The Karate Kid - The Musical, now having its world premiere at Stages St. Louis, and boldly promised for Broadway. There are plenty of admirable moments of spiritual elegance, in apposition …
Here, Shakespeare's famed story of ambition and murder and very slippery prophecy explodes in great, wretched chaos, with overlapping monologs and unexpected costumes and settings and props"…
It's a herculean effort, both for President Johnson and actor Brian Dykstra, one which often resembles a collision of C-SPAN and "Game Of Thrones."
The announcement of the impending closure was our local theater community's latest 100 mph crash into the realities that every theatre must eventually face.
As a young man, the Pulitzer Prize winning author (of Cat On A Hot Tin Roof, among others) performed in community theater at the same austere, elegant St. Louis Artists' Guild building, on t…
... the implications of murder and robbery tower over them as their celebrity grows—thanks to directors Scott Miller and Mike Dowdy. The crazy love on stage becomes an end in itself for th…
The cast is absolutely great, the music weaves a dissonant spell, and the humor is brilliantly wacky under the direction of Shulee Cook (with the surprisingly complex musical direction of Ni…
Nick Otten's play is strangely, inescapably endearing, in spite of the fact that it shows how each of our own lives can seem like patchwork monsters: haunting us just as much as Mary Shelley…
Nicole Angeli (as Clarice) and Maggie Murphy (as Lucrece) are excellent as a pair of wacky, glammed-out Parisian mademoiselles in David Ives' 2011 adaption of Pierre Corneille's 1644 play.
As the Marquis, Ted Gregory is simply mind-boggling-shocking, hilarious, giddy, and utterly grotesque—in a stylish, delightful sort of way that makes him even more dangerous, I suppose. Th…
In an outstanding new production of Frank Loesser and Abe Burrow's famed musical comedy, we have a show that may, nevertheless, be remembered as the "Psychedelic H2$." And, of course, I pick…
Lindsey Jones is the latest to stake her claim, singing the role terrifically, and playing comedy and tragedy with honesty and simplicity.
Challenging for the actors, and sometimes even challenging for the audience, the RS Theatrics production of Frank McGuinness' 1992 hostage drama gives us three outstanding performers to appr…
Before the opening, Mr. Miller said that the concept of directing a cast—even one as talented as this one is—to keep at least one hand (in a Mickey Mouse glove) planted on a new pick-up …
If you can stand some "elbow-in-the-face" humor, and equally brash sex and drug references please don't miss it.
There's nothing like sitting back and just laughing for 75 minutes, and if you doubt it at all, go see this show. Five very funny, talented actors show you how to really laugh at yourself, e…
There are plenty of funny, endearing moments, too, supplied by actor Bobby Miller as a used furniture buyer. But, even at the age of 89, Mr. Solomon seems like the only man on stage who can …
If there really is an apocalypse out there in our future, it'll probably bear a strong resemblance to Michael Frayn's farce-to-end-all-farces, Noises Off.
It almost seems [Scott] Miller (as Artistic Director) is choosing his seasons nowadays for sheer emotional complexity, along with New Line's usual focus on strong musicianship.
The whole story becomes a gripping contest between the steadfast endurance of an older man (Mr. Davis) and the fear and impulsiveness of two younger men. And, thanks to director Doug Finlays…
This is a surprisingly mainstream story, for a theater company that's usually uniquely, disarmingly other-worldly. And that puts me in an awkward position.
This is a lavish, gripping new production of one of the longest-running plays in the English language. And Agatha Christie's whodunit shines with an outstanding cast of quirky, fascinating a…
The full title of play is The Butterfingers Angel, Mary & Joseph, Herod the Nut and the Slaughter of 12 Hit Carols in a Pear Tree.
A weird, funny, terrific little show that puts a lot of big touring productions to shame, for sheer wit and audacity—and the simple fact that it assumes the audience has a brain in its hea…
Suppose "1984" came, and we never realized it—that there was no George Orwell, with writing as direct as cannon-fire, to tell us about the horrors of a violently out-of-control government,…