It's the real thing

Share on Google+:

Who: Emily Bergl
What: Until the Real Things Comes Along
When: Thursday through Saturday, March 13-15, 2014
Where: The Gaslight Cabaret Festival

In an interview earlier this week, I asked Emily Bergl what it was about her approach to cabaret that set it apart from more traditional shows. "I'm presenting a complete evening of entertainment," she replied, "with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!"

Now that I've seen the premiere of the show, I'd say she has achieved that particular goal. A few "new show" speed bumps not withstanding, "Until the Real Thing Comes Along" is a lively and entertaining evening that often goes in unexpected directions in clever and diverting ways.

An actress with substantial film, television, and theatre credits, Ms. Bergl inhabits a number of characters in the course of the performance, from the comically neglected girlfriend of a Russian oligarch in Cole Porter's "Down in the Depths (on the Ninetieth Floor)" (from "Red, Hot, and Blue, where it was sung by Ethel Merman) to a down-and-out druggie in Tom Waits's "Christmas Card from a Hooker." Mostly, though, she's just her cabaret self—a persona that's a mix of pixie and vixen, decked out in a sexy and sparkly black dress and determined (as she sings in a Trisha Yearwood song towards the end of the evening) to " just keep on falling in love / Till I get it right."

Yeah, I know: the difficulty of finding a good, lasting relationship is not exactly a new theme for cabaret. But Ms. Bergl makes the theme her own and explores it in a way that is uniquely hers. I can't imagine this particular set of songs with these particular arrangements working for anyone but her. And that, ultimately, is what cabaret is: a performance that fits the artist like a custom-tailored suit.

About those arrangements: music director and pianist Jonathan Mastro—to whom Ms. Bergl refers as "Johnny Piano" (presumably a joking reference to Joan Crawford's 1954 Western "Johnny Guitar")—has put together some that are exceptionally ingenious and often surprising. His mashup of Tracy Chapman's "For My Lover" with a tinkly, music-box version of Deborah Harry and Chris Stein's Blondie hit "Heart of Glass," for example, made me hear the latter song in a way I never had before—and I'm an old Blondie fan from way back. And his revisionist version of the 1928 Eddie Cantor hit "Makin' Whoopee!," which replaces some of Gus Kahn's original lyrics with contemporary female POV equivalents, presented the song in a smart new light.

Emily Bergl and Jonathan "Johnny Piano" Mastro

So, yeah, "Until the Real Thing Comes Along" is an enjoyable and creative look at a familiar topic that's a welcome addition to the Gaslight Cabaret Festival. That said, there were some minor issues of the sort that you might expect from a brand-new show.

Some of the transitions were not as smooth as they could be, for example, and I thought Ms. Bergl's flirtatious byplay with a male member of the audience went on a bit too long. The song list also felt a bit ballad heavy to me. Ms. Bergl is an accomplished comedienne, and I felt that aspect of her talent was a bit short-changed.

How important is any of that? Not very, in my view. The show's small weaknesses were effectively overwhelmed by its strengths and some of those problems, in any case, will likely have disappeared by the time you see it.

Emily Bergl's "Until the Real Thing Comes Along" has one more performances: Saturday night, March 15, at 8 PM. For more information: gaslightcabaretfestival.org. Note that the Gaslight has no parking lot, so you'll want to arrive early to grab a spot on the street. Fortunately the adjoining West End Grill has a nice assortment of food and drink to occupy you until show time.

Chuck's Choices for the weekend of March 14, 2014

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

Share on Google+:

New this week:

The Presenters Dolan present Emily Bergl: Until The Real Thing Comes Along, Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. "Most widely known for her roles on television and in film - as Rachel in "The Rage: Carrie 2,"Beth on "Desperate Housewives" and now on "Shameless," as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves. She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's...In a Cabaret-in-a-New-Key style, Bergl blends Irving Berlin with Blondie, Rodgers and Hammerstein with Tracey Chapman, and Noel Coward with Britney Spears. It works, freshly and wondrously. Her performance is heartbreaking and funny, sometimes in the same beat." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: In an interview earlier this week, I asked Emily Bergl what it was about her approach to cabaret that sets it apart from more traditional shows. "I'm presenting a complete evening of entertainment," she replied, "with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!" Now that I've seen the premiere of the show, I have to say she has achieved that particular goal. A few "new show" speed bumps not withstanding, Until the Real Thing Comes Along is a lively and entertaining evening that often goes in unexpected directions in clever and diverting ways, greatly assisted by music director Jonathan ("Johnny Piano") Mastro's innovative arrangements.

Kirkwood Theatre Guild presents The Musical Comedy Murders of 1940 Thursday through Saturday at 8 PM. Performances take place in the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956 or visit ktg-onstage.org.

My take: This show has been popping up quite a bit locally over the last several years and certainly looks like the sort of thing Kirkwood should be able to do well. "The play is a real murder mystery," writes Bob Wilcox in his review for KDHX, "with complications and suspense. But it is also a comedy, a parody of mysteries set in mansions isolated from the world by a blizzard, with lots of theatrical in-jokes piled on." And while he notes that the show "appeared not quite to have gelled on opening night, perhaps because of rehearsals missed during our own blizzards," he goes on to say that the show is "already fun [and] will be even more fun as the cast settles in."

Photo: Jill Ritter Lindberg

New Line Theatre presents the rock musical Rent Thursdays through Saturdays at 8 PM, through March 29. "New Line continues its 23rd season with Jonathan Larson's Pulitzer Prize winning, long-running rock opera Rent. This cheerfully transgressive, 1990s rock/pop riff on the classic story, set in New York City’s East Village, is best described in its creator's own words: 'In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and we should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium.'"Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information: newlinetheatre.com.

My take: I've always been a fan of this musical. Jonathan Larson's score is inventive and stylistically eclectic and his lyrics are artful and intelligent. What strikes me about Rent is how much this modern and supposedly revolutionary show reminds me of another one to which those same adjectives were applied back in 1968: Hair, the show that defined the genre of rock musical. Like Hair, Rent takes jabs at the older generation - mine - and thumbs it's nose at the American status quo from the bottom of the economic pyramid. Unlike Hair, though, it's less overtly political, covers a wider emotional spectrum, and may actually be a better piece of theatre. In her review for KDHX, Tina Farmer describes this as "a memorable production filled with stolen chances, borrowed happiness and powerful emotions pulled from a constant state of movement, noise and distraction."

Held Over:

Dramatic License Productions presents the comedy Shirley Valentine through March 16. Performances take place at Dramatic License Theatre located at the upper level of Chesterfield Mall (near Sears and across from Houlihan's Restaurant). For more information, call 636-220-7012 or visit dramaticlicenseproductions.org.

My take: One-actor shows are always a risk, but actress and costume designer Teresa Doggett (a.k.a. "the hardest-working woman in show biz") has done this role before, to considerable acclaim. In her review of the current production for KDHX, Tina Farmer praises Ms. Doggett's "warm, spirited performance" as well as "the capable direction of Lee Anne Mathews." She has good things to say about the technical aspects of the show as well, including the costume design by Ms. Doggett.

Minterview: Emily Bergl

Share on Google+

[Minterview = mini-interview]

The Presenters Dolan present "Emily Bergl: Until The Real Thing Comes Along" Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. Most widely known for her roles on television and in film—as Rachel in "The Rage: Carrie 2," Beth on "Desperate Housewives" and now on "Shameless—as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves.

She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's. I ran a few questions by her about her eclectic approach to the genre.

Q: It has been said that cabaret, as an intimate art form, is closer to film than theatre. You've had lots of film and TV experience. How do you think this informs your cabaret work?
A: I consider myself a character actor, so no matter what I'm working on I try to transform into a different person each time. Cabaret gives me the opportunity to bring all those characters together in one show. You never know who might show up, from a country girl to a Russian aristocrat.

Q: In September of 2011, The New York Times called your 2010 show "Kidding on the Square" "a gust of fresh air that could knock you off your feet." What is it about your approach to cabaret that sets it apart from more traditional shows?
A: What sets apart my cabaret show is that I'm presenting a complete evening of entertainment with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!

Q: You already had a pretty busy stage and screen career before you started doing cabaret. What got you started down that path?
A: I was inspired to create my own show because it seems like a lot of people don't even know what cabaret is anymore. I want to reintroduce this wonderful art form with music that's relevant while still honoring the classics. Modern day life can be very isolating; I think we're all craving the kind of intimate experience you get in an evening of cabaret.

Emily Bergl with Jet Li for Habitat for Humanity
Chiang Mai, Thailland

Q: I see you're heavily involved with Habitat for Humanity. How did that happen?
A: I became involved with Habitat for Humanity because I've been a huge Jimmy Carter fan ever since I was fifteen years old. I've built houses in Borneo, Thailand, DC, NYC, Pascagoula, Charlotte, Los Angeles, you name it. Last year I even got to sing “Aint' Misbehavin'” for President Carter himself

Q: Is there anything you think the audience needs to know about your show before they come to see it?
A: All the audience needs to know is that they're going to have a fabulous time! You don't have to know anything about my show to enjoy it, but you will definitely recognize some of the songs no matter where your musical taste lies. We do everything from Billie Holiday to Blondie. And if possible it's best enjoyed with a cocktail or two.

For more information on Emily Bergl's appearance at the Gaslight Cabaret Festival: gaslightcabaretfestival.com.