Kansas City theaters offered strong productions in 2009

The Kansas City theater scene is an extremely rich and vibrant one, a fact that local patrons often take for granted.

But once in a while outsiders take notice, forcing us to take stock of what we have.

The Wall Street Journal’s renowned theater critic Terry Teachout recently named the Kansas City Repertory Theatre’s production of “The Glass Menagerie” as one of the two best productions in the entire country for 2009.

Teachout called director David Cromer “a true master of poetic naturalism” for his work on Tennessee Williams’ classic drama.

But that was just one of several strong productions from The Rep under the watchful eye of Artistic Director Eric Rosen. Others included an imaginative staging of “Arabian Nights” and a beautifully produced version of the musical “Into the Woods.”

Rosen raised eyebrows, however, when he decided to shelve their annual rendition of “A Christmas Carol” in lieu of a potentially Broadway-bound musical version of the movie “A Christmas Story.”

It’s too bad that Teachout did not have a chance to see the outstanding version of David Mamet’s “Glengarry Glen Ross,” produced by Kansas City Actors Theatre.

Directed by John Rensenhouse and featuring an outstanding ensemble, this biting comic drama was probably the year’s best local play.

Broadway Across America continued to bring shows from the Great White Way to local audiences. The biggest hit was “Wicked,” a sumptuously produced and wildly entertaining re-imagining of the characters from “The Wizard of Oz.”

But the area’s best musical of the year was “Big River,” a “concert” version of Mark Twain’s “Huckleberry Finn” mounted by Director Sarah Crawford for Musical Theatre Heritage.

Seth Golay as Huck led a large and talented ensemble in this energetic, toe-tapping show. “Big River” and other MTH productions were performed at the Off-Center Theatre in Kansas City’s Crown Center.

Other notable musicals included the Barn Players’ adaptation of “The Secret Garden” and the Theatre in the Park’s extravagant version of “The Wedding Singer.”

Starlight Theatre is to be commended for bringing in new shows. This summer’s lineup included “Legally Blonde” and a locally produced adaptation of “Anything Goes.”

Although many memorable performances were turned in during the year, Bruce Roach’s tour-de-force turn in the Coterie’s “Tell-Tale Electric Poe” was truly electric. His was the year’s finest acting achievement.

Under the sharp direction of Jeff Church, Roach brought three stories and three poems by Edgar Allan Poe to vivid life.

Other notable work was turned in by Victor Raider-Wexler in KCAT’s “Glengarry Glen Ross,” Marilyn Lynch in the Metropolitan Theatre Ensemble’s production of Edward Albee’s “Seascape” and Lauretta Pope in the Unicorn’s “Speech & Debate” and “My First Time.”

In MHT’s “Big River,” veteran character actor Kip Niven brilliantly stole the show as Huck’s pappy, lamenting the intrusion of the “dadgum guv’ment.”

Jennifer Coville and Alli Tunnell also gave fine performances in The Barn Players’ production of the edgy drama “Stop Kiss.”

Intrepid theater groups continued to find new venues to express themselves. Director Bess Wallerstein’s staging of Rob Roznowski’s “Arts or Crafts” was held at the H&R Block Artspace at 16 E. 43rd St. in Kansas City, Mo.

Corrie Van Ausdal performed the classic one-woman suspense drama “Sorry, Wrong Number” at the Fishtank, 1715 Wyandotte, Kansas City, Mo.

The saddest news of the year was the passing of longtime Kansas City theater stalwart Molly Jessup. Jessup was a gifted pianist, arranger, musical director and conductor who worked with many local theater companies over the past several decades.

Jessup’s talent and good humor elevated every production she was associated with during her long career. She will be greatly missed.

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