The Very Good, Not Bad at all Children's Show
Rating: 5
Alexander and the Terrible, Horrible, No Good, Very Bad Day - The Musical
The Coterie Theatre
It was predictable to assume that Judith Viorst's (Book and Lyrics) and Shelly Markham's (Music) "Alexander and the Terrible, Horrible, No Good, Very Bad Day - The Musical" was going to be an entertaining performance. And with a director like Missy Koonce, it would have been idiotic to assume that this show would not sneak in some very well-timed, adult-level comedy. Sitting in the theatre, it was hard to remember what Coterie shows were like. Trying to remember something from when you were 7 years old is usually difficult, but a pleasant surprise was waiting behind this if-I-stared-too-hard-I-would-get-headache colorful and wacky 20-foot set.
The set, designed by Jordan Janota, was versatile in its presentation as well as its use. Scott Hobart, the Technical Director and Master Carpenter, built a set that was fun, usable, and safe. Actors could climb all the way up to the top of it, jump off of it, and pull things out of it. I'm sure many a child sat there wanting to climb the ladder or ride on the bed, which is probably always a goal in children's shows.
The hope is to never see KC Comeaux (Alexander) perform badly, and that hope was transformed into an expectation on Friday, November 12th. Everything about this actor's performance was an A+. It was almost odd to see his performance next to everyone else's, though, because everyone else was having such a great, fantastic, musical day, and he exhibited a cross between an aggrivated teenager and a fussy child throughout the performance. The difference was handled well, though, so it did not seem like he was in an entirely different show. The classroom scene, in particular, was a highlight, and it showcased Comeaux's ability to go from high-wired musical to down-in-the-dumps-disappointed in half a second. Jessalyn Kincaid (Becky/Mother)sported a sarcastic and witty style of acting as the mother with only moments of annoyingly-cheerful musical mixed in. Her gorgeous ability to carry a tune was accented in "The Sweetest of Nights and the Finest of Days." The rest of the high-powered cast was pretty much seamless in their ability to be a thousand places at once and never appear exhausted: Steven Eubank, Emily Shackelford, Martin Buchanan, Francisco Villegas, and Price Messick. The sink bit, the getting dressed bit, the dentist bit, and the puppet bit are 3 moments that will stand out in heads all over Kansas City. But these actors did not need props to be incredibly entertaining (as awesome as Ron Megee's props were). Eubank's face alone will be etched in memory for a good 2 weeks (especially the one right before the head-banging bit), and Shackelford was particularily adorable as well.
The choreography, also by Missy Koonce, was fitting, and always displayed moments for laughter and actor-creativity. The costumes (Megan Turek) were, again, fitting - not distracting, but never lacking (and they almost constantly helped with the jokes - the train pajamas were amusingly disgusting). Amy M. Abels Owen had her work cut out for her as Stage Manager, but not one glitch was witnessed in the set, the scene changes, the props, the lights (Art Kent), or the sound (David Kiehl).
All together, not having children is not a good reason to come see this show. Not having a car, not liking musicals, or not even liking children's shows are horrible reasons to not see this show. You will be entertained. You will laugh. Like many Disney movies, the adults are not left out of this production. The actors' ability to present good jokes (even without the help of Missy Koonce, surely) and respond to childrens' interjections will make you glad you came to see this show. And if you DO like children's shows, you will feel like a kid again.
Production runs through December 31st on select dates. $15 for adults, $12 for youth. Be sure to visit coterietheatre.org for more information on specials.
read the review at KC Stage
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