A Chorus Line is still kicking Fox Theatre

by Nancy Larson

Just as it was in its 1975 debut, the new touring production of A Chorus Line, recently on stage at the Fox Theatre, is still all about the numbers.
Five, six, seven, eight! Twenty-five performers, soon narrowed to 17, then to eight, all dance their hearts out, hoping to become the “One Singular Sensation” heralded in the musical’s iconic song.

Now, as then, it’s a cast in which no one — and everyone — is a star. The brilliance of the story, the dialogue and the songs is that we grow to care about each one as they succumb to director Zach’s urging to talk about their lives, their thoughts and their aspirations.

Haughty Sheila’s father was distant and philandering. Sultry Cassie once had star potential but now she’d give anything just to be back in the chorus. Timid Paul left home at 14 and made his way doing drag. We learn that for many of these characters, dance is an escape. “Everything is beautiful at the ballet,” sing several women who, as children, found happiness, beauty and belonging as they gazed up at the grown-ups in tutus.

Like an omnipotent father figure, mostly heard but not seen, Zach is firm but gentle with this vulnerable ensemble. After Paul dissolves in tears during his own touching, but slightly long soliloquy, Zach steps down from on high to put a reassuring arm around the young man.

But it is the dancers’ irrepressible can-do attitude that dominates the show. Their contagious passion pours out of their strong, limber bodies as they move in unison or alone. I’m sure I wasn’t the only audience member tapping my toes and shifting my shoulders to the music.

Though A Chorus Line does explore serious issues like child neglect, unemployment and failed relationships, its overriding message is one of optimism: When you’re doing what you love, it’s worth the sacrifices along the way.

Beyonce Obsessed harkens back to Fatal Attraction

by Andrew D. Smith

Obsessed brings back the tried and true formula of Fatal Attraction and adds some cool “it” factor by starring a hip young cast. What also sets it apart is the development of an African-American family at the center.

Derek Charles, played admirably by rising star Idris Elba, is an up and coming young finance manager who seemingly has it all. His beautiful, devoted wife Sharon, played by Beyonce Knowles, lovingly stays at home, raises their cute little boy and caters to Derek’s every need and desire.

However, this seemingly perfect life is about to be rudely shattered by scheming, conniving, femme fatale Lisa, cunningly played by Ali Larter. Lisa takes one look at the successful, handsome Derek and begins to manipulate and insinuate herself into his arms.

Admirably, Derek resists her best efforts, and Lisa’s scheme takes a dark sinister turn. Throughout the movie, Derek is tricked, trapped and endlessly stalked by the lovely but twisted Lisa. Sharon unwittingly falls for Lisa’s games and becomes upset and distanced from her husband. Finally, Sharon discerns the truth, and the inevitable clash between devoted wife and obsessed and demented stalker builds toward the final confrontation.

The pace of the movie moves the watcher briskly from beginning to end. The plot is well developed, and the cast does an exemplary job of bringing the characters to life. Elba does a wonderful job of portraying a successful young career minded man trying to continue to move forward and avoid the clutches of the desperate lady who becomes obsessed with having him.

Knowles showed an acting depth not expected from a pop star diva. Her role as protective wife and mother grew throughout the movie and added a sense of realism when she found out the truth behind the schemes of her nemesis. Larter as the obsessed temporary worker brought to life the complex role of Lisa. Switching from flirtatious to dangerous, funny to obsessed, Larter brought the character to life and made the story believable.

If you enjoy femme fatales and exploration of the depths of demented obsessions, make sure and check out Obsessed.

Star Trek This first of a new generation may help a renewed franchise live long and prosper

by Alan Inkenbrandt


The latest entry in the Star Trek franchise dares to boldly go where the original 1966 TV series has gone before — with highly entertaining results. In sharp contrast to the glacial pace of earlier Trek films, this one — the 11th — starts at warp speed and maintains that frenetic pace to the end credits.

Director J.J. Abrams, creator of TV's Lost and Alias, has reimagined the universe of the 24th century with a talented young cast and whiz-bang 21st century effects. Kirk, Spock, and the rest of the crew of the Starship Enterprise have returned — only a bit hipper and more intense than their original incarnations. They're also considerably more self-aware, constantly winking at the cornier aspects of the show that have inspired countless William Shatner impersonations.


That sort of post-modern jokiness could have sunk the new Star Trek, but Abrams manages to find the right balance between in-jokes and reverence. Everything from the performances to the art design remains true to the spirit of the original show without getting trapped by nostalgia. It's a tricky business, and die-hard Trekkies probably will howl. They'll also be horrified by the clever bit of sci-fi sleight-of-hand that Abrams employs to free himself from the constraints of the old storyline.


The crux of the story is this: The maiden voyage of the Enterprise is interrupted by a Romulan on a rampage. Nero (Eric Bana), rogue commander of an enormous Romulan vessel, has sworn revenge upon the United Federation of Planets in general and Mr. Spock (Zachary Quinto) in particular.


After the Enterprise's original commander, Capt. Pike (Bruce Greenwood), is captured, James T. Kirk (Chris Pine) and the rest of the inexperienced crew are left to stop Nero. They also discover why he has gone berserk, with very personal ramifications for both Kirk and Spock.

Star Trek is a terrific blend of action, humor and just a drop of pathos. The plot echoes the grand themes that made the original iconic, yet steers clear of the ponderousness that turned off non-Trekkies.

The actors have found a way to evoke the essence of their predecessors while making the roles their own. In short, this film pulls off the near-impossible task of introducing Capt. Kirk and his crew to the next generation without disrespecting the qualities that made the original work.


If the future sequels are as fun as this one, let's hope that the Star Trek franchise lives long and prospers.

Riverdance Takes its Last Turn on the Floor Fox Theatre

by Solange Deschatres

Since 1995 Riverdance brought the art of traditional Irish dance to world-renowned fame, gracing stages all over the globe the impeccably choreographed, traditionally stiff bodied, rapid footwork movement that has delighted and amazed a wide berth of audiences. Now, the era of Riverdance is coming to a close as the company makes its final tour through the US.

Clearly, from the looks of the final showing at the fabulous Fox Theatre here in St. Louis, it is the right time for the era to sing its swan song.

The theme for the show seems a bit muddled and inconsistent, beginning with earthy, elemental songs and dances in Act 1 and suddenly switching to immigration to America by Act 2. This divisiveness in theme makes the entire production seem disjointed, especially when similar elements return periodically throughout the show with no explanation.

Midway through Act 1, it is evident that Riverdance is trying to salvage its former luster. Both acts seem to throw in any ingredient just to spice things up, from bringing in the Moscow Folk Ballet, to American tap artists, to a lithely coiling flamenco artist, Rocio Montoya. Yes, flamenco, which does actually mix surprisingly well with the Irish hard shoe dancing.

The dances themselves continue to delight, however. Marvelous feats of lightening-fast footwork never get old. Tapping battles to see who has a faster staccato on the floor are invigorating to witness.

The two American tap performers, Kelly Isaac and Karen Callaway Williams give the Irish superstars a run for their insoles as they trade taps in a dynamite fashion. Isaac polishes off the act with some surprising acrobatics.

The spotlight remains on the two principle Irish dancers, Padraic Moyles and Alana Mallon, much of the time. Moyles bursts out on stage with shiny shirts and pants and slicked black hair, hopping and jumping to the elated cheers and claps from the audience like an Irish John Travolta. The petit Mallon skims the floor like a dainty woodland fairy, her tiny limbs flickering nimbly to propel her from one flashy number to the next. Mallon’s costumes are eye popping, with sparkles and vivid splashes of color. However, one green number tempted the “wardrobe malfunction” zone by being dangerously low on the bustline as she leapt around opening night.

The amazing precision, creativity and athleticism of the dancers continues to be Riverdance’s claim to fame. Also, fiddler Pat Mangan, piper Matt Bashford, percussionist Mark Alfred and saxophonist Daniel Dorrance deserve a nod for their lively medleys. In spite of the amazing talent of these musicians, however, the vocal score for the program falls flat like an unperfected soufflé. The ingredients are right: talented performers, deft musicians, but much of the vocals seem like an overly-processed version of Irish song, like a plastic, bad pop copy of someone else’s idea of tradition.

Michael Samuels, the primary soloist, sings “Heal Their Hearts,” an annoying, over-the-top “Old Man River” type medley that goes on and on (and on), and returns for a reprise at the end of the show. The song is just out of reach of Samuels’ range, which makes the length of it that much more painful.

It’s time to take the river back home now. It’s been fun and we’ve all enjoyed the ride. However, much like a great night of dancing, all good things must come to an end.