Cabaret Review: Chris Limber and friends jive and wail with "Riffs in a Set of 10"

Chris Limber

Who: Chris Limber and Friends
What: Riffs in a Set of 10
Where: The Gaslight Cabaret Festival at The Gaslight Theatre, St. Louis, MO
When: October 20, 2014

I first saw veteran St. Louis actor/director Chris Limber's loving and literate tribute to the hipster attitude of the "Beat Generation" last summer at the St. Lou Fringe Festival. At the time I was pretty much blown away by the way this ingenious hybrid jazz/cabaret act knitted together big band and Great American Songbook classics from the 20s through the 40s with Mr. Limber's original image-rich poetic soliloquies that sounded like they would have been right at home coming from a skinny guy with a goatee, black turtleneck, and shades in an underground coffeehouse circa 1958.

The expanded version (around 16 songs instead of the original 10 that gave the show its name) was unveiled at the Gaslight Theatre on Thursday and, Daddy, it was cool. A masterful cast-iron blast from the past, Jackson. Debonair was in the air everywhere, dig?

The songs covered a wide range, from hits like "Basin Street Blues," The Joint is Jumpin'," and "How High the Moon" (with new and gently satirical lyrics), to lesser-known novelties like "Frim Fram Sauce," which was introduced by Nat "King" Cole back in the '40s. That famously chilling song about lynching, "Strange Fruit" (recorded by Billie Holiday in 1939), was essentially tragic relief in a show dominated by a mood of spirited playfulness.

Those numbers are still here and still solid. They're joined by the likes of the Milton Ager/Jack Yellen novelty "Big Bad Bill (Is Sweet William Now)"—recorded by everybody from Billy Murray to Van Halen since its 1924 debut and given a martini-dry delivery here by bassist Dave Torretta. The wonderful scat interlude from the original show is also still here, as is the droll encore, "Jeepers Creepers," a Harry Warren/Johnny Mercer jazz standard from 1938.

Michelle Isam

As he did last summer, Mr. Limber has surrounded himself with other fine musicians for this show. I have already mentioned Mr. Torretta. Also on hand was Michelle Isam on sax and virtuoso jazz vocals. In fact, the musical side of the show was pretty much under Ms. Isam's control. She was giving the downbeats and generally controlling the musical flow. Good choice; Ms. Isam's musical credentials are impeccable.

The always-reliable Joe Dreyer was at the piano. That was also a good choice; he's an accomplished music director with a real feel for jazz. Rounding out this incredibly talented combo was Rose Fisher, whose supple and fluid vocals added so much to the proceedings. She's definitely someone I'd like to see more of on the local cabaret scene.

I don't know what's next for the latest incarnation of "Riffs". Perhaps a run at the newly remodeled Jazz Bistro is in order. "Riffs" is, perhaps, just a little too self-contained to really work as cabaret. To me it ultimately felt more like a jazz act, so I think it might be very much at home either at the Bistro or at the Sheldon Concert Hall. It certainly deserves more than the one appearance it has made so far and cries out for a larger audience.

Chuck's St. Louis theatre choices for the weeend of November 20, 2014

As always, the choices are purely my personal opinion. Take with a grain (or a shaker) of salt.

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The Presenters Dolan present Christopher Limber: Riffs in a Set of 10 on Thursday, November 20, at 8 PM as part of the Gaslight Cabaret Festival. "Riffs in a Set of 10" is a hip and hot blend of Jazz and poetic interludes recalling the sizzling after-midnight club scene of the 1940's. Homage and affection is paid in joyous, tuneful reflections of the greats: Ella Fitzgerald, Count Basie, Mel Torme, Duke Ellington and Billy Holiday among others. Rhythmical illusion comes alive, setting the scene for 10 classic Jazz numbers rendered faithfully by an ensemble of musicians and St. Louis Cabaret favorites. Featuring Rose Fischer,Michele Isam, Joe Dreyer and David Torretta." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information, visit the web site.

My take: I saw the earlier and shorter version of this at the St. Lou Fringe Festival this past summer and was impressed, to say the least. it was a polished and sophisticated bit of entertainment back then. The intervening months are likely to have made it even more so.

The Presenters Dolan present Lara Teeter: Lucky to Be Me on Saturday, November 22, at 8 PM as part of the Gaslight Cabaret Festival. " Join Lara Teeter as he reprises his sold out show (after taking taking it to NY's 54 Below from its debut in St. Louis last spring), in which he shares his journey as artist, teacher, husband and dad. Claimed by both our town and Broadway (a Tony Nominee) as one of its own, Lara Teeter shows us just how fresh the songbook is in a master song and dance man's hands. And feet." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information, visit the web site.

My take: I caught the world premiere of this show last summer at the Gaslight. Back then I described it as "high-energy entertainment from a veteran of the musical theatre stage both in the Big Apple and here in St. Louis." Since then it has been to NYC and back, so expect great things.

Mariposa Artists presents Robert Breig in Making Evert Moment Count: The Music of Peter Allen on Friday, November 21, at 8 p.m. The show is directed by Lina Koutrakos and features Rick Jensen on piano. " After two sold-out performances, Robert Breig is delighted to bring back "Making Every Moment Count - The Music of Peter Allen" on Friday, November 21st 8PM at The Kranzberg Arts Center. And with Rick Jensen as music director and arranger of songs, this show gives us more than just a glimpse of Peter Allen's life in story and song....to Oz and beyond!" The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center. For more information: brownpapertickets.com.

My take: Robert is a very open and engaging personality on stage with a smooth, seamless voice that is a good match for Mr. Allen's music. The fact that he's supported here by cabaret powerhouses like Koutrakos and Jensen (both powerful and fiercely talented performers in their own right) is icing on the cake.

The Presenters Dolan present Meghan Kirk: The Story Goes On on Friday, November 21, at 8 PM as part of the Gaslight Cabaret Festival. "The beautifully talented Meghan Kirk has recently moved back to St. Louis from Los Angeles, where she performed regularly at The Gardenia. Her new show, crafted for this performance, is about the songs that have followed her throughout her life. Did you ever have a song pop into your head at a pivotal moment? A song that provided direction, that answered a question? That helped get you through? A song that you might not have thought about for years? These are the songs that make up your life soundtrack." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information, visit the web site.

My take: In my capacity as the host/producer of The Cabaert Project's monthly open mic night, I've had a chance to see Ms. Kirk in action many times and have always enjoyed her work. She's polished, poised, and yet open and engaging. Should be a good show.

The Fox Theatre presents Motown, the Musical Tuesdays through Sundays, November 18-30. "It began as one man's story... became everyone's music... and is now Broadway's musical. MOTOWN The Musical is the true American dream story of Motown founder Berry Gordy’s journey from featherweight boxer to the heavyweight music mogul who launched the careers of Diana Ross, Michael Jackson, Smokey Robinson and many more. Motown shattered barriers, shaped our lives and made us all move to the same beat. Featuring classic songs such as “My Girl” and “Ain’t No Mountain High Enough,” experience the story behind the music in the record-breaking smash hit MOTOWN The Musical!" The Fox Theatre is at 517 North Grand in Grand Center. For more information, visit the web site.

My take: As Amy Burger writes in her review for KDHX, this show is a must see for fans of the record label that brought the national spotlight to so many great black performers: Diana Ross, Stevie Wonder, Marvin Gaye, Smokey Robinson, The Temptations; the list just goes on and on. There's also a more serious reason to see this show, though. "At various points," writes Ms. Burder, "it seemed serendipitous that this particular show should be running at this time in this city. The racial themes and moments reflecting both Motown's and the nation's history felt searingly real and meaningful in light of current racial tensions in St. Louis. To that effect, those scenes were much more impactful than they might be playing to a different city."

Mariposa Artists presents Beverly Brennan in A Night With Day on Saturday, November 22, at 8 p.m. The show is directed by Lina Koutrakos and features Rick Jensen on piano. "Beverly Brennan is back on her sentimental journey in "A Night With Day" on Saturday, November 22nd 8 PM, paying tribute to one of her idols, the incomparable Doris Day. The show will feature songs from Doris Day's big band days, her movies and musicals, and her amazing recording career. Bev will also share stories about Doris's life, which has been far from a bed of daisies! With Rick Jensen at the piano - it's magic!" The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center. For more information: brownpapertickets.com.

My take: Ms. Brennan is a local treasure and she's teamed here with one of the great cabaret music directors, Rick Jensen. And that, as her dad (legendary sportscaster Jack Buck) might say, is a winner.

Held Over:

Mustard Seed Theatre presents the a cappella musical All is Calm Thursdays through Saturdays at 8 PM and Sundays at 2 and 5 PM, November 14-December 14. “Join us in celebrating the power of peace in this acapella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: This show is apparently going to be a holiday tradition at Mustard Seed, and with good reason. The story of the remarkable holiday truce that spontaneously interrupted the insanity of World War I remains an inspiring reminder of what happens when ordinary people ignore the manipulations of their leadership and allow their basic decency to take control of their actions. The lesson for contemporary politics is clear.

Photo: John Lamb

The West End Players Guild continues their 104th season with Boom Town Fridays and Saturdays at 8 PM and Sundays at 2 PM, November 14-23. There will also be a show on Thursday, November 20, at 8 PM. “From the prolific pen of movie and TV star Jeff Daniels, author of more than a dozen plays, comes Boom Town. Angela Tompkins has a husband, a failing convenience store and a dream of running off to Chicago with her lover, the local banker. In an explosive story that mixes small-town politics, love and betrayal, Angela must face reality when her husband discovers the truth.” Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org.

My take: Daniels has proven to be a prolific and gifted playwright, with an impressive ability to create characters and situations that grab and hold your interest. Full disclosure: I'm on West End's board of directors and play reading committee, which vetted this script for the company.

St. Lou Fringe 2014: The hits

Comedy magician Christopher Bange

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I have been a big supporter of the St. Lou Fringe festival since its inception three years ago.' This year I was out of town for most of the festival's run (June 18-22), so I only got to six events. Rather than writing a review of each one, I have decided put them into three groups: hits, near missies, and flops (a.k.a. “I want my 45 minutes back”). We'll start with the hits.

Most Fun: "More Bange for Your Buck" – Actor, clown, and comedy magician Christopher Bange served up a heaping helping of laughs with his own unique take on some classics of the conjurer's repertoire.

If you've seen even a few magic shows in your time, you've probably seen the Linking Rings, the Miser's Dream (in which the magician seems to pull an endless supply of coins out of thin air), and the Zombie Ball levitation. Mr. Bange, though, made these effects entirely his own, with a skillful mix of jokes, mime, and superb physical acting.

The Zombie Ball, in which a sphere seems to float around the stage on its own power, was typical of Bange's approach. It came at the end of a long routine in which sponge balls appeared and disappeared rapidly, and repeatedly popped out of his mouth, apparently of their own free will. In apparent desperation, Bange threw them all into a hat and tossed a scarf on top, only to have a giant size sponge ball emerge under the scarf (we know it's a sponge ball because it pops up on top of the scarf and runs up Bange's arm at one point) and start tearing around the stage under the scarf, apparently dragging him with it. Mr. Bange's skill as an actor is what made it work, reminding us of Houdini's observation that "it's not the trick, it's the magician."

Highest Energy: “In Full Swing” by The Four Fronts – This quartet of swing dancers—two men, two women—presented an amazingly intense survey of 20th century popular dance styles, from the Peabody (a foxtrot variant from the ragtime era) to West Coast Swing from the 1950s. The Lindy Hop (a dance named after aviator Charles Lindbergh which formed the basis of West Coast Swing) figured prominently throughout the show. The music was recorded, as were the reminiscences of the swing era and, in particular, of the legendary Savoy Ballroom in Harlem, where white and black dancers mixed to the rhythms of the (yes) the Lindy Hop.

The Four Fronts are not, as far as I can tell, professional dancers but rather swing enthusiasts who have taken their love of the genre to professional heights. They don't have the lockstep precision that you might get from professionally trained dancers, but with this kind of democratic vernacular dance that's a great advantage. Each one of the Fronts has a distinct personal style, just as dancers did back in the Savoy days.

If the energy and high spirits of the Four Fronts could be captured and stored, it would power a small city. Their show was irresistibly joyful and “family friendly” in the best sense of the term.

Most Polished: “Riffs in a Set of 10” by Chris Limber and friends – The veteran St. Louis actor/director assembled an impressive cabaret act that (as the title implies) knitted together ten big band and Great American Songbook classics from the 20s through the 40s with original image-rich poetic soliloquies that sounded like they would have been right at home coming from a skinny guy with a goatee, black turtleneck, and shades in an underground coffeehouse circa 1958.

The songs included hits like "Basin Street Blues," The Joint is Jumpin'," and "How High the Moon" (with new and gently satirical lyrics), as well as lesser-known novelties like "Frim Fram Sauce," which was introduced by Nat "King" Cole back in the '40s. That famously chilling song about lynching, "Strange Fruit" (recorded by Billie Holiday in 1939), was essentially tragic relief in a show dominated by a mood of spirited playfulness.

Mr. Limber surrounded himself with other fine musicians for this show. When I saw it at the final performance, his collaborators were Michele Isam on sax and vocals, Joe Dreyer on piano, Dave Torretta on bass and Rose Fisher on vocals. Pretty much everybody had a hand at the drum set at one point or another, and even Mr. Torretta got a vocal solo. Quite an impressive array of talent.

For a festival as varied as the Fringe, 3 hits out of six shows is a pretty solid score.

Beyond the Fringe

Tapman

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Monday night's special press preview of the third annual St. Lou Fringe Festival was everything I have come to expect from the Fringe. Which is to say that it was filled with the unexpected.

In a fast and furious hour and a half, we were treated to nearly two dozen short (2-3 minutes) previews—some on video, most live—of some of the 35 acts that will be appearing on the Fringe stages this year. Highlights included:

- St. Louis actor Chris Limber riffing a bit of '50s-style "beat" poetry accompanied by Michelle Isam's sax, as a preview of Chris's cabaret show "Riffs in a Set of Ten"
- An unbearably sad little vignette with a broken puppet by First Time Puppet Theater and The Helix Effect; the full show is titled "Landslide"
- Some funny improv comedy by The Creepy Basement Players and Not Quite Right
- A fun duet for didgeridoo and oboe by Michael Hagmeier and a member of the Illumine Ensemble, from their "Terra Camera" show
- A sparkly Jamie McKittrick of Salt House Collective in an oddly endearing promo for her act, "Sparkle-Ta Daaa!!!"
- St. Louis's own burlesque comedy troupe The Randy Dandies in an (ahem) unbuttoned rendition of John Prine's rudely hilarious "Let's Talk Dirty in Hawaiian" (from their production, "A Pastie Home Companion")

Landslide

There were also some impressive-looking videos from comic magician Christopher Bange's "More Bange for Your Buck," Tapman Productions' "The Adventures of Tapman" (the tap-dancing superhero), "In Full Swing" (virtuoso swing dancing) by The Four Fronts and, of course, a teeth-rattling live opener from St. Louis Osuwa Taiko.

From its humble beginnings as a loosely organized experiment back in 2012, the St. Lou Fringe has come a long way, baby. It's now a five-day extravaganza (June 18-22) that includes ten national performers along with the many local individuals and groups who, as always, make up the backbone of the festival. There are now six indoor performance venues in the midtown/Grand Center area (including The Stage @KDHX) plus "Street Fringe," a collection of free family-friendly outdoor performances at Strauss Park.

The Fringe has garnered national media attention and has also formed partnerships with many local arts and education organizations. No wonder festival founder Em Piro got a special award from the St. Louis Theater Circle back in March for the Fringe's contribution to the local performing arts scene.

Tina Farmer and I will be covering the Fringe for KDHX this year, but don't wait to hear what we have to say before jumping in yourself; you might miss the fun. Some of the shows only have two performances and none has more than four. The indoor shows all run no more than 45 minutes or thereabouts, so you can get a lot of entertainment in a short period of time. You can find a complete Fringe schedule and ticket information at stlfringe.com.

School for Shakespeare

Twelfth Night
Photo by J. David Levy

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By now pretty much everybody knows that Shakespeare Festival St. Louis produces a Shakespeare play every June over in Shakespeare Glen on Art Hill in Forest Park (this year it was Twelfth Night).  Somewhat less well known are the company's many community outreach projects.

This past May, for example, they presented Winning Juliet, and original musical by Elizabeth Birkenmeier and Chris Limber about cyber-bullying at the Clayton High School little theatre, with performances for both the general public and for high school student groups.  Just last month they brought us Old Hearts Fresh, a new adaptation of The Winter's Tale by Nancy Bell, outdoors in The Grove as part of the Shakespeare in the Streets program.  And now they're offering you a chance to "discover your untapped Shakespearean potential" with Shakespeare Weekends.

Starting on November 2nd and running through February of 2014, these professional workshops "are ideal for theatre professionals and university students," looking for an inside track on The Bard of Avon.  Here's what's coming up this fall and winter:

Saturday, November 2: 10 AM - 1 PM and Sunday, November 3: 1-3 PM: Fitzmaurice Voicework.  Fitzmaurice Voicework is described as "a revolutionary process for breaking down physical tension in order to uncover a more resonant voice and deeper theatrical truth."  The teacher is actor/director Joanna Battles, a voice, speech and dialect coach for theatre and film as well as an Assistant Professor of Voice & Speech at The Conservatory of Theatre Arts at Webster University.  The course will "explore the musicality inherent in Shakespearean verse, while strengthening and stretching each actor’s vocal and physical instrument."  I'm seriously thinking of doing this one.

Saturday, November 16: 10 AM – 1 PM and Sunday, November 17:  1PM – 3 PM: Commedia Keys.  This one is taught by local actor, director, movement coach, and teacher Jeff Awada who will "present a Commedia workshop that draws connections to Shakespeare’s plays."  The course promises to show you "new ways to create the Bard’s great clowns, fools and servants, as well as a physically dynamic way of understanding the relationships between lovers and between the parents and the lovers in plays like Midsummer and The Tempest."

Saturday, December 14: 10 AM – 1 PM and Sunday, December 15: 1 PM – 3 PM: Shakespeare Our Contemporary.  The teacher is Annamaria Pileggi, an actor and director whose career has included collaborations with writers Theresa Rebeck and Barbara Damashek, directors Barney Simon of the Market Theatre in Johannesburg, South Africa, and David Wheeler of the American and Trinity Repertory Theatres. Locally, she has directed at That Uppity Theatre, New Jewish, OnSite, Muddy Waters, Dramatic License, and HotCity theatres.  The course will "explore the poetic devices in Shakespeare’s writing and how they are used to create strong objectives, clear actions and nuanced relationships."

The series continues in 2013 with Cultivating Movement Intelligence, a Feldenkrais® Workshop for Shakespearean Actors, January 18 and 19 (teacher is Kelly Feder);  and Self-Hypnosis for the Actor February 15 and 16 (teacher is Shakespeare Festival veteran Chris Limber).

The classes take place at the Rep's Old Orchard Rehearsal Spaces at Webster University, 17 S. Old Orchard Avenue.  For more information, including prices (the more you sign up for, the less it costs per workshop), see the Shakespeare Weekends web site.  And tell 'em Will sent ya!

Winning ways

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So here I am all cozy back home after the closing performance of Winning Juliet with Shakespeare Festival St. Louis. It was a good run; ten performance total, eight of which were morning shows for student audiences. The 8 AM call was a killer for someone like me who, in retirement from his day career in the tech biz, was used to getting up around 10, but it was worth it.

It was worth it for the talkbacks after each show, where we saw just how much the play’s anti-bulling message resonated with the kids in the audience (even if it did confirm all the worst suspicions the of the home-schooled kids about public schools).

It was worth it to see how articulate and insightful the comments from the kids in our cast were about the issues raised in the play and about their characters.

It was worth it to hear Dave Toretta’s catchy score and Chris Limber’s lyrics, parts of which I still can’t get out of my head. In particular, I keep hearing our cast harmonizing on “Between Us”: “You and I / Are just the same / We see beyond / The plots and games / Together / Between us / This hate that only / Hearts can mend / To share this hope / Will make a friend / Together / Between us.” I know a lot of adults who need to hear those sentiments more often.

It was worth it for Chris Limber’s silly and energizing pre-show warm-ups, Emily Kohring’s spot-on direction, Melfreya Findley’s great choreography, David Blake’s sets and lighting, and Michael Perkins’s projections and videos, which added so much.

And, of course, Elizabeth Birkenmeier and Chris Limber’s wonderful script, with its ingenious weaving of an anti-bullying message, pitch-perfect contemporary teen speech, and Shakespearean in-jokes. Chris says he hopes it has a life beyond these performances and I agree. If it does, I hope I’m involved.

Congratulations to everyone. It was great working with all of you; one of the more pleasant theatrical experiences I’ve had. Yes, I know the cast were mostly teens still learning their craft, but their professionalism and commitment to the show were as good as (if not better than) that of any adult cast I’ve worked with. And, considering that I made my first stage appearance in 1962 (as a magician, just for the record), that covers a lot of territory.

We all made it work. Between us.