes and are treated as individuals. The well-cast performers are convincing in portraying their characters’ issues, and they all gel as a satisfying ensemble.

Lindsey Grojean is delightful as the childlike Fairy May, who is unfiltered and funny, while Anne Vega is a caring mother, Florence, whose loss of her infant son caused a breakdown. She believes John Thomas is still alive.

Camille Fensterman is tormented Mrs. Paddy who professes to “hate everything” and delivers laundry lists of things she dislikes, but she doesn’t speak other than those litanies, only painting seascapes in a corner.

Tyler Cole plays a skittish World War II veteran Jeffrey, who was a pilot who survived a crash while all his men perished. He’s convinced he has a horrible facial scar and holds his hand to his face hiding it.

Gansner is helpful statistician Hannibal, who lost his job to an electronic calculator. He plays the violin, badly. The characters have personal quirks, such as Miss Paddy who gave up electricity for Lent, and is turning off the lights at inopportune times.

David Wassilak is Dr. Emmett, the matter-of-fact and fair doctor-administrator, while Claire Coffey is pleasant Miss Willie, who helps with patients. She also shares a secret.

Over the course of three acts, we are charmed by this smart, intuitive ensemble, portraying lovable characters with a great deal of heart, and the bad guys who are at their grumpiest and at times, histrionic. The joke is often on them.

Lz Mischel, David Wassilak, Anne Vega, Joseph Garner, Matt Anderson and Sarajane Clark. Photo by John Lamb.

The playwright has become a favorite of community and school theaters, and the most famous of his works is “The Teahouse of the August Moon,” which won a Pulitzer Prize for drama and a Tony Award for best play in 1954.

The only drawback to presenting a 75-year-old play is its outdated views on mental illness and mental health but does make strong points about the insanity on the outside that wields ugly power in society.

Think of it as a period piece, like the classic “Harvey” and other old chestnuts. Costumer Colleen Michelson has gathered frocks and casual attire from the 50s era, while dressing Lily Bell in scarlet dresses. As Ethel, Liz wears a dandy gaudy hat.

As is customary, Bell, as scenic designer, created a cozy interior on stage, while lighting designer Tyler Duenow and sound designer Justin Been enhanced the atmosphere.

A thoughtful and enjoyable approach to a heart-warming comedy, “The Curious Savage” is a comical kiss to kindness elevated by captivating performances.

Camille Fensterman, Lindsey Grojean, David Wassilak. Photo by John Lamb

Stray Dog Theatre presents “The Curious Savage” Thursdays through Saturdays at 8 p.m., Feb. 6-Feb. 22, with additional performances at 2 p.m. Sunday, Feb. 16, at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. There are two 10-minute intermissions. For more information: www.straydogtheatre.org.

Bewitching ‘Bell, Book and Candle’ a Sophisticated Retro Rom-Com

Bewitching ‘Bell, Book and Candle’ a Sophisticated Retro Rom-Com

By Lynn Venhaus

A supernatural romantic comedy is a surprisingly delectable sweet treat this holiday season. (Who knew?) Stylish and witty, “Bell, Book & Candle” casts an enchanting ensemble who appear to be having a jolly good time in this sophisticated retro throwback presented by Stray Dog Theatre.

When you think of witches, do those three macabre ones in “Macbeth” first come to mind, stirring a bubbling cauldron? Or is it the mean and nasty one in “Into the Woods,” with the haunting lyric “Witches can be right”? What about the unforgettable classic clash in ‘The Wizard of Oz” setting up sides with “Are you a good witch or a bad witch?”

Perhaps the all-American witch Samantha Stevens of the beloved sitcom “Bewitched,” 1964-1972, who lived in the suburbs and pretended to be a normal housewife, changed perceptions from scary to fitting in.

But it was Gillian Holroyd who broke the mold on the Broadway stage in 1950 in playwright John Van Druten’s “Bell, Book & Candle.” He created the character and added all the ingredients to bewitch, bother and bewilder, including a black cat, magic spells, hocus pocus, romance and fantasy.

Gillian was a very modern woman with a glamorous life, ensconced in the tony Murray Hill neighborhood of New York City – only she had a secret. She practiced witchcraft. The play became a popular 1958 movie starring Kim Novak, James Stewart, Jack Lemmon, Hermoine Gingold, and Elsa Lanchester.

Claire Coffey as Gillian. Photo by John Lamb.

Claire Coffey personifies every facet of Gillian, looking classy and elegant in several chic outfits assembled by costume designer Colleen Michelson, then serious when she’s casting spells and hatching plots.

In her cozy and cosmopolitan apartment, she chats with her daffy Aunt Queenie, a busybody who finds out information one way or the other. Liz Mischel embodies the eccentricities of the character, and always bursts in, wearing colorful garb.

Gillian is intrigued by her new neighbor, polite and polished publisher Shepherd Henderson (Joel Wilper), and she finds out he’s dating a rival from her college days, expecting to get engaged. Before you can say abracadabra, this witchy woman arranges him to fall head over heels in love with her instead. It’s Christmas Eve, no less.

One wrinkle: Witches, in this supernatural tale, cannot fall in love or else they lose their power. Therefore, life gets more complicated, not less. How far can this relationship go without secrets being revealed?

The gallant and urbane Shep is as smitten as a teenager, as if a thunderbolt struck him, not thinking rationally, but he’ll eventually be confronted by reality. Wilper conveys both sides of Shep convincingly.

Claire Coffey and Joel Wilper. Photo by John Lamb.

Other characters factoring into the mayhem – her snarky, rakish brother Nicky (Victor Mendez), author Sidney Redlitch (Gary Wells) and her cat, Pyewacket. Nicky and Redlitch have collaborated with a book on witches in NYC, but Shep is highly skeptical.

Oh, what a tangled web she weaves, practicing to deceive, but without spoiling the plot, magic can work wonders.

Director Gary F. Bell keeps everything light-hearted and breezy, focusing on his cast’s ability to charm. Coffey and Wilper ground the fantasy as a twisty rom-com while the supporting players go a little wackier and broader.

Bell also designed the swanky set, and it’s a snazzy vintage collection of furniture and fashionable accents. Jude Hagene painted the attractive living room. Tyler Duenow’s lighting design gives the parlor a warm glow.

As always, Justin Been has selected a swinging soundtrack suited for 1950s high society with a merry touch of Rat Pack coolness.

While “Bell, Book and Candle” is traditional in structure, but not in subject matter, this is a bright bauble that is well-suited to comfortably and merrily entertain.                                                                                                                                                                                                                                                                         

Claire Coffey and Victor Mendez. Photo by John Lamb.

“A witch never gets caught. Don’t forget that she has magic in her fingers and devilry dancing in her blood.” — Roald Dahl, “The Witches”

Stray Dog Theatre presents “Bell, Book and Candle” Thursdays through Saturdays at 8 p.m., Dec. 5 through 21, with an additional performance at 2 pm on Sunday, Dec. 15. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. For more information: www.straydogtheatre.org or call (314) 365-1995

Victor Mendez, Claire Coffey, Gary Wells and Joel Wilper. Photo by John Lamb.

Merry Mayhem Marks Musical Spoof ‘Ruthless!’ at Stray Dog Theatre

Merry Mayhem Marks Musical Spoof ‘Ruthless!’ at Stray Dog Theatre

By Lynn Venhaus

A pair of farce specialists aim for over-the-top in spectacular style in “Ruthless! The Musical,” a kitschy, campy stage mom-showbiz melodramatic throwdown that emphasizes big – in ambition, voices, and stylistic flourishes.

Very funny Sarah Gene Dowling and Sarajane Clark trade wits as the clashing divas who challenge each other in this small-scale musical spoof. It features an all-female cast and a scheming fame-obsessed jazz-hands kid.

This is the first pairing of the Stray Dog Theatre favorites – think Bea Arthur and Angela Lansbury in “Mame,” and they easily affect an exaggerated form of movie-star acting that’s part early soap opera, part “Saturday Night Live” and “The Carol Burnett Show” sketch imitations.

The silliness is carefully controlled chaotic fun, deftly directed by veteran Justin Been, as Stray Dog continues its penchant for broad comic material resembling the Charles Busch plays that they’ve previously produced: “Psycho Beach Party,” “Red Scare on Sunset,” “Die, Mommy, Die!” and “Vampire Lesbians of Sodom.” 

Dowling, looking like she stepped out of the pages of “Ladies’ Home Journal,” is stereotypical ‘50s housewife Judy Denmark, who answers her always-ringing landline by identifying herself as “Tina’s Mom.”

Any similarities with super moms of that golden era – Donna Reed, Harriet Nelson, Jane Wyatt and Barbara Billingsley — is intentional.

Sarajane Clark, Sarah Gene Dowling and Laura Kyro in ‘Ruthless!” Photo by John Lamb.

In scenic designer Rob Lippert’s carefully appointed mid-century modern home decked out in canary yellow, Judy keeps it spotless by her obsessive house-cleaning. Judy professes to be content, and a running gag is her affection for Pledge furniture spray.

But when a mysterious talent agent, Sylvia St. Croix, rings her doorbell, things are going to take a few turns. As Sylvia, Clark, who can out-Joan Crawford anyone, conjures bygone Hollywood glamour through stunning black-and-white outfits, complete with matching hats and turbans.

Costume designer Colleen Michelson has assembled an outstanding panoply of Audrey Hepburn-worthy ensembles for Clark, and Dowling’s retro floral print dress is perfection.

But some of the other women’s dresses are too short or ill-fitting, such as Eve’s tight emerald-green dress that she keeps tugging at while she’s flitting about.

You know this is going to be a wacky romp by reading the program: “Please Note: This production contains smoke effects, replica firearms, loud noises, and children doing very bad things. Viewer discretion is advised.”

In a daffy debut, Finley Mohr is poised as chipper “8-year-old” Tina, who won’t let anyone stand in the way of her becoming a star. When she isn’t cast as Pippi Longstocking in her school musical, hell hath no fury like a sociopathic stage brat spurned.

Is she another “The Bad Seed” who looks like Little Orphan Annie? For she takes aim at her rival, Louise Lerman, played with comedic flair by Sarah Lantsberger as a far less talented kid. Louise’s parents secured her the lead through third-grade teacher Miss Myrna Thorn, and nimble performer Anna Langdon is the very dramatic instructor who is also a conniving and frustrated actress.

Laura Kyro goes all in as haughty Lita Encore, a self-important theater critic who hates musicals – and pours her loathing, Ethel Merman-style, into an “I Hate Musicals” number. When she shows up to review “Pippi in Tahiti,” we learn she has ties to the Denmarks. Dun dun duuun!

Sarah Gene Dowling and Finley Mohr. Photo by John Lamb.

These bizarre six degrees of separation are revealed at various times, giving the feeling of whiplash, and old-timey melodramas that once were staged on showboats. The plethora of plot twists are a mix of destiny and flimsy fictional tropes.

Before the first act wraps, we discover Judy is the daughter of Ruth Del Marco, a Broadway star who supposedly took her own life after a scathing review by Lita. Turns out the talentless Judy discovers her gifts and becomes a very different character in the second act.

The book and lyrics by Joel Paley and music by Marvin Laird are a blend of John Waters snark, Douglas Sirk 1950s ‘women’s pictures’ and nods to “All About Eve,” “Gypsy,” and other show-bizzy tales.

The show debuted off-Broadway in 1992, then was revised in 2015 into a streamlined 90-minute version without an intermission. This production is performed in two acts, with a 10-minute intermission, and is more than 2 hours’ long, which drags out the jokes.

The second act takes place in a New York City penthouse, where vainglorious prima donna Ginger Del Marco (Dowling) is ensconced with her manipulative assistant Eve (Lantsberger).

Del Marco is free of the constraints of being a wife and mother, for Tina has been sent away to the Daisy Clover School for Psychopathic Ingenues. Ginger has won a Tony Award and has become devious and insufferable in her narcissism.

The supporting women come and go, playing various characters – and it’s best to be surprised by the identities and ensuing shenanigans.

The six females are all belters and have big Patti LuPone moments to sing out, mostly tongue-in-cheek style. Clark’s signature number “Talent” is reprised with the confident Mohr, whose cutthroat showbiz aspirations are the point of “Born to Entertain” and “To Play This Part.” The beaming Mohr can tap dance too, and Sara Rae Womack handled the choreography,

Laura Kyro, Sarah Gene Dowling, Sarah Lantsberger, Finley Mohr, Anna Langdon and Sarajane Clark. Photo by John Lamb.

Dowling and Mohr work well as the mother-daughter duo, and feign affection in “Kisses and Hugs,” “Angel Mom” (with Sylvia) and “Parents and Children.”

Clark teams up with Dowling on “Where Tina Gets It From” and delivers a Cruella de Ville-type number “I Want the Girl.”

Each character has at least one showcase number – Langdon on “Teaching Third Grade,” and Lantsberger on “A Penthouse Apartment” as Eve and “The Pippi Song” as Louise.

Musical director Randon Lane sleekly leads the four-piece band: Mike Hansen on percussion, M. Joshua Ryan on bass, Mary Jewell Wiley on reeds, and he’s on keyboards. Been has doubled as sound designer, and his snippets of swelling-strings movie scores add to the atmosphere, as does Tyler Duenow lighting designs.

“Ruthless!” is brash in its trashy escapades, with pleasing production elements that involved creative collaboration. Designed to tip its hat to the showbiz dreams all theater-loving folks grew up on, the peppery parody is performed with noteworthy zeal by blithe spirits. The sharp six are clearly having a blast playing together in the sandbox.

Dowling, Mohr, Clark. Photo by John Lamb.

Stray Dog Theatre presents “Ruthless! The Musical” from Aug. 1-24 at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. Showtimes are Thursdays through Saturdays at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 11, and Sunday, Aug. 18. Gated parking is available. For more information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org.

Accessible Performances — ASL Interpretation: The 8/2, 8/9, 8/16, and 8/23 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

Spry Cast Distinguishes Stray Dog Theatre’s Lightweight ‘Ripcord’

By Lynn Venhaus

Winning performances enliven a slickly produced “Ripcord” that sprinkles poignant moments among well-executed broad physical humor.

In the vein of classic sitcoms like “The Golden Girls” and the evergreen Neil Simon smash hit “The Odd Couple,” Stray Dog Theatre’s latest play is relatable because of a finely tuned ensemble convincing in a clash of temperaments and wills.

This 2015 comedy from the acclaimed playwright David Lindsay-Abaire is not as emotionally gut-wrenching as his Pulitzer-Prize winning drama “Rabbit Hole,” or as piercing as his social commentary “Good People,” but its familiar beats entertain.

Last year’s Tony winner for Best Book and Score (Lyrics) of a Musical for “Kimberly Akimbo,” Lindsay-Abaire has adapted “Shrek” and “Cinderella” into hit musicals with a populist flair.

Sprightly Annie Bayer and Jan Mantovani play the two warring widows at the center of this good-natured work, keeping a brisk pace with graceful movements and snappy banter.

Matt Anderson, Donna Parrone, Jan Mantovani. Photo by John Lamb.

Mantovani is delightful as an endlessly chipper Marilyn whose sunniness annoys the perpetually grouchy Abby (Bayer), her new roommate at an assisted living center. They deliver zingers with aplomb as their differences and life stories emerge.

However, because Abby is such a prickly personality and unrelentingly dour, Bayer’s character comes across as more one-note, but she will have opportunities to provide some backstory context to her behavior.

It’s obvious from how it’s written that one is immediately drawn to the agreeable Marilyn and unsympathetic to the constantly complaining Abby, who doesn’t play well with others.

When Abby exhausts the conventional means to have Marilyn moved to a different room, the pair lay their cards on the table. They make a bet with each other, with the prize this plum second-floor real estate. Marilyn can have the bed closest to the window overlooking a park if Abby makes her angry, and she’ll move out if she can scare Abby.

The dirty tricks escalate – some hurtful and mean – until a winner is declared. While the sweet-and-sour duo play off against each other well, it is the addition of sharp supporting players that swiftly moves the story along.

Victor Mendez is the pleasant aide Scotty, an aspiring actor, who connects the dots to the facility’s staff and procedures. Donna Parrone is Marilyn’s loving daughter, Colleen, and Matt Anderson is her goofy but well-meaning husband Derek. They’re supportive and assist with the schemes.

Jan Mantovani, Jeremy Goldmeier. Photo by John Lamb.

Anderson and Parrone also humorously double as part of a very theatrical trio of actors trying to frighten people at a bargain-basement haunted house. Jeremy Goldmeier joins them in this wildly overzealous troupe. He also adroitly flips the switch as Benjamin, Abby’s estranged son.

Their expert comic timing is a plus as slapstick-y shenanigans are nimbly staged.

Gary F. Bell skillfully directs in a light-hearted style, emphasizing humorous exchanges and surprising developments. The pranks look fun to pull off, and the actors keep the action fresh and the element of surprise genuine.

Rob Lippert’s set design depicts a standard double-bed room, with ubiquitous institutional décor, and has smoothly indicated scene changes involving a haunted house and skydiving experience.

Costume designer Colleen Michelson has selected appropriate casual attire for each character, and Tyler Duenow’s lighting design is effective.

Of special note is Justin Been’s sound design, which is a tad more complicated than one would think, given the play’s simple senior living setting. But he masterfully weaves in authentic sounds incorporating skydiving and a dramatic spooky scenario, not to mention a music score that compliments the story.

The cast engages and the crew’s efforts to polish this production are evident. The play may lack the substance featured in Lindsay-Abaire’s other works, but it satisfies because of an earnest team caring to make it personal.

Stray Dog Theatre presents “Ripcord” from June 6 to June 22, on Thursdays through Fridays at 8 p.m., with a special matinee at 2 p.m. on Sunday, June 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking.

Tickets: Adults $35 / Seniors (65+) & Students $30 (Cash/Checks/All Major Credit Cards). Additional Information and Ticket Reservations: Call (314) 865-1995 or visit www.straydogtheatre.org. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre.

Matt Anderson, Victor Mendez, Jan Mantovani, Annie Bayer. Photo by John Lamb.

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

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

Stray Dog’s Engaging, Clever ‘The Mousetrap’ Warms A Winter’s Night

By Lynn Venhaus
A classic murder mystery always seems like a wise wintertime choice, and inside Tower Grove Abbey, a pair of novice innkeepers welcomes six strangers to their cozy Monkswell Manor guesthouse. Let the secrets unfold and the ear-piercing screams commence, for Agatha Christie’s “The Mousetrap” is an absorbing time-tested whodunit that Stray Dog Theatre aims to polish until it’s gleaming.

As well it should. This well-cast and well-acted ensemble honors the Grand Dame of suspense’s longest-running play in the world by injecting some spry bits of humor, corralling the momentum of this cleverly constructed drama.  

In the remote English countryside, a snowstorm is raging while a young married couple, Mollie and Giles Ralston (Claire Coffey and Sean Seifert), nervously prepare for their first visitors, who are an eclectic and mostly eccentric group, with a few hiding sordid pasts that eventually will be revealed.

The colorful cast includes neurotic Christopher Wren (Jayson Heil), snooty Mrs. Boyle (Julie Healey), steadfast Major Metcalf (David Wassilak), reserved Miss Casewell (Shannon Campbell), and flamboyant Mr. Paravicini (Matt Anderson), who make grand entrances not unlike Halloween trick-or-treaters in their neon-colored outfits.

Matt Anderson, Shannon Campbell, Drew Mizell. Photo by John Lamb

It just so happens that news of a murder in London has spread, and with a killer on the loose – the prime suspect was wearing a dark overcoat (!), nerves start to fray. A determined police detective, Sergeant Trotter (Drew Mizell), unexpectedly shows up to interview the guests, and his interrogations are making everyone nervous.

Could there be a murderer in their midst? It doesn’t matter if you’ve seen this play before or it’s your first time, the intricate plot twists keep one invested.

Director Gary F Bell has astutely focused on the different characters while nimbly moving them around, so the action never dulls. As attention and suspicions shift, the actors crisply deliver their lines with admirable well-rehearsed accents (not all sounding the same either).

The performers memorably personalized their roles, so they each stood out. Heil is a bright spot as chatty Christopher Wren, all nervous energy and exuberance, while Healy purposely annoys as overcritical Mrs. Boyle, who finds fault with their hosts’ inexperience and complains constantly.

Wassilak and Campbell are solid as affable Major Metcalf, a retired Army officer, and stand-offish Miss Casewell, while Anderson is intentionally hammy as the peculiar Mr. Paravicini, exaggerating a strong Italian accent and having fun taunting by repeating “Three Blind Mice,” an ominous earworm.

Jayson Heil, Sean Seifert, Drew Mizell, David Wassilak, Matt Anderson. Photo by John Lamb

When Trotter enters the room, sniping begins as everyone becomes a suspect, and even the congenial Mollie is caught off-guard by her husband’s jealous behavior. Coffey and ever- reliable Seifert maintain an off-kilter rhythm, skillfully conveying their unease as things go bump in the night.

Mizell is tough as Trotter, his steely resolve evident as he probes the case, asking uncomfortable questions and keeping everyone on edge.

As misery escalates, cracks uncover backstories and highlight current actions, so that the crimes will be solved in what’s considered a brilliant surprise ending.

The program says the time is 1955 in Berkshire, 30 minutes outside of London, but the costumes don’t reflect the period. Instead, they feature a puzzling color scheme comparable to the comic mystery players in “Clue.” Wren could be Mr. Hot Pink and Paravicini as Signore Electric Grape.

It’s a perplexing bold statement costume design by Colleen Michelson. A few outfits are odd choices – Miss Casewell had extra-large wide-leg bright orange palazzo pants that distracted from the action (I was worried she’d be tripped up on the staircase), and Mollie had an unflattering yellow apron to match her too-spring-y yellow dress that looked like a pair of granny panties were attached instead of frilly pockets. .

Splendid technical elements added to the unsettling mood, with Justin Been’s impeccable sound design, complete with Bernard Herrmann-like music, and Tyler Duenow’s lighting design made the striking Great Hall set claustrophobic. Designed by Richard Brown and Dominic Emery, the stained-glass window and staircase were terrific additions to the old-fashioned lounge.

A foundation for many other mysteries, “The Mousetrap” premiered on Oct. 6, 1952, and after a brief tour, opened in London’s West End at the Ambassadors Theatre on Nov. 25, where it ran until March 23, 1974, when it transferred to the larger St. Martin’s Theatre, which was next door, and continues to this day. But on March 16, 2020, it was forced to shut down for 14 months because of the global coronavirus pandemic and resumed on May 17, 2021.

Christie based the now iconic play, originally written for radio as “Three Blind Mice” in 1947 and a short story, on the Dennis O’Neill case of foster child abuse — just like the kidnapping in “Murder on the Orient Express” (1934) resembled the Lindbergh baby case, for a reality-based starting off point.

This satisfying production is a fine example of how a 70-something air-tight structured detective fiction can be spruced up and entertain both longtime mystery fans and curious newcomers.

Claire Coffey, Drew Mizell, David Wassilak, Jayson Heil, Matt Anderson, Shannon Campbell and Sean Seifert. Photo by John Lamb

Stray Dog Theatre presents “The Mousetrap” Feb. 1 through Feb. 17 at the Tower Grove Abbey, with performances Thursday through Saturday at 8 p.m. with a special Sunday matinee at 2 p.m. on Feb. 11 at the Tower Grove Abbey, 2336 Tennessee Avenue, St Louis 63104. Gated parking is available. For additional information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org. Tickets for adults are $35, with seniors age 65+ and students $30.

ASL Interpretation: The 2/2, 2/9, and 2/16 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Hanging at Monkswell Manor. Photo by John Lamb

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

Exquisitely Rendered Sondheim in Splendid, Whimsical ‘Into the Woods’

Exquisitely Rendered Sondheim in Splendid, Whimsical ‘Into the Woods’

By Lynn Venhaus

Stephen Sondheim’s lush and richly layered score is flawlessly presented by music director Leah Schultz and an extraordinary 12-piece orchestra, with touching ensemble harmonies to match, setting apart Stray Dog Theatre’s fresh and clever “Into the Woods.”

Since the musical was first produced in 1986 before going to Broadway the next year, audiences have found new ways to see the message behind this beguiling gem: No one is alone.

 Starting with its deceptively simple concept featuring familiar fairy tale characters interacting, the second act swerves into much darker territory. For they are desperately seeking happily ever after, but not transforming their lives until they change their selfish, foolish, and childish ways. But eventually, hope emerges after harsh occurrences.

The roster from Brothers Grimm and Charles Perrault’s centuries-old literary works includes Little Red Riding Hood, Cinderella, Jack and the Beanstalk, Rapunzel, and the childless couple from Thumbelina.

The themes involving parents and children touch on responsibility, morality, and the consequences of wishes to beautiful, emotional effect. (I expect to get misty-eyed in multiple scenes.)

“Nice is different than good.” It is a very grown-up tale that becomes more profound with each viewing and the passage of time, yet its structure isn’t predictable. The complexities of this insightful tale resonate 26 years later, which has been crucial to this show’s staying power.

That’s the genius of Sondheim’s collaboration with book writer and director James Lapine. They both won Tony’s – for score and book – but that year the top prize went to “The Phantom of the Opera.”

(If we’re mentioning prizes, the 2002 revival won the Tony for Best Musical Revival, a London West End revival in 2010 won the Olivier Award, and the most recent Encores! revival in 2022 that was so popular it extended its run multiple times, closing on Jan. 8, won the Grammy Award for Best Musical Theatre Album – and expect Tony nominations this spring.) Clearly a show that gets better with age, as long as the humanity is displayed.

Before Disney revised fairy tales, many were dark, and upon second glance, it’s not all cuddly forest animals and talking birds. However, director Justin Been recognized the whimsy and the playfulness, which he focuses on, with some snark. That helps considerably on the small intimate stage – yet he does not gloss over the less-than-merry, adding that necessary depth.

The library setting, with well-placed bookshelves, designed by Been and Dominic Emery, gives it a different perspective. The program lists the place as “an old library on the fringes of our memory.” And the time – “Maybe yesterday, could be tomorrow.” Been’s staging adroitly moves the characters physically to convey their power plays. And they leap off the pages, as this cast has no trouble breaking the fourth wall.

The narrator (Jon Hey) introduces four groups of characters – Cinderella (Maggie Nold) wishes to go to the festival, Jack (Shannon Lampkin Campbell) wishes that his cow Milky White would give milk, a baker and his wife (Tyler Luetkenhaus and Margaret Stall) want to have a baby, and Little Red Riding Hood (Grace Langford), wants to visit her grandmother.  

The baker’s neighbor is a witch (Jennelle Gilreath Owens) who has been pulling the strings from bitterness. A curse she cast has made them infertile because his father stole her vegetables, including magic beans. Her own mother cursed her, making her old and hideous. In turn, she took the baker’s father’s child, Rapunzel (Dawn Schmid).

The Witch makes a deal – bring her four ingredients “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” in three days’ time – and she’ll reverse it.

And we’re off “Into the Woods” on the rugged journey, where there is more chicanery afoot. Nobody is who they appear to be. Will they find out if what they’ve always wished for is what they truly want? They will lie, cheat, and steal to achieve their goals, but when the going gets tough, realize they must work together. The characters learn that they must carry each other, or the show will not resonate as deeply.

The 14-member cast fluidly follows its course, with some roles typically doubled. Most display crisp comic timing and strong vocals at the same time, although some characters aren’t that amusing (Jack’s mom, the tragic Rapunzel, and the rather generic roles of Granny and Cinderella’s Mother).

The Wolf, Little Red. Photo by John Lamb

As the petulant Little Red Riding Hood, Grace Langford brings out the girl’s brattiness, and then learns some things: “I Know Things Now.”

The ever reliable and assured Jon Hey plays both the Narrator and the Mysterious Man, who slithers out of owning up to responsibility. And his occasional jig must be a nod to Rumplestiltskin.

This time, though, Cinderella’s Prince and the Wolf, are played by separate characters. Agile Drew Mizell and animated Sarah Polizzi humorously step into the princes (Cinderella’s and Rapunzel’s) and as Cinderella’s awful stepsisters Florinda and Lucinda. It may be stunt-casting, but it works.

In fact, the broader the comedy, the more fun the performer has. It’s a treat to see comical Michael Wells return to the Tower Grove Abbey stage in multiple roles, for he is deliciously wicked as the Wolf (“Hello, Little Girl”), then portray Cinderella’s father, Prince’s steward and make hilarious sound effects as the crying baby.

The splendid Jennelle Gilreath Owens takes a more cynical, less menacing approach to the diva role of the Witch, which suits her, delivering a disconcerting “Last Midnight” and dynamic “Children Will Listen.” Her dialogue stings – especially such memorable lines as “I’m not good; I’m not nice; I’m just right” and “I was just trying to be a good mother.”

Other standouts include Tyler Luetkenhaus and Margaret Stall as the Baker and Baker’s Wife, both making noteworthy debuts. They breezily sail through “It Takes Two,” while their signatures “Moments in the Woods” and “No One Is Alone” are superb.

Bringing out the baker’s flaws, Luetkenhaus adds a layer of deceit that’s not always there, and you sense that the couple is truly working through their issues as the characters. It’s not always as superficial as some of the other characterizations. They delve into the hearts and minds.

Shannon Lampkin Campbell is a spunky yet naive Jack the Giant Killer, robust in “Giants in the Sky.” Been has moved the physical confrontation between the giant’s wife, steward and Jack’s mom (Laura Lee Kyro) offstage, which accounts for less fireworks. Yet, Milky White is as funny as ever, with its goofy, squatty, small appearance.

Photo by John Lamb

Just as she showed in “A Little Night Music,” Madeline Black has a regal bearing and her speech pattern accents the haughtiness of Cinderella’s stepmother. Granny and Cinderella’s mother are handled competently by Jennifer Clodi, who also voices the frightening Giant and his livid Wife.

The princess roles are capably filled by Dawn Schmid as distraught Rapunzel and Maggie Nold as tormented Cinderella, bringing out their characters’ insecurities.

The ensemble appears to be having fun together and has the silky-smooth voices to meet their major moments. It’s such a pleasure to hear the sublime Sondheim sung as intended.

Schultz has conducted the orchestrations by Jonathan Tunick with expert finesse, nimbly leading Marie Brown and Paul Rueschhoff on cello (alternating performances), Mo Carr on trumpet, Chuck Evans on viola, Steve Frisbee on violin, John Gerdes on horn, Lea Gerdes on flute, piccolo and reed, Mike Hanson on percussion, Ian Hayden on reed, and M. Joshua Ryan on bass through Sondheim’s recurring motifs. They are strategically placed among the bookshelves, a savvy touch.

Sarah Gene Dowling’s colorful wig design enhances the fantasy storybook world, pairing well with Eileen Engel’s character-appropriate costume design.

Jacob Baxley’s sound design is crystal clear, and Tyler Duenow’s lighting design effectively sets the moods.

And because the songs are so exquisitely rendered, moments will linger. The second act is aural perfection, connecting the story threads into a magical experience that is awe-inspiring.

Photo by John Lamb

Stray Dog Theatre presents “Into the Woods” March 30 – April 22 at 8 p.m. Thursdays through Saturdays, with additional performances at 2 p.m. on Sunday, April 2 and Sunday, April 16, at the Tower Grove Abbey, 2336 Tennessee Avenue, Saint Louis, MO 63104. Gated Parking. Additional information and ticket reservations: Call (314) 865-1995. Visit www.straydogtheatre.org.

The 3/31, 4/7, 4/14, and 4/21 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are Deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.

Audio Description: The 4/16 performance will be Audio Described by MindsEye. Audio Described performances are suitable for audience members who are blind or partially sighted. Please note that if you are interested in participating in the audio description of this performance you will need to call the Box Office to order your ticket. Please announce that you would like to reserve a pair of headphones for the Audio Description.

Jack, Baker, Cinderella. Photo by John Lamb

​

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