Sunday, March 17, 2024

Minterview: Joe Hanrahan and Eileen Engel blend cabaret and theatre at the Blue Strawberry

[Minterview = mini interview.]

Through March 27th, Joe Hanrahan’s Midnight Company is presenting the latest in a series of cabaret-oriented original shows at The Blue Strawberry Showroom and Lounge, just down the street from the Gaslight Theatre on North Boyle.

Movie Music

In “Movie Music” Hanrahan and Eileen Engel serve as hosts for an evening of a dozen songs from classic films. The show includes the stories behind movies along with re-enactments of some memorable scenes.

In “Jacey’s Jazz Joint,” Engel is Jacey, singing an evening of classic songs at her club. As the evening goes on, the songs trigger memories, and Jacey reveals stories of where the money came from to open the joint (a guy named Johnny), how the thorny relationship with Johnny evolved, and the dangerous conclusion to their romantic journey.

I had a chat with Hanrahan and Engel via email about the creative process behind the shows. Here it is, with some edits for clarity.

Chuck Lavazzi (CL): Were “Movie Music” and "Jacey’s Jazz Joint” developed around the same time? Are they companion shows in any way?

Joe Hanrahan (JH): Both were developed at the same time. Eileen and I talked about doing a show. I knew she was classically trained. and did musical theatre, but asked what popular genres she liked, and she said "Jazz."

So I wrote “Jacey's.” But I thought the show was a risk. Most if not all cabaret is real, but this would be a story, fictional, kind of Cabaret Noir. But in case we balked at “Jacey,” I did the movie show as a backup, a middle of the road show that should work. And Eileen, in a magnanimous offering, agreed to do both.

CL: Joe, you’re listed as playwright but to what extent are they collaborations?

JH: The shows are true collaborations. I wrote the scripts. Eileen and I both chose the songs. And the character of Jacey was developed precisely on what Eileen's bringing to the table.

Colin Healy, Music Director and pianist both shows, added some welcome ideas as well as arranging the music. In the case of “Jacey” he and the band (Blake Mickens on bass and Bradley Rohlf percussion ) created their own signature “Jacey's Jazz Joint” sound.

CL: Tim Schall has said that a good cabaret show should be organized like a one-act play, with an overall dramatic arc. For the last year or so, Joe, you have taken this to the next level with scripted shows that are explicitly a cabaret/theatre hybrid. What made you decide to move in that direction after so many years of writing and directing straight plays for Midnight?

JH: After so many years of straight plays, my first introduction to the Cabaret world was with the singer Laka. I first saw her at Blue Strawberry, we started talking, and somehow, we talked a show.

That resulted in “St. Louis Woman”. That may have been the first “cabaret theatre” piece. It was really a play with music. Laka and I discussed doing a stripped down version of the show at Blue Strawberry, but she went in a different direction, and it left me thinking about future shows at Blue Strawberry.

That segued into shows with Kelly Howe and Jennelle Gilreath Owens, and for both (and beyond) I started and stayed honest to my theatre roots. With each show I was compelled to build the music around a real story, something like Tim says, like a one-act play. But written specifically for the Blue Strawberry space and its traditional cabaret setting.

Jacey's Jazz Joint

As other shows move into development status, will continue to pursue that direction.

CL: Eileen, given that your most recent show was SoulSiren’s production of the 1964 drama “Dutchman,” “Movie Music” and "Jacey’s Jazz Joint" look something of a departure. What drew you to these projects?

Eileen Engel: I like to engage in the art of theatrical storytelling and performance through many different avenues, including all types and styles of plays and musicals. I'm lucky to have been able to have a range of different performance opportunities over the years and I will always strive to challenge myself and grow in each adventure.

This year, I was fortunate enough to be able to touch on the dramatic realm and also get to bask in the vivacious and melodious world of musicals and, in this case, Joe's cabaret theatre. My passion for collaborative creative endeavors extends to embracing diverse opportunities, including the exploration of new works.

Although this is the first time Joe and I have worked together, it was a very seamless process. Even though working with Joe was new to me, I have previously collaborated with Colin Healy and Bradley Rolf many times. It was wonderful to blend new and old faces on these shows. I'm very honored to be a part of everything and I really look forward the future of it all!

“Movie Music” had its first performance on March 6th and will be repeated on March 20th. “Jacey’s Jazz Joint” premiered on March 13th and will repeat on Mach 27th. All shows are at the Blue Strawberry, 364 North Boyle. For more information: midnightcompany.com.

St. Louis theatre calendar for the week of March 18. 2024

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Molly Sweeny
Photo: John Lamb
Albion Theatre Company presents Molly Sweeny by Brian Friel through March 31. “Blind since infancy, Molly is persuaded by her husband and a surgeon to undergo an operation to try to restore her sight. “What has she got to lose?” the men ask.  This powerful drama by one of Ireland’s greatest playwrights tells Molly’s story through monologues from the perspective of three characters: Molly, her husband Frank, and her surgeon Mr. Rice.” Performances take place in the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. For more information: albiontheatrestl.org.

The Black Rep
presents The Wedding Band by Alice Childress through March 31.  “Carrying the subtitle “A Love/Hate Story in Black and White,” this is one of American drama’s most revealing tales of interracial love, addressing prejudice and ignorance in early 20th- century America. Set in the Deep South at the end of World War I during the flu epidemic, the play traces a devoted couple’s caustic confrontations with anti-miscegenation laws, family racism, community disapproval, and their own long-buried feelings.” Performances take place at the Berges Theatre at COCA in University City  For more information: www.theblackrep.org.

for colored girls...
Photo: Wolfe Creative Media Services
The Hawthorne Players present for colored girls... through March 24.  “"for colored girls..." offers a transformative, riveting evening of provocative dance, music and poetry.  Women, only identified by the color they are assigned, such as Lady in Red or Lady in Yellow. This groundbreaking "choreopoem" is a spellbinding collection of vivid prose and free verse narratives capturing the brutal, tender and dramatic lives of contemporary Black women. NOTE: Mature language and subjects will be used. Viewer discretion is advised. All patrons, regardless of age must have a ticket for admittance.”  Performances take place in the Florissant Civic Center Theatre in Florissant, MO. For more information: http://www.hawthorneplayers.info

The Kirkwood Theatre Guild presents The Diviners through March 24. “The Diviners is set in Zion, Indiana, during the Great Depression. Buddy Layman is a mentally challenged boy whose sweet nature touches those he meets. Buddy is skilled at finding water (divining). When a stranger, a retired preacher, comes to town, he is able to relate to Buddy in ways most people can’t. As the preacher attempts to help him, Buddy’s past is revealed but cannot be escaped.” Performances take place at the Robert Reim Theatre in Kirkwood, MO. For more information: ktg-onstage.org

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present A Fistful of Hollars  through May 4. "Gun slingers, dance hall girls, cowboys, gold diggers, cowboy boots and ten-gallon-hats will abound. Rowdy cowboys will duel to the death as the crooked sheriff watches with glee. But none of these characters are as dangerous as Nasty Nate, he’s the orneriest gun in the west and word is that he’s going to be stirring up trouble at the Lemp Mansion. " The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Movie Music
The Midnight Company presents Eileen Engel and Joe Hanrahan in Movie Music Wednesday March 20 at 7:30 pm. “The Midnight Company’s world premiere cabaret theatre show, Movie Music, will feature a dozen award-winning songs. Eileen Engel and Joe Hanrahan serve as hosts for a colorful evening of movie memories. They’ll tell the stories behind these movies—the origins, the casting, and some of the foibles that inevitably go along with big productions. They’ll present memorable scenes from these movies as well, and will revisit and present the amazing songs that provided the soundtrack to these films and to our lives.” The show is written and directed by Joe Hanrahan with music direction by Colin Healy. Performances take place at the Blue Strawberry on North Boyle.  For more information: bluestrawberrystl.com

All My Sons
Photo: Ethan Aylesworth
New Jewish Theatre presents Arthur Miller’s All My Sons Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm, March 21 – April 7. “Set following World War II, All My Sons is the story of two families destroyed by deception and love. Joe Keller and Steve Deever were business partners and neighbors, but the War changed everything and tore their close families apart. As Kate Keller holds out hope for the return of her son Larry (missing and assumed killed in the war), her other son Chris invites Larry’s childhood sweetheart Ann Deever home for a visit, setting in motion the revelation of terrible truths they have fought hard to avoid.  Will the Deever and Keller families survive their own secrets? The answers transform their secretive past into matters of life and death.” Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com

Sweet Potato Queens
Photo: Jill Ritter Lindberg
New Line Theatre presents the musical Sweet Potato Queens through March 23. “Get ready for the outrageous, high-powered, Southern rock musical that tells the true story of "Boss Queen" Jill and her closest friends in Mississippi, and how they learn to grab life by the sequins, feathers and tiaras to live their lives out loud, on their own terms.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com

The Repertory Theatre of St. Louis presents August: Osage County by Tracy Letts, March 19 through April 7. “This Pulitzer Prize and Tony Award® winning family drama paints a stark and often unflattering picture of the Midwestern family. In this tableau: the pill-popping and manipulative matriarch, a vanished patriarch and three daughters with secrets of their own. Familial tensions rise when all are called back to the family home in Oklahoma. Equal parts heartfelt and heart-wrenching, this story gives an in-depth look at what it takes to keep a family together.” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

The St. Louis Writers Group presents a reading of Mexico by Chris Oliver on  Monday, March 18, at 6:30 pm.  .  More information is available at the St. Louis Writers Group Facebook page.


Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.
To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.
Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Thursday, March 14, 2024

Symphony Preview: Shall we dance?

“Invitation to the Dance” (“Aufforderung zum Tanz”), Op. 65, is one of the more popular pieces by Carl Maria von Weber, especially in its 1841 orchestration by Hector Berlioz. It’s also a good description of the concerts Stéphane Denève and the St. Louis Symphony Orchestra (SLSO) will perform this weekend (Saturday and Sunday, March 16 and 17).

[Preview the music with the SLSO's Spotify playlist.]

Adam Schoenberg
Photo courtesy of the SLSO

The program consists of only two works: “Picture Studies,” a 2011 suite by Adam Schoenberg (b. 1980), and Music Director Stéphane Denève’s compilation of music from the three concert suites Sergei Prokofiev (1891–1953) assembled from his ballet “Romeo and Juliet.”

The Schoenberg work was the result of a commission by the Kansas City Symphony and the Nelson-Atkins Museum to write a 21st-century version of “Pictures at an Exhibition” by Modest Mussorgsky (1839–1881), which in its 1922 orchestration by Maurice Ravel has become a staple of the symphonic repertoire.

Mussorgsky’s suite was based on a collection of works by a single artist, the composer’s friend Viktor Hartmann. Schoenberg’s work is a collection of musical invocations of works by by eight different artists (four paintings, three photographs, and one sculpture). The only common thread is that they were all on display at the Nelson-Atkins Museum. “My main objective,” says Schoenberg in this week’s program notes, “was to create an architectural structure that connected each movement to the next while creating an overall arc for the entire piece.”

Those program notes include not only extensive quotes from the composer but also an interview with choreographer Kervin Douthit-Boyd, whose Big Muddy Dance Company will perform the world premiere of the SLSO-commissioned ballet Douthit-Boyd created for Schoenberg’s music. So rather than write any more about his project myself, I will simply refer you to those notes.

I will, however, make one recommendation: as you read Schoenberg’s commentary of the suite, listen to its world premiere recording by Michael Stern and the Kansas City Symphony Orchestra on the SLSO’s Spotify playlist. Granted, this music is so approachable that an advance listen isn’t really necessary, but reading Schoenberg’s thoughts as you experience his music adds a great deal to the experience.

One more thing that will enhance that experience is seeing the art that inspired “Picture Studies.” Here are the links to the works in question, along with their corresponding movements. I have excluded movements I (Intro) and VIII (Interlude) since those are statements of what Schoenberg calls a “Ghost-like piano theme” that’s a nod to the recurring “Promenade” motif in Mussorgsky’s “Pictures”.

Kirven Douthit-Boyd
Photo courtesy of the SLSO

II. Three Pierrots: Die Drei Pierrots Nr. 2, a painting by Albert Bloch 1882–1961.
III. Repetition: Repetition, a photograph by Kurt Baasch (1891–1964).
IV. Olive Orchard: The Olive Orchard, a painting by Vincent van Gogh (1853–1890).
V. Kandinsky: Rose with Gray, a painting by Wassily Kandinsky (1866–1944)
VI. Calder’s World: Untitled, 1937,  a mobile sculpture by Alexander Calder (1898–1976). There’s more than one Calder mobile labeled Untitled, 1937, but based on Schoenberg’s description I think this is the right one. The Nelson-Atkins Gallery, on the other hand, has Untitled, 1936, so the year must might be wrong.
VII. Miró: Women at Sunrise, a painting by Joan Miró (1893–1983).
IX. Cliffs of Moher: Atlantic Ocean, Cliffs of Moher, a photograph by Hiroshi Sugimoto  (b. 1848). This and the last movement are played without pause after movement VIII.
X. Pigeons in Flight: Pigeons in Flight, a photograph by Francis Blake (1850–1913).

After intermission it’s back to the ballet. This time, though, the dancing will have to be imaginary since we’ll be hearing a good 40 minutes of music from Prokofiev’s “Romeo and Juliet” suites. The ballet and the suites are quite popular today, but the story of their creation is not a particularly happy one.

Prokofiev emigrated to the West in 1918, first to the USA and then to Europe. In 1936 he was lured back to the Soviet Union with what proved to be false promises of personal and artistic freedom. At first he was allowed to retain his passport and make appearances abroad, including an American tour in 1938. But then, as Dorothea Redepenning wrote in a 2001 article for Grove Online, “the trap snapped shut: he was asked to hand in his passport for the transaction of a formality, but did not get it back, so that there could be no question of further tours abroad.”

With the closing of the trap came the imposition of censorship. Although Prokofiev had completed the score for “Romeo and Juliet” in 1936, he soon found obstacles in the path to an actual performance. And there was also the matter of the ending.

When he began work on “Romeo and Juliet” in 1935, Prokofiev had decided to give the ballet a happy ending, and his score reflected that decision. As the composer dryly noted, "living people can dance, the dead cannot". And, as Alice Jones wrote in a 2008 article for The Independent, there was also “the little-known fact of Prokofiev's deeply held Christian Science beliefs, according to which death does not exist. In Prokofiev's vision, the love of Romeo and Juliet is infinite, transcending all earthly boundaries and existing in a paradise-like realm.” Stalin’s censors disagreed, and “Romeo and Juliet” didn’t get an officially approved Bolshoi production until 1946—and then only on the condition that Prokofiev cut the 20 minutes of “happy ending” music he had originally composed and end the ballet with the death of Romeo and  Juliet.

Prokofiev in 1918
en.wikipedia.org

The original “happy ending” version of the ballet was rediscovered and performed at the Bard Summerscape festival outside New York in 2008, but the Stalin-approved version is still the one most often performed today.

As noted above, the “Romeo and Juliet” suites have been popular with audiences. But as Joshua Barone wrote in a 2018 New York Times article, “the suites, which are structured more like symphonies than tone poems, can be unsatisfying for conductors.” That includes Maestro Denève.

“I wish I could call Prokofiev and ask him what is the exact purpose of his three suites,” Mr. Denève said in an interview for the article. “With all my respect, of course, for Prokofiev, I can’t understand his logic.”

When the SLSO performed music from the “Romeo and Juliet” suites in 2016  guest conductor Gilbert Varga was on the podium with seven movements selected to mirror the dramatic arc of both Shakespeare’s play and the revised ballet. Stéphane Denève is doing essentially the same thing this weekend but—based on the number and order of the selections—in somewhat greater depth. You can see a more detailed breakdown in the program notes or just listen to the selections in the Spotify playlist.

The Essentials: Stéphane Denève conducts the St. Louis Symphony Orchestra in Adam Schoenberg’s “Picture Studies” and selections from the ballet “Romeo and Juliet” by Prokofiev. “Picture Studies” will be accompanied by an SLSO-commissioned ballet performed by the Big Muddy Dance Company with choreography by Kervin Douthit-Boyd. Performances are Saturday at 7:30 pm and Sunday at 3 pm, March 16 and 17, at the Sifel Theatre downtown.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Sunday, March 10, 2024

St. Louis theatre calendar for the week of March 11, 2024

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Albion Theatre Company presents Molly Sweeny by Brian Friel March 15 through 31. “Blind since infancy, Molly is persuaded by her husband and a surgeon to undergo an operation to try to restore her sight. “What has she got to lose?” the men ask.  This powerful drama by one of Ireland’s greatest playwrights tells Molly’s story through monologues from the perspective of three characters: Molly, her husband Frank, and her surgeon Mr. Rice.” Performances take place in the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. For more information: albiontheatrestl.org.

The Black Rep presents The Wedding Band by Alice Childress opening on Wednesday, March 13, and running through March 31.  “Carrying the subtitle “A Love/Hate Story in Black and White,” this is one of American drama’s most revealing tales of interracial love, addressing prejudice and ignorance in early 20th- century America. Set in the Deep South at the end of World War I during the flu epidemic, the play traces a devoted couple’s caustic confrontations with anti-miscegenation laws, family racism, community disapproval, and their own long-buried feelings.” Performances take place at the Berges Theatre at COCA in University City  For more information: www.theblackrep.org.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present A Fistful of Hollars  through May 4. "Gun slingers, dance hall girls, cowboys, gold diggers, cowboy boots and ten-gallon-hats will abound. Rowdy cowboys will duel to the death as the crooked sheriff watches with glee. But none of these characters are as dangerous as Nasty Nate, he’s the orneriest gun in the west and word is that he’s going to be stirring up trouble at the Lemp Mansion. " The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Eileen Engel in Jacey's Jazz Joint
The Midnight Company presents Eileen Engel in Jacey’s Jazz Joint Wednesdays, March 13 and 27, at 7:30 pm. “Engel is Jacey.  You’re at her place, and she wants you to have the best time.  Jacey and her band will be performing some of the best songs you’ve ever heard, done in their inimitable Jacey’s Jazz style.  As the evening goes on, the songs will trigger memories, and Jacey will re-veal stories of where the money came from to open the joint (a guy named Johnny), how the thorny relationship with Johnny evolved, and the dangerous conclusion to their romantic journey.  The heartfelt songs Jacey sings echo the joy and pain of their love.” The show is written and directed by Joe Hanrahan with music direction by Colin Healy. Performances take place at the Blue Strawberry on North Boyle.  For more information: bluestrawberrystl.com

Sweet Potato Queens
Photo: Jill Ritter Lindberg
New Line Theatre presents the musical Sweet Potato Queens through March 23. “Get ready for the outrageous, high-powered, Southern rock musical that tells the true story of "Boss Queen" Jill and her closest friends in Mississippi, and how they learn to grab life by the sequins, feathers and tiaras to live their lives out loud, on their own terms.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com

The Political Theatre Group presents A St. Paddy's Day Palooza Saturday at 8 pm Saturday and 2 pm on Sunday. “Act One contains popular Irish songs performed by Paul Kruta.  Paul is a regular performer of Irish music at Morrison's Irish Pub in Alton, IL. Set list includes rebel/patriot tunes and Irish drinking songs.  Act Two contains the Irish one-man play The Good Thief by Conor McPherson and performed by Anthoy Wininger.  A ruffian reveals the remorse and regret he feels after a botched job leads to murder, kidnapping, and finally a desperate flee that results in unfortunate casualties and imprisonment.  The show contains graphic language.” The show takes place at The Gaslight Theater, 358 N. Boyle Ave. For more information:  tickets.gaslighttheater.net.

The St. Louis Writers Group presents a reading of David Hawley’s new one-act plays Elly and Hubert and Dad's Comfortable Dinner with His Family on  Monday, March 11, at 6:30 pm.  More information is available at the St. Louis Writers Group Facebook page.

The Servant's Last Serve
The Theatre Guild of Webster Groves presents the comedy The Servant’s Last Serve Friday and Saturday at 7:30 pm and Sunday at 2 pm through March 17.  “It is 1912, London. Due to a misdiagnosis from his incompetent doctor, wealthy Sir Winston Livingston believes he is going insane and does not have long to live. He summons his staff and opportunist niece from North Carolina for a formal reading of his will. Livingston Manor falls into chaos when Sir Winston announces he is willing the entire estate to his beloved cat, Master Fifi. Included in this announcement is the provision that should the cat predecease Winston the estate would be divided among the servants and his niece.” Performances take place at the Guild theatre at 517 Theatre Lane, at the corner of Newport and Summit in Webster Groves. For more information: www.webstergrovestheatreguild.com

Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.
To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.
Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Wednesday, March 06, 2024

Symphony Review: A bright, sunshiny day at the opera with the SLSO

We’re still nearly three months away from opening night at Opera Theatre of St. Louis, but last Sunday (March 3) Stéphane Denève and the St. Louis Symphony Orchestra decided to “spring ahead” with a consistently entertaining afternoon of opera’s Greatest Orchestra Hits.

[Find out more about the music with my symphony preview.]

The program jumped into high gear immediately with the attention-grabbing fanfare of the “Toccata” from “L’Orfeo” by Claudio Monteverdi (1567–1643). It’s generally regarded as the first true opera, a musical genre that (in the words of Maestro Denève) “unites different cultures—which is what music does best.”

From there the concert proceeded more or less chronologically, starting with a pair of overtures to operas based on plays by the multi-talented playwright Pierre-Augustin Caron de Beaumarchais (1732–1799): “The Marriage of Figaro” by Wolfgang Mozart (1756–1791) and “The Barber of Seville by Gioachino Rossini (1793–1868).  

“Figaro” is, as Denève pointed out, an international work. “Figaro” has a libretto adapted from a French play by Lorenzo da Ponte (born in Venice, died in New York) and music by an Austrian composer; and although it was first performed in Vienna, it became an actual hit in Prague. The fleet-footed reading of this lively work Sunday combined the SLSO’s big sound with the kind of grace and precision that you’d expect from a Mozart-sized orchestra.

Melissa Brooks
Photo courtesy of the SLSO 

The ”Barber” overture was just as brisk and bright. Both works had nifty solo passages by, among others, Jelena Dirks (oboe), Andrea Kaplan (flute), Thomas Jöstlein (horn), Andrew Cuneo (bassoon), and Erin Svoboda-Scott (clarinet). The strings lightly tripped through their parts like Fred Astaire.

Next was the Intermezzo from "Manon Lescaut" Giacomo Puccini (1858–1924. In it, we hear the journey of Manon to the gloomy prison at Le Havre, where she and other disgraced women are being exiled to New Orleans. Opening with quiet solos for cello and viola (played with great sensitivity by Daniel Lee and Beth Guterman Chu, respectively), the work rises to a despairing cri de cœur for full orchestra that, in Denève’s hands, conveyed a powerful emotional impact. It was a reminder that Denève began his career on the operatic stage and has retained his exceptional ability to tell musical stories.

After the first of several stage changes (which Denève humorously described as “the violins going on strike”), Associate Principal Cello Melissa Brooks took center stage for an arrangement for cello and orchestra by (I think) Mathieu Herzog of “Casta Diva” from “Norma” by Vincenzo Bellini (1801–1835). Brooks handled the vocal line’s ornamentation with grace and a singing tone. She even dressed for the role with a flowing white top and matching pants that suggested the robe a priestess of the Druidic moon goddess like that which Norma might wear.

The first half of the program concluded with the familiar strains of the “Dance of the Hours” from “La Gioconda” by Amilcare Ponchielli (1834–1886). If you can block out the animation from Disney’s “Fantasia” and/or the voice of Alan Sherman, it’s possible to appreciate what a skillfully constructed and unfailingly melodic work it is. From the delicate violin figures of the opening “Dawn” section to the invigorating con brio of the concluding “Night,” Denève and the band delivered the delightful goods, including many great moments for the high winds.

The second half of the concert opened with another overture, this time to the 1866 opéra comique “Mignon” by Ambroise Thomas (1811–1896). Denève pointed out that in its time “Mignon” was one of the three most popular operas in France, the other two being Gounod’s “Faust” and Bizet’s “Carmen.” These days “Mignon” is remembered only by this lyrical and vivacious overture.

There are extended solos here: clarinet, flute, horn, and harp expertly rendered by, respectively, Scott Andrews, Matthew Roitstein, Roger Kaza, and Katie Ventura. They’re all highly “exposed” (i.e., little or no orchestral accompaniment), so they only work when played with the kind of skill we heard Sunday afternoon.

Next it was a nod and a wink from the podium followed by a spirited “Les Toréadors” from the first of the two orchestral suites assembled by Ernest Guiraud from the score for the aforementioned “Carmen” by Georges Bizet (1838–1875). Then there was another “violin strike” to set the stage for the program’s second soloist, SLSO Associate Concertmaster Erin Schreiber.

Erin Schreiber
Photo courtesy of the SLSO

She was there to perform the 1883 “Carmen Fantasy” for violin and orchestra by the Spanish violinist/composer Pablo de Sarasate. A performer of legendary skill, Sarasate stuffed this mini concerto with technical challenges, including an elaborately ornamented version of the famous “Habanera” and the insanely fast finale, based on the Act II “Danse bohème.” Schreiber has performed this with the SLSO twice in the past (most recently in 2021) but this time was different in that she was using her new violin.

In a talk-back session after the concert, Schreiber related that she had been looking for a new instrument for around five years. Her old violin had served her well for two decades, but she felt that she needed something “a little more powerful.” Last summer she found it: a 1753 Carlo Landolfi. “The moment I played a few notes on it,” she recalled, “I just knew that it was the one.”

 “Violinists,” it has been said, “have special relationships with their instruments, almost like marriages.” Based on Schreiber’s drop-dead stunning performance Sunday, I’d say she has found the right musical partner.  The “Habanera” was seductive, the harmonics crystal clear in the Lento assai vocalise that is Carmen’s teasing response to her arrest, and the frenetic “Danse bohème” was a virtuoso fireworks display. The applause, not surprisingly, was thunderous.

Like Melissa Brooks, Schreiber came costumed for her role. In her case, it was the same long, high-necked red Spanish-style lace dress that she wore in 2021. What could be more appropriate for Carmen?

All too soon, it was time for the finale: a double scoop of Jacques Offenbach (1819–1880): the “Barcarolle” from his “Les contes Hoffmann” (“The Tales of Hoffman,” left unfinished at his death) and selections from the last four numbers from the 1938 ballet “Gaîté Parisienne,” assembled from Offenbach’s operas by French composer/conductor Manuel Rosenthal (1904–2003).

The “Barcarolle” was sweet and lilting, but the selections from the ballet were the real hit, concluding as they did with the “Galop infernal” (a.k.a. “The Can-Can”) from Offenbach’s first hit “Orfée aux enfers” (“Orpheus in the Underworld”) from 1858. Based on this amuse bouche I’d love to hear Denève conduct the complete ballet someday, but meanwhile this was a delightful way to bring the afternoon to a close. Denève encored the “Can-Can,” encouraging the audience to clap along the way the Viennese do to the “Radetzky March” on New Year’s Day. Only a true curmudgeon could fail to join in.

It is, perhaps, somewhat unreasonable to expect music to unite our culturally fragmented world. But after a concert like this one, it at least felt possible. The way things are going these days, I’ll settle for that.

Note: The concert was recorded and will be broadcast on Saturday, March 9, at 7:30 pm on St. Louis Public Radio and Classic 107.3. It will also be available for a limited time afterwards at the SLSO web site.

Next from the SLSO: Anthony Parnther conducts the orchestra for a showing of the Disney film “Encanto” Saturday and Sunday at 2 pm, March 9 and 10. The regular season returns Saturday at 7:30 pm and Sunday at 3 pm, March 16 and 17, as Stéphane Denève conducts the orchestra in “Picture Studies” by contemporary American composer Adam Schoenberg and selections from the ballet “Romeo and Juliet” by Prokofiev. The Big Muddy Dance Company will perform choreography created for the occasion by Kirven Douthit-Boyd. Both programs take place at the Sifel Theatre downtown.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.

Tuesday, March 05, 2024

Opera Review: New World orders

Victor Herbert's 1910 operetta "Naughty Marietta" got quite a fine production the weekend of March 1 by Winter Opera St. Louis. With a new book by Ball State University’s David Taylor Little (to replace Rida Johnson Young's convoluted and somewhat racist original), this New and Improved "Naughty Marietta" was rather like a bag of Cheez-Its: I knew it was junk food but it sure was tasty.

Brittany Hebel
Photo: Peter Wochniak

Winter Opera has had a pretty good track record of reviving classic operettas that simply aren't being done these days. Their 2016 "Merry Widow" was spectacular, and their 2017 "Student Prince" was great fun. This "Naughty Marietta" was right up there with those two, boasting a Grade A cast of strong singers who could also act and knew how to handle comedy.

Soprano Brittany Hebel was the titular Marietta, a Neapolitan Countess on the run from an unwanted marriage and hiding her real identity in 1780 New Orleans. In 1910 the role was sung by Emma Trentini, a petite soprano with an outsized voice. Hebel was very much in the same mode in terms of height and vocal chops. The lead soprano in fin de siècle operetta was typically a role that called for solid top notes and vocal flexibility (think Mabel in “Pirates of Penzance”). Hebel showed the latter to great effect in the famous “Italian Street Song” with its high-flying melodic line and pseudo-coloratura ornamentation.

Melanie Ashkar and
Zach Devin
Photo: Peter Wochniak

Tenor Zachary Devin was another vocal powerhouse as the stolid Captain Rick Warrington, head of the local militia, who is smitten with Marietta but loath to admit it. His clear, soaring voice rang out easily over the male chorus in “Tramp, Tramp, Tramp,”  and his performance had just the right “Dudley Do-Right” touch to make his Rick the perfect foil for the twinkling-eyed mischievousness of Hebel’s Marietta.

Bass-baritone Michael Colman was a wonderfully villainous Etienne Grandet, the son of the governor and secretly the dreaded pirate Bras Pique. His character’s only real solo, “You Marry a Marionette,” isn’t much of a song but his performance was such an attention grabber that it was wildly applauded.

Mezzo-soprano Melanie Ashkar provided effective dramatic weight as Adah, the woman Grandet has wronged, in the ballad “Under the Southern Moon”. Her voice had the rich, sultry quality the role required.

Michael Colman
Photo: Peter Wochniak

There are some great supporting comic roles in “Naughty Marietta,” and they were played by great comic singers. Tenor Marc Schapman, a familiar figure on local opera stages, was wonderfully fatuous as the Simon O’Hara, the least stalwart member of Captain Rick’s band. Baritone Gary Moss was a delight as the puppeteer Rudolfo, who helps hide Marietta’s identity, and baritone Joel Rogier’s fine voice and comic timing enhanced the part of Rick’s lieutenant, Sir Harry Blake.

Soprano Grace Yukiko Fisher was thoroughly winning as the woebegone Lizette, a “casquette girl” (a program the libretto confuses with the less exploitative “Filles du Roi” from the previous century) wooed and scorned by the feckless O’Hara. Happily, she ends up paired off with the admirable Sir Harry. Rounding out this consistently top-flight cast were Jessica Barnes, Caitlin Haedeler, and Emily Moore.

John Stephens and Mark Ferrell provided the fine stage and musical direction, respectively, and Scott Loebl once again put together a set that looked great and made maximum use of the relatively small stage at the Kirkwood Performing Arts Center. Kudos as well to Jen Blum-Tatara for the colorful period costumes.

The ensemble
Photo: Peter Wochniak

Operetta is a sadly neglected art form these days, at least locally. Even Gilbert and Sullivan are rarely performed, and when they are it’s invariably one of the Big Three (“Mikado,” “Pinafore,” or “Pirates”). So thanks again to Winter Opera for giving us a glimpse of the kind of entertainment that used to light up the stage a century ago.

Besides, who doesn’t like a nice bag of snack food now and then?

“Naughty Marietta” concluded Winter Opera’s 17th season, but they have some special events coming up; see their web page for details.

Monday, March 04, 2024

St. Louis theatre calendar for the week of March 4, 2024

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Fly
Photo: Keshon Campbell
The Black Rep presents Fly by Joseph L. Edwards through March 10.  “Premiering off-Broadway in 1997, this one-person dramatic comedy received three AUDELCO awards for excellence in Black theatre and has had a limited tour in the years since. The story centers around an African American man who believes he will receive the power to fly on the night of a special celestial event. As he prepares for the event on a Brooklyn rooftop, he shares the comic, dramatic and tragic experiences that have pushed him to the edge of reality.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

Tim Schall and Carol Schmidt
The Blue Strawberry presents Sunday Standard Time with Tim Schall and Carol Schmidt on Sunday March 10 from at 6 pm. “Join Tim Schall (vocals) and Carol Schmidt (piano) in the lounge for a casual, classy Sunday evening of jazz standards, a little sophisticated pop and a dash of classic Broadway. Tim is no stranger to the theater and concert stages of St. Louis, Chicago and New York's Lincoln Center. Carol has a rich history of entertaining St. Louis audiences as musician and singer. Together they will help you wind down your weekend with timeless music and a lot of irreverent dry humor.”  The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Company
Photo: Matthew Murphy
The Fabulous Fox presents the Stephen Sondheim’s Company opening on through Sunday, March 10. “Helmed by three-time Tony Award-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America) this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy is boldly sophisticated, deeply insightful and downright hilarious.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

First Run Theatre presents the Spectrum 2024 Short Play Festival, Fridays and Saturdays at 8 pm and Sundays at 2 pm through March 10. The program consists of seven new one-act plays by local playwrights:  Your New Bob by  Eric Pfeffinger, Va-Va-Victorious by Kim E. Ruyle, Give Thanks by Dan Zeliner, Wait 10 Minutes and Fare to Middlin’ by Marilyn Zerlak, Unrequited Love by Emily Golden, and We Going to Mercy by Emil Clausing. Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: firstruntheatre.org.

KTK Productions
presents Love and Money by A.R. Gurney Fridays and Saturdays at 8 pm and Sundays at 2 pm, through March 10. “Determined to donate almost everything she owns before her life of grace and privilege ends, wealthy widow Cornelia Cunningham’s plan hits a snag when an ambitious and ingratiating young man arrives to claim his alleged inheritance. Residency One playwright A.R. Gurney paints an incisive and hysterical portrait of the trials of class, family, legacy and race in this world premiere comedy” Performances take place at the Saint John the Baptist Gymnasium, 4200 Delor Street in south St. Louis. For more information: kurtainkall.org

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present A Fistful of Hollars  through May 4. "Gun slingers, dance hall girls, cowboys, gold diggers, cowboy boots and ten-gallon-hats will abound. Rowdy cowboys will duel to the death as the crooked sheriff watches with glee. But none of these characters are as dangerous as Nasty Nate, he’s the orneriest gun in the west and word is that he’s going to be stirring up trouble at the Lemp Mansion. " The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

The Midnight Company presents Eileen Engel and Joe Hanrahan in Movie Music Wednesdays March 6 and 20 at 7:30 pm. “The Midnight Company’s world premiere cabaret theatre show, Movie Music, will feature a dozen award-winning songs. Eileen Engel and Joe Hanrahan serve as hosts for a colorful evening of movie memories. They’ll tell the stories behind these movies—the origins, the casting, and some of the foibles that inevitably go along with big productions. They’ll present memorable scenes from these movies as well, and will revisit and present the amazing songs that provided the soundtrack to these films and to our lives.” The show is written and directed by Joe Hanrahan with music direction by Colin Healy. Performances take place at the Blue Strawberry on North Boyle.  For more information: bluestrawberrystl.com

Sweet Potato Queens
Photo: Jill Ritter Lindberg
New Line Theatre presents the musical Sweet Potato Queens through March 23. “Get ready for the outrageous, high-powered, Southern rock musical that tells the true story of "Boss Queen" Jill and her closest friends in Mississippi, and how they learn to grab life by the sequins, feathers and tiaras to live their lives out loud, on their own terms.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com

The St. Louis Writers Group presents A Show of Hands on Tuesday, March 5, at 6:30 pm.  It’s a play reading event featuring the work of deaf, hard of hearing, disabled and neurodivergent playwrights, performed by deaf actors in ASL alongside voice actors. A Show of Hands takes place at The Chapel Venue, 6238 Alexander Drive. More information is available at the St. Louis Writers Group Facebook page.

The Servant's Last Serve
The Theatre Guild of Webster Groves presents the comedy The Servant’s Last Serve Friday and Saturday at 7:30 pm and Sunday at 2 pm, March 8 – 17.  “It is 1912, London. Due to a misdiagnosis from his incompetent doctor, wealthy Sir Winston Livingston believes he is going insane and does not have long to live. He summons his staff and opportunist niece from North Carolina for a formal reading of his will. Livingston Manor falls into chaos when Sir Winston announces he is willing the entire estate to his beloved cat, Master Fifi. Included in this announcement is the provision that should the cat predecease Winston the estate would be divided among the servants and his niece.” Performances take place at the Guild theatre at 517 Theatre Lane, at the corner of Newport and Summit in Webster Groves. For more information: www.webstergrovestheatreguild.com

Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.
To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.
Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Saturday, March 02, 2024

Symphony Review: Denève leads The STL Symphony Orchestra, Chorus, and soloists in a brilliantly conceived program at the Cathedral Basilica

Stéphane Denève and the St. Louis Symphony Orchestra and Chorus continued their peripatetic wanderjahr last night (February 28) with a brilliantly conceived all-French program at the Cathedral Basilica of St. Louis.

[Find out more about the music with my symphony preview.]

Soprano Brenda Rae

The featured work was the Requiem, Op. 48, for chorus, soloists, and orchestra by Gabriel Fauré (1845–1924). As musical settings of the Roman Catholic requiem mass go, it’s an outlier.  Unlike the requiems of, say, Mozart or Verdi, this is music of peace and consolation rather than drama and terror. The composer himself said he had written it “for the pleasure of it” and that he saw death as “a happy deliverance, an aspiration towards happiness above, rather than as a painful experience.” And the final movement, “In Paradisum” is one of the most calming and comforting works I know of.

From a programming perspective, though, Fauré’s Requiem presents a problem. With a running time of around 40 minutes, it’s too short to carry and entire program. So what do you program with it? Denève’s elegant solution to that problem was to open with four short works consistent with the theme of comfort and consolation. All four were by French composers: one by Fauré himself and three by his students at the Paris Conservatoire. Fauré taught composition from there from 1896 until 1905, when he became the director—a position he held until his retirement in 1920.

Historically and emotionally it was the perfect choice. Running a little over 90 minutes with only one brief pause for a stage change, the evening was an oasis of beauty and tranquility in an increasingly ugly and angry world. And that’s despite the fact that, from where we wound up sitting, much of the Requiem was the sonic equivalent of the way the world looks to the very nearsighted without glasses: a massive blur.

That has nothing to do with the quality of the performance and everything to do with the extremely live acoustics of the Cathedral Basilica. It’s a visually stunning place but its massive size and hard surfaces give it a reverberation that can, from the wrong location, turn everything into sonic mush.

That said, I am at least able to say that Denève’s tempo choices were just slow enough to avoid making the sonic issues worse without depriving the music of its vitality. The chorus sang with remarkable clarity under the circumstances.

Baritone Davóne Tines
Photo: Noah Morrison

Soprano soloist Brenda Rae, whom we could easily see and hear from our spot far house left, sang her “Pie Jesu” solo with a bell-like clarity and emotional commitment. And, as my wife pointed out, she sang Latin as though it were her native tongue. Unfortunately, our location made it difficult to hear and impossible to see baritone soloist Davóne Tines, so all I can say is that his powerful voice seemed to have a great impact on audience members in the more sonically viable central area of the cathedral.

The concert opened with Fauré’s arrangement of his Pavane, Op. 50, for small orchestra and optional chorus. Denève split the chorus in half, with sopranos and altos house left and tenors and basses house right. From where we were, the men were almost inaudible, but the women sounded wonderful.

Happily, we were able to hear the following three works fairly clearly.

Next was the string orchestra arrangement of the “Choral sur le nom de Fauré” by Charles Koechlin (1867–1950). The music is simplicity itself, being a short fantasia on a five-note motif that spells Fauré’s name, and which sounds rather like “The Lamb” by 20th century composer John Taverner (1944–2013). The performance was perfection in any case.

I was equally taken with the ”Pie Jesu” for soprano, string quartet, harp, and organ by Lili Boulanger (1893–1918), the tragically short-lived younger sister of very long-lived conductor/composer/teacher Nadia Boulanger (1887–1979). It’s the last thing Lili wrote, and Brenda Rae’s performance was exceptionally heartfelt and moving.

Wrapping up the first half of the evening was the popular “Pavane pour une infante défunte” by Maurice Ravel (1875–1937). There was some truly fine playing here from the flute and horn soloists, and Denève conducted with his usual elegance.

Next from the SLSO: Stéphane Denève conducts the St. Louis Symphony Orchestra along with soloists Erin Schreiber (violin) and Melissa Brooks (cello) in a program of orchestral opera selections. The performance takes place at 3 pm on Sunday, March 3 at the Touhill Performing Arts Center on the University of Missouri–St. Louis campus. Check out my preview for more details.

This article originally appeared at 88.1 KDHX, where Chuck Lavazzi is the senior performing arts critic.