Symphony Preview: The (mostly) French connection with the St. Louis Symphony, May 1-3, 2015

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To close out the current season, the St. Louis Symphony has put together three blockbuster concerts of music sure to appeal to just about anyone who loves the classics. It starts this weekend as David Robertson conducts works by Bizet, Debussy, Vaughan Williams, and Ravel.

Georges Bizet in 1875
en.wikipedia.org

Opening the concerts will be eleven orchestral selections culled from the two suites Ernest Guiraud put together in the 1880s from his friend Georges Bizet's massively popular 1875 opera "Carmen." Poor Bizet died before he could hear them, alas—he passed at the age of 36 from a heart attack a few months after the opera opened to tepid reviews and public apathy. So he went to his grave not knowing that he had composed what would become one of the most popular operas ever written. Operabase statistics for the 2013/2014 season, in fact, show it as number 2 worldwide, surpassed only by Verdi's "La Traviata."

For this weekend's concerts, Mr. Robertson has taken the two suites, reshuffled them, and dropped the "Marche des Contrebandiers" ("March of the Smugglers") from Bizet's Act III. The new re-arranged suite looks like this:

1. Les Toréadors: "Procession of the Toreadors" from Act IV.
2. Prélude: Includes the "Fate" motif first heard from the brasses at the beginning of Act I.
3. Habañera: Carmen's famous Act I aria, "L'amour est un oiseau rebelle" ("Love is a rebellious bird").
4. Seguedille: The Seguidilla from Act I, "Près des remparts de Séville" ("Near the ramparts of Seville"), in which Carmen invites the hapless Don Jose to run away with her to Lilas Pastia's Inn (a decision he will come to regret).
5. Les Dragons d’Alcala: the entr'acte between Bizet's Acts I and II, covering the scene change from the Act I cigarette factory to Pastia's Inn.
6. La Garde montante: Back to Act I, as Don Jose marches in with the soldiers, who are greeted and the imitated by a crowd of street urchins singing "Avec la garde montante, nous arrivons, nous voilà! / Sonne trompette éclatante!" ("With the mounting guard, we arrive; here we are! / Sound, dazzling trumpet!").
7. Aragonaise: The entr'acte between Bizet's Acts III and IV, giving the stage hands time to change the scene from the smuggler's mountain hideout to the bullring.
8. Nocturne: Back to Act III as Don Jose's loyal but naïve girlfriend Micaéla arrives at the smuggler's camp in a futile attempt to get him to return to the army. "Je dis, que rien ne m'épouvante," she sings ("I say, that nothing terrifies me"); "je dis, hélas, que je réponds de moi, / j'ai beau faire la vaillante / mais j'ai beau faire la vaillante / au fond du coeur, je meurs d'effroi!" (I say, alas, that I take care of myself, / But try as I might to be the brave "girl, / At the bottom of my heart, I'm dying of fright!")
9. Intermezzo: The entr'acte between Acts II and III, for the scene change from Pastia's Inn to the smuggler's camp.
10. Chanson du Toréador: The famous "Toréador song" from Act IV. 'Nuff said!
11. Danse bohème: From the top of Act II, as Carmen and her friends Frasquita and Mercédès dance for some army officers in Pastia's Inn; a certified rouser and an ideal Big Finish.

Debussy in 1908
en.wikipedia.org

Music from another famous Frenchman is next: Debussy's "Danses sacrée et profane" ("Sacred and Profane Dances") for harp and strings. The famed French instrument makers Pleyel and Wolff commissioned the piece in 1904 as part of a marketing effort for their latest invention, the chromatic harp. Unlike the conventional pedal harp, which was then (and still is) the concert standard, the chromatic harp had two sets of strings, one tuned to C major and the other tuned to F-sharp/G-flat pentatonic. Unlike a conventional harp, this allowed the player to produce all twelve of the notes in a chromatic scale.

The instrument was not a success. As Daniel Durchholz writes in his program notes, the instrument "turned out to be too cumbersome in a variety of ways. It was hard to tune and keep in tune, difficult to play, and simply not as resonant as a standard harp. Without much fanfare, it was quickly abandoned." Fortunately, the music was easily adapted to the conventional pedal harp and has proved enduringly popular.

Which makes it a bit surprising that the SLSO has only performed it twice—on October 10th and 21s, 1981, with Frances Tietov at the harp and Leonard Slatkin on the podium for both performances. That interpretation was, happily, preserved on by Telarc on a CD that also contains "La Mer" and "Prélude à l'après-midi d'un faune." It's still in print and definitely worth having. This time around the solo role goes to SLSO Principal Harp Allegra Lilly, whose work has graced the Powell Hall stage since 2013.

FYI, the word "profane," in this context, means "secular" or "sensual," to indicate that the second of the two dances is less serious than the first.

Michael Sanders
stlsymphony.org

After intermission, an instrument that rarely gets the solo spot will be front and center: the tuba. Specifically, it will be an F tuba (as opposed to the bigger and deeper B-flat tuba more commonly heard in orchestras) played by SLSO Principal Tuba Michael Sanders. He'll be playing the "Tuba Concerto in F minor" that Ralph Vaughan Williams wrote in 1954 with (and for) London Symphony Orchestra Principal Tuba Philip Catelinet. Catelinet premiered the concerto at the LSO Golden Jubilee Concert in June of 1954, and while it has never been wildly popular—the only previous SLSO performance was in September of 1987—that's probably more a reflection of the dearth of great tuba players than any knock on the music itself. It's consistently ingratiating and playful with a strong English folk flavor. And it will be nice to see Mr. Sanders in front of the orchestra for a change.

The concerts close with one of the most popular orchestral works ever written and certainly the best-known thing Maurice Ravel ever wrote: "Bolero." Composed originally on commission for the dancer Ida Rubinstein, "Bolero" was first performed by her at the Paris Opéra on 22 November 1928, with choreography by Bronislava Nijinska and designs by Alexandre Benois.

Not mentioned for two whole paragraphs
officialboderek.com

"Inside a tavern in Spain," runs the scenario printed in that first program, "people dance beneath the brass lamp hung from the ceiling. [In response] to the cheers to join in, the female dancer has leapt onto the long table and her steps become more and more animated." In program notes for the New York Philharmonic, the late New York Times music critic Louis Biancolli goes into greater detail. "The men gathered in the public room of the inn eye the dancer fixedly. As her movements grow more animated, their excitement mounts. They beat out an obbligato with their hands and pound their heels. At the peak of the crescendo, where the key abruptly shifts from C major to E major, the sharpening tension snaps. Knives are drawn and there is a wild tavern brawl."

Sounds like a hell of a party. There will be no weapons at Powell Hall this weekend, fortunately, so you will be able to enjoy Ravel's Greatest Hit in safety.

And you will notice I got through two entire paragraphs on "Bolero" without once mentioning Bo Derek.

The Essentials: David Robertson conducts the St. Louis Symphony Orchestra with harpist Allegra Lilly and tuba player Michael Sanders on Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., May1-3. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

Chuck's Choices for the weekend of May 1, 2015

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

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New This Week:

Kevin Spirtas

The Gateway Men's Chorus presents Cabaret Risque on Saturday, May 2, at 8:30 p.m., preceded by a cocktail hour at 7 p.m. The show will star St. Louis native Kevin Spirtas, star of television's Days Of Our Lives, Jim Brickman's PBS special Love Songs and Lullabies, and Broadway's A Chorus Line, Hairspray, and The Boy From Oz. Ken Haller is master of ceremonies and guest performer for the event, with music direction by Al Fischer. Proceeds benefit the Gateway Men's Chorus. The show takes place Rialto Ballroom on the fourth floor of the Centene Center for the Arts, 3547 Olive in Grand Center. For more information: gatewaymenschorus.org.

My take: I sang in last year's Cabaret Risque and I have to say it was a heck of a good time for a good cause. This year, Kevin Spirtas has an impressive track record and Ken Haller is one of St. Louis' cabaret treasures. Another reason to attend: this will be the last appearance in town of outgoing GMC musical director Al Fischer, who had to find another job out of town when the fine people at the Catholic Archdiocese fired him from his teaching job for the high crime of marrying his partner Charlie Robin in New York. And if that's not enough, consider that your ticket includes a nice selection of food and drink along with the chance to bid on a variety of collectibles at a silent auction. Last year I walked away with a box full of CDs and DVDS by performers who had appeared at the Edison Theatre's Ovations! Series (which Mr. Robin headed until its demise at the end of this season). Just saying.

Clayton Community Theatre presents Shakespeare's Macbeth Fridays and Saturdays at 8 PM and Sundays at 2 PM, through May 3. Performances take place at the Washington University South Campus Theatre. For more information, call 314-721-9228 or visit placeseveryone.org.

My take: I haven't seen this production, but this play has always been one of my favorites. For a Shakespearean tragedy, it's remarkably compact and its protagonist goes downhill rather quickly as a result of a monstrous case of hubris. So I'm always willing to recommend a production of it.

Once on This Island
Photo: Stewart Goldstein

The Black Rep presents the musical Once on This Island through May 3. "Once on this Island is a warm fairy tale for children of all ages, told with breezy Caribbean rhythms. A young peasant girl in the French Antilles uses the power of love to bring together people of very different social classes." Performances take place at the Edison Theatre on the Washington University campus. For more information: theblackrep.org.

My take: Once on This Island is yet another wonderfully engaging musical from the peerless team of Stephen Flaherty and Lynn Ahrens, whose other hits include Ragtime and the charming Seussical. Writing for Lade News, Mark Bretz describes this as "an enchanting, mystical excursion into the fantastical and uplifting, accentuated by graceful dancing, spirited singing and a winning way that makes this one-act musical a joyful exercise." Chris Gibson at Broadwayworld.com says the show " is simply delightful, and filled with a slew of catchy Caribbean-influenced songs that make up the score. I think it's truly a crime that this under-appreciated presentation is coming to a close this weekend, and I challenge anyone reading this review to get out and see it. You will certainly not be disappointed, in fact, you'll probably fall in love with it in the same way that my son and I did." "Nuff said.

KTK Productions presents the farce Sex, Please, We're Sixtythrough May 3. "Mrs. Stancliffe's Rose Cottage Bed and Breakfast has been successful for many years. Her guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "The Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested. Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions." Performances take place at Southampton Presbyterian Church, 4716 Macklind. For more information: kurtainkall.org or call 314-351-8984.

My take: While nobody would mistake this sex farce for Great Art, KTK is apparently insuring that both the cast and audience have fun with it. "The dialogue is clever and filled with current references," writes Tina Farmer at KDHX, "...and the lively, vibrant cast gives the stereotypical senior characters a needed boost of energy...KTK Productions' current show is a delightfully light piece, with a well-constructed story and likeable characters, though it suffers from predictability and clichés. Thankfully, the cast is game for the humor and delightfully over-exaggerated, ensuring that 'Sex, Please, We're 60'..keeps audiences laughing."

Held Over:

Art
Photo: John Lamb

St. Louis Actors' Studio presents Yasmina Reza's comedy Art through May 3 at the Gaslight Theatre, 358 North Boyle. "How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: "Go on." This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds." For more information, call 314-458-2978 or visit stlas.org.

My take: Playwright Reza seems to specialize in scripts about Men Behaving Badly. Art is probably her best known and most popular play, and it looks like STLAS is doing well by it. The Snoop's Theatre Thoughts blog says that "the cast here is uniformly excellent, working together well and portraying a convincing combative friendship," while over at KDHX Tina Farmer says "[the] dialogue is crisp and artfully crafted, with lots of interesting turns but no real surprises. It's delightful to listen to the conversations of the three characters, Marc, Serge and Yvan, even though none of them are particularly sympathetic or more than marginally likable. John Pierson, Drew Battles and Larry Dell comfortably inhabit their characters and skillfully glide through dialogue that is at times complex and tongue twisting."

An Invitation Out
Photo: John Lamb

Mustard Seed Theatre presents An Invitation Out by Shaulee Cook through May 3. "In this world-premiere comedy of manners, a young man searches for "truth" while living in virtual reality and explores the "reality" of life offline." 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: Mustard Seed specializes in plays that deal with difficult ethical issues. In this case, they've chosen to take on the question of identity in a virtual world where a screen name might mean everything or nothing, and they're doing it in a way that pays homage to Oscar Wilde. In his review for KDHX, Robert Nickles says the plays characters "must make choices about identity within the confines of complex social expectations. Like any comedy of manners, the script hides profound truths behind the silliness and superficiality of human conventions. This visually stunning production combines fun and philosophy to produce a thoroughly entertaining social critique." At stltoday.com, Judy Newmark says the show is "is big in every way: the size of its cast, the characters’ outlandish costumes, the generous imagination that playwright Shualee Cook poured into her vision of a neo-Victorian future."

Symphony Review: Emanuel Ax brings down the house at Powell Hall

Emanuel Ax

Who: The St. Louis Symphony Orchestra conducted by David Robertson
What: Music of Elgar, Detlev Glanert, and Brahms
Where: Powell Hall, St. Louis
When: April 25 and 26, 2015

It has been over two and one-half years since renowned pianist Emanuel Ax last appeared on the Powell Hall stage. Based on the stunning performance he and David Robertson gave us of the Brahms Second Concerto this past Sunday, that's at least two years too long. Combined with an impeccable version of Elgar's "Introduction and Allegro" and a new work by Detlev Glanert, it made for a thoroughly satisfying afternoon at the symphony.

Brahms' "Piano Concerto No. 2 in B-flat major," Op. 83, is one of the most formidable of the Romantic piano concerti, although not for the usual reasons. Yes, it's technically challenging, but audibly less so than some of the late 19th-century finger-busters by (say) Rubinstein, Scharwenka, or Medtner.

With the Brahms, though, it’s partly a matter of sheer endurance. With four movements (as opposed to the usual three) and a running time of around fifty minutes, the piece was, at the time of its 1881 premiere, the longest piano concerto ever written. The real challenge, though, is artistic. The pianist who takes on the Second has to have not only technique and stamina but also a grasp of symphonic form—which is not guaranteed, even among some of the world’s most prominent players.

Mr. Ax, however, clearly has all three. The opening of the Allegro non troppo first movement, with Thomas Jöstlein's lovely horn solo and Mr. Ax's graceful reply, was a thing of beauty. But when, only a few pages later, the piano part began to explode in a flurry of runs and octaves, Mr. Ax tore them off with ease.

The Allegro appassionato second movement crackled with energy. The lyrical third movement Andante soared on the wings of the soulful duet between Mr. Ax and the heartfelt cello of Danny Lee. And the following Allegretto grazioso finale, which Mr. Robertson and Mr. Ax elected to play attacca (without pause), demonstrated that Mr. Ax can make the piano dance as well as sing and thunder.

Throughout the performance, Mr. Ax and Mr. Robertson did a marvelous job of clarifying and maintaining the momentum of Brahms' massive and occasionally murky musical architecture. The Brahms Second is a symphonic-weight concerto and it got an exceptionally well thought-out reading when we heard it Sunday afternoon.

Emily Ho
stlsymphony.org

The orchestra, as it so often does, played beautifully. I have already commented on the fine work by Mr. Jöstlein and his colleagues in the horn section, but there were also captivating moments from Principal Oboe Jelena Dirks. And, of course, there was Mr. Lee's cello. Mr. Ax shook his hand at least three times during the many curtain calls—a reminder of the real chemistry between them during the second movement.

Sunday's concert opened with another display of solid technique and unimpeachable taste as four members of the SLSO string section—violinists Emily Ho and Nicolae Bica, violist Morris Jacob, and cellist Anne Fagerburg—joined the symphony strings for Elgar's "Introduction and Allegro," op. 47. Written on commission in 1905 to show off the strings of the newly established London Symphony Orchestra, the work follows the form of the Baroque concerto grosso, even including a fugue in the concluding allegro. But it does so with all the profound romantic feeling that can be found in so much of Elgar's music.

Nicolae Brica
stlsymphony.org

Mr. Robertson's approach to this work was wonderfully lush, full-blooded, and intense. It was just lavish enough to be moving without feeling mannered. Every member on the quartet played with warmth and finesse, and the SLSO strings had a rich, deep sound that suited this music well. "Bravi" to all.

The first half of the concert concluded with the St. Louis premiere of "Frenesia" ("Frenzy") by contemporary German composer Detlev Glanert. Commissioned in 2014 to celebrate the 150th birthday of Richard Strauss, the piece was inspired by Strauss’ semi-autobiographical tone poem "Ein Heldenleben."

Morris Jacob
stlsymphony.org

In a video interview with Mr. Robertson played on the Powell Hall movie screen before the performance, Mr. Glanert provided some "Cliff's Notes" for his music, including an interesting explanation of how the work's energetically noisy opening pays homage to the initial measures of "Heldenleben." It was useful information, but didn't change the sense I already had from listening to the work's world premiere performance by Xian Zhang and the Royal Concertgebouw Orchestra (now available on YouTube) that this is mostly a flashy package without much inside.

Still, it's rather fun, even if it often sounds like the score for an "Alien" sequel. Like the tone poem that inspired it, "Frenesia" is marked by strong contrasts in which loud, aggressive orchestral outbursts abruptly give way to passages of surprising delicacy. And like Strauss, Glanert pushes the instruments to their limit and uses a variety of unusual performance techniques. The strings, in particular, got quite a workout, with glissandi, harmonics, and various forms of col legno bowing.

Anne Fagerburg
stlsymphony.org

That makes it a challenge for the musicians, I would think, but the SLSO musicians were more than up to it Sunday afternoon with impressively powerful and controlled playing. That included fine work by Cally Banham on English horn, some wonderfully eerie passages from Danny Lee, and a spectacular flute solo about half-way through from Andrea Kaplan. I'm not sure I ever need to hear this music again, but it was fairly enjoyable while it lasted.

Lorrraine Glass-Harris
stlsymphony.org

The performance of "Frenesia" was preceded by an affectionate farewell from Mr. Robertson for second violinist Lorraine Glass-Harris, who is retiring at the end of this season after over four decades with the SLSO. Ms. Glass-Harris has been featured as soloist with the SLSO, on KFUO radio in "From the Garden-Live!," in Chamber Music St. Louis, and with the Compton Heights Concert Band. She's also a Baroque music specialist, with a 1779 Joseph Gagliano violin and 1750 English bow, so I expect we'll continue to hear from her on the local chamber music scene.

Next at Powell Hall: David Robertson conducts the orchestra with harpist Allegra Lilly and tuba player Michael Sanders on Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., May 1-3. On the program are orchestral selections from "Carmen," Debussy's "Danses sacrée et profane (Sacred and Profane Dances)" for harp and orchestra, Vaughan Williams' 1954 "Tuba Concerto," and the ever-popular "Bolero." The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

St. Louis theatre calendar for the week of April 27, 2015

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's events web site.

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Art
Photo: John Lamb

St. Louis Actors' Studio presents Yasmina Reza's comedy Art through May 3 at the Gaslight Theatre, 358 North Boyle. "How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds." For more information, call 314-458-2978 or visit stlas.org. Read the 88.1 KDHX review!

St. Louis University Theatre presents Shakespeare's comedy As You Like It through May 3. The source of some of Shakespeare's most famous lines this comedy follows the challenging path of love for Rosalind and Orlando. Performances take place in Xavier Hall, 3373 West Pine Mall. he cast will also be performing an excerpt from the show as part the Shakespeare Festival of St. Louis Shake 38 event on Saturday, April 25 from 12-1 pm at the LaMancha Coffee House, 2800 N. 14th St. in Old North St. Louis. For more information, call (314) 977-2998 or visit slumarketplace.slu.edu.

Stray Pups Youth Theatre presents the musical Disney's Beauty and the Beast Jr. April 30-May 10 "The classic story tells of Belle, a young woman in a provincial town, and the Beast, who is really a young prince trapped under the spell of an enchantress. If the Beast can learn to love and be loved, the curse will end and he will be transformed to his former self. But time is running out. If the Beast does not learn his lesson soon, he and his household will be doomed for all eternity." Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

Kevin Spirtas

The Gateway Men’s Chorus presents Cabaret Risque on Saturday, May 2, at 8:30 p.m., preceded by a cocktail hour at 7 p.m. The show will star St. Louis native Kevin Spirtas, star of television’s Days Of Our Lives, Jim Brickman’s PBS special Love Songs and Lullabies, and Broadway’s A Chorus Line, Hairspray, and The Boy From Oz. Ken Haller is master of ceremonies and guest performer for the event, with music direction by Al Fischer. Procedes benefit the Gateway Men's Chorus. The show takes place Rialto Ballroom on the fourth floor of the Centene Center for the Arts, 3547 Olive in Grand Center. For more information: gatewaymenschorus.org.

The Lemp Mansion Comedy-Mystery Dinner Theater presents A Fistful Of Hollers May 1 through August 29. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

The Theatre Guild of Webster Groves presents Neil Simon's comedy Fools Fridays through Sundays, May 1-9. "Leon Tolchinsky is ecstatic. He's landed a terrific teaching job in an idyllic Russian hamlet. When he arrives he finds people sweeping dust from the stoops back into their houses and people milking upside down to get more cream. The town has been cursed with Chronic Stupidity for 200 years and Leon's job is to break the curse. No one tells him that if he stays over 24 hours and fails to break the curse, he too becomes Stupid. But, he has fallen in love with a girl so Stupid that she has only recently learned how to sit down." Performances take place in the Guild theatre at Newport and Summit in Webster Groves, MO. For more information: theatreguildwg.org or call 314-962-0876.

An Invitation Out
Photo: John Lamb

Mustard Seed Theatre presents An Invitation Out by Shaulee Cook through May 3. "In this world-premiere comedy of manners, a young man searches for “truth” while living in virtual reality and explores the “reality” of life offline." 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 Read the 88.1 KDHX review!.

St. Louis Community College at Wildwood presents the one-acts Lone Star and Laundry and Bourbon Friday and Saturday, May 1 and 2. The campus is at 2645 Generations Drive in Wildwood, MO. For more information: stlcc.edu/WW

Clayton Community Theatre presents Shakespeare's Macbeth Fridays and Saturdays at 8 PM and Sundays at 2 PM, through May 3. Performances take place at the Washington University South Campus Theatre. For more information, call 314-721-9228 or visit placeseveryone.org.

The Bissell Mansion Murder Mystery Dinner Theatre presents Mayhem In Mayberry May 1 through July 26. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

The Odd Couple
Photo: John Lamb

Dramatic License Productions presents the female version of Neil Simon's comedy The Odd Couple through May 10. "Oscar and Felix become Olive and Florence in this, the equally-hilarious female version of Neil Simon's classic comedy about two unlikely roomies who will either become the best of friends or kill each other trying!" Performances take place at Dramatic License Theatre located at upper-level Sears wing of Chesterfield Mall. For more information, call 636-821-1746 or visit www.dramaticlicenseproductions.org.

Once on This Island
Photo: Stewart Goldstein

The Black Rep presents the musical Once on This Island through May 3. "Once on this Island is a warm fairy tale for children of all ages, told with breezy Caribbean rhythms. A young peasant girl in the French Antilles uses the power of love to bring together people of very different social classes." Performances take place at the Edison Theatre on the Washington University campus. For more information: theblackrep.org.

KTK Productions presents the farce Sex, Please, We're Sixty through May 3. "Mrs. Stancliffe's Rose Cottage Bed and Breakfast has been successful for many years. Her guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "The Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested. Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions." Performances take place at Southampton Presbyterian Church, 4716 Macklind. For more information: kurtainkall.org or call 314-351-8984.

Webster University's Conservatory of Theatre Arts presents Shakespeare's The Tempest Wednesday through Saturday at 7:30 p.m. and Sunday at 2 p.m., April 29-May 3. “Prospero, Duke of Milan, usurped and exiled by his own brother, holds sway over an enchanted island. He is comforted by his daughter Miranda and served by his spirit Ariel and his deformed slave Caliban. When Prospero raises a storm to wreck this perfidious brother and his confederates on the island, his long contemplated revenge at last seems within reach.” Performances take place on the Browning Mainstage of the Loretto-Hilton Center on the Webster University campus. For more information, events.webster.edu or call 314-968-7128.

Kirkwood Theatre Guild presents the musical Thoroughly Modern Millie May 1-10. "Small-town girl, Millie Dillmount, sets out for New York in 1922, to put some excitement in her life...and hopefully find a rich husband. Millie begins her new flapper lifestyle with enthusiasm but encounters some unexpected turns when she moves into a hotel run by the evil Mrs. Meers and takes a job at Sincere Trust in an attempt to catch the rich and eligible boss...but instead finds herself falling in love with (gasp) an ordinary man. This zany musical, based on the popular movie, took Broadway by storm, winning the TONY Award for Best Musical! It's an absolutely fun-filled, toe-tapping tribute to the flapper era and the exciting beginning of the thoroughly modern woman!" 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.

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.

St. Louis classical calendar for the week of April 27, 2015

Allegra Lilly

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David Robertson conducts the St. Louis Symphony Orchestra with harpist Allegra Lilly and tuba player Michael Sanders on Friday at 10:30 a.m. and 8 p.m., Saturday at 8 p.m., and Sunday at 3 p.m., May1-3. "David Robertson conducts a program devoted to beloved dance compositions recognized for their brilliant and rousing arrangements. The program begins with selections from the Bizet's alluring and sensual Carmen. Ravel's most famous work, Bolero, always dazzles audiences with its Spanish charm, pulse-pounding melodies and unique instrumentation. Michael Sanders is the soloist for the Tuba Concerto by Ralph Vaughan Williams." The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

The 442s

The Tavern of Fine Arts presents The 442s in concert on Tuesday, April 28 at 8 PM. "What happens when you combine two outstanding members of the world-class St. Louis Symphony with two of the city's finest jazz musicians from the Erin Bode Group? You get The 442's, an exciting new acoustic instrumental quartet named for the modern standard tuning of 442 Hz! Brought together by the innovative and inspired compositions of Adam Maness, who also plays guitar, accordion, melodica and glockenspiel in the group, The 442's features Shawn Weil on violin, Bjorn Ranheim on cello and Sydney Rodway on bass. This unique collaboration, formed in the spring of 2012 by a tight-knit group whose love of good food and fine beer makes rehearsals feel like dinner parties, combines outstanding musicianship, group singing, inventive improvisation, whistle solos and special guest appearances by famed jazz vocalist, Erin Bode. Exploring the boundaries of jazz, classical, folk and rock music, their music can move you to the edge of your seat or comfort you like a lullaby, all within the same set." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents a marimba concert by Thomas Zirkle on Wednesday, April 29 at 8 PM. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents Rachel Petzoldt and Johanna Stull in a concert of music for flute and piano, with a guest appearance by cellist Ben Webb, on Thursday, April 30 at 6 PM. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Illumine Ensemble

The Tavern of Fine Arts presents a Music and Cuisine Pairing Concert with the Illumine Ensemble on Friday, May 1, at 7:30 PM. "We've cooked up another MUSIC & CUISINE PAIRING CONCERT with our friends the ILLUMINE ENSEMBLE featuring a fabulous menu of spring flavors, served up with equally tasty tunes." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents soprano Rebecca Drury and pianist Jon Garrett on Saturday, May 2, at 8 PM. "Jon Garrett (pianist, tenor) is joined by Rebecca Drury (soprano) for a wine pairing program exploring the emotional realm of our "Hellos and Goodbyes," in a musical journey of love and loss, life and death, sorrows and celebrations. Musical works will include Schumann's Frauenliebe und -leben song cycle (Woman's Love and Life), German selections by Schubert and Schumann, French songs by Faure, Debussy and Poulenc, popular musical theater, and English songs of Amy Beach and Roger Quilter." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Washington University Department of Music presents a concert by the a cappella vocal group The Whiffenpoofs of Yale, on Monday, April 27, at 7:30 p.m. "As the nation's oldest a cappella ensemble, the Whiffenpoofs have been sharing music throughout the United States and the world since their founding in 1909. The group combines a unique blend of musicianship, choreography, and showmanship to create a performance suitable for an array of different audiences. Made famous by the signature "Whiffenpoof Song" (which has been covered by artists like Elvis Presley, Bing Crosby, and Rudy Vallee), the Whiffs continue their century-old tradition each year with over two hundred performances in venues like Carnegie Hall, the Lincoln Center, and the Rose Bowl." The concert takes place at the 560 Music Center, 560 Trinity in University City. For more information: music.wustl.edu.

The Washington University Department of Music presents the Washington University Flute Choir and Community Flute Choir in a program of works for flute ensemble by Bach, Mozart, Grainger, McMichael and more. The concert takes place on Monday, April 27, at 8 p.m. at the 560 Music Center, 560 Trinity in University City, MO. For more information: music.wustl.edu.

The Washington University Department of Music presents the Washington University Wind Ensemble Concert on Tuesday, April 28, at 7:30 p.m. The performance takes place at the 560 Music Center, 560 Trinity in University City, MO. For more information: music.wustl.edu.

The Washington University Department of Music presents a Guitar Gala, featuring students in the university guitar program, on Thursday, April 30, at 8 p.m. The program includes music by Vivaldi, Villa-Lobos, Rodrigo and others. The performance takes place at Graham Chapel on the Washington University campus. For more information: music.wustl.edu.

Chuck's Choices for the weekend of April 27, 2015

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

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The Age of Bees

Tesseract Theatre Company presents The Age of Bees through April 28. "It's the year 2098. The bees are gone and the world struggles to keep up with the resulting ecological and economic changes. In the midst of this, we meet Mel, a young woman who has found sanctuary on an agricultural compound, where there's food and safety. She works alongside other girls, also orphans or castoffs. Sarah and Zed, who run the farm, hope that their next child will be a boy; Sarah is at the end of her fertility, however, and, to her dismay, Mel stands next in line to carry children for Zed. Into this uncertain sanctuary steps Jonathan, an independent field researcher who collects samples of plants to forestall additional ecological devastation. Meeting Mel provides a glimmer of other kinds of scientific riches on this compound, and he is determined to take her with him. Zed's history of violence makes any escape a dangerous proposition. Still, there's the hope that something new can grow, that something good can come from the ruined world they struggle to make theirs." Performances take place at the Regional Arts Commission, 6128 Delmar. For more information: tesseracttheatre.org.

My take: "Tesseract Theatre continues to demonstrate a commitment to finding not simply new plays," writes Tina Farmer in her review for KDHX, "but new plays that tackle contemporary issues with inventive and imaginative plots and well-informed, yet natural, dialogue...Playwright Palmquist takes a dark look into the future with this environmentally conscious, sweetly romantic play. These themes resonate deeply throughout and feel fully realized and genuinely formed." Tesseract is once again taking chances with a disturbing but important subject, and that kind of daring warrants a shout-out here.

Art
Photo: John Lamb

St. Louis Actors' Studio presents Yasmina Reza's comedy Art through May 3 at the Gaslight Theatre, 358 North Boyle. "How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds." For more information, call 314-458-2978 or visit stlas.org.

My take: Playwright Reza seems to specialize in scripts about Men Behaving Badly. Art is probably her best known and most popular play, and it looks like STLAS is doing well by it. The Snoop's Theatre Thoughts blog says that "the cast here is uniformly excellent, working together well and portraying a convincing combative friendship," while over at KDHX Tina Farmer says "[the] dialogue is crisp and artfully crafted, with lots of interesting turns but no real surprises. It's delightful to listen to the conversations of the three characters, Marc, Serge and Yvan, even though none of them are particularly sympathetic or more than marginally likable. John Pierson, Drew Battles and Larry Dell comfortably inhabit their characters and skillfully glide through dialogue that is at times complex and tongue twisting."

An Invitation Out
Photo: John Lamb

Mustard Seed Theatre presents An Invitation Out by Shaulee Cook through May 3. "In this world-premiere comedy of manners, a young man searches for “truth” while living in virtual reality and explores the “reality” of life offline." 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: Mustard Seed specializes in plays that deal with difficult ethical issues. In this case, they've chosen to take on the question of identity in a virtual world where a screen name might mean everything or nothing, and they're doing it in a way that pays homage to Oscar Wilde. In his review for KDHX, Robert Nickles says the plays characters "must make choices about identity within the confines of complex social expectations. Like any comedy of manners, the script hides profound truths behind the silliness and superficiality of human conventions. This visually stunning production combines fun and philosophy to produce a thoroughly entertaining social critique." At stltoday.com, Judy Newmark says the show is "is big in every way: the size of its cast, the characters’ outlandish costumes, the generous imagination that playwright Shualee Cook poured into her vision of a neo-Victorian future."

Shakespeare Festival St. Louis presents Shake 38, a city wide performance festival in which all 38 of Shakespeare's plays are performed by 38 different groups in a variety of neighborhoods and locations. Performances take place Wednesday through Sunday, April 22-26. For a complete schedule: sfstl.com.

My take: For sheer variety, it's hard to beat Shake 38, the Shakespeare Festival's annual city-wide celebration of The Bard on the week of his birthday. Events include Macbeth at Clayton Community Theatre, a concert version of Verdi's Falstaff at Tavern of Fine Arts, Miss Crump of the Loo (A Modern Adaptation of Timon of Athens) at the Centene Center, Goin' Ham-Lit in the Hood, An Adaptation of Hamlet at the St. Louis City Juvenile Detention Center, Student2Student: Measure4Measure at St. Louis University, and Henry VIII: Lose Your Head: A SHAKE 38 Signature Event, St. Lou Fringe Shindig, and Gateway Burners Recompression Party Extravaganza! at the Cherokee Arts Center. For a complete list (because, trust me, there's a lot more): www.sfstl.com/in-the-streets/shake-38.

Symphony Preview: Big Piano, Part Zwei, with Emanuel Ax

April has been Big Piano Concerto Month at the St. Louis Symphony. Last week we had Rachmaninoff's daunting "Piano Concerto No. 3" . This week it's the equally intimidating "Piano Concerto No. 2 in B-flat major," Op. 83, written in 1881 by Brahms.

Johannes Brahms
en.wikipedia.org

The reasons why the two concerti are difficult are somewhat different, though. With the Rachmaninoff, it's mostly a matter of sheer technique. The composer was a virtuoso of the first water who wrote the piece for his use during an American tour, and even though it's now largely part of the standard repertoire, it's still not the sort of thing a performer takes on lightly.

With the Brahms it's partly a matter of sheer endurance. With four movements (as opposed to the usual three) and a running time of around fifty minutes the piece was, at the time, the longest piano concerto ever written. Now that honor probably goes to Ferrucio Busoni's 1904 Piano Concerto (five movements, seventy minutes), which includes a part for male chorus. But it's still the pianistic equivalent of running a marathon and not everybody has the endurance.

The real challenge, though, is artistic. As French pianist Phillippe Bianconi observed in a 2013 interview, the Brahms Second is "not really a concerto – it is really a symphony with principal piano...everything about it — the structure, the texture, the way the piano is integrated into the orchestral fabric, it's very symphonic. And that is what I love about it: I have the feeling I'm playing in a Brahms symphony!... The sheer beauty of this music is simply overwhelming. And I don't know many concertos that have such a great range of moods and emotions...The concerto is like a fabulous journey." At the work's November 1881 premiere in Stuttgart, in fact, the prominent critic (and Brahms partisan) Eduard Hanslick labeled it "a symphony with piano obbligato."

That means the soloist has to have not only technique and endurance but also a grasp of symphonic form—which is not guaranteed, even among some of the world's most prominent players. "The fact that its supreme complexity requires a surpassing executant," wrote Brockway and Weinstock in the 1967 edition of their provocative "Men of Music," "has not helped the B flat, for it is all too often attempted by pianists who find it quite beyond their competence. Even the greatest of ensemble players, Artur Schnabel, though none of it is beyond him, cannot give interest to the unwieldy work for its entire length."

The composer realized that he had written something monumental, in fact, and was not sure how successful it might be. In a letter to Elizabeth von Herzogenberg from Pressbaum on July 7, 1881, Brahms, with tongue firmly in bearded cheek, announced that "I have written a tiny, tiny pianoforte concerto with a tiny wisp of a scherzo. It is in B flat, and I have reason to fear that I have worked this udder, which has yielded good milk before, too often and too vigorously."

He need not have worried. "He was surely vindicated, if unsurprised," writes René Spencer Saller in the SLSO program notes, "when his Second Piano Concerto elicited rapturous applause everywhere except in Leipzig, that die-hard Wagner town." Its popularity continues to this day, when it's seen as one of the core Romantic piano concerti. Indeed, pianist Stephen Hough (who has both Brahms concerti in his repertoire) has said that the Brahms Second is one of his favorites. "For all the grandeur and excitement of the first concerto's youthful flare," he wrote in The Guardian's music blog last January, "the second's older vintage seemed wiser, more fascinatingly complex as I revisited and re-recorded both pieces last year. Its musical arguments seemed more nuanced, more open to exploration, more a search for common ground where, as in life, the sun can shine brightest ... and warmest."

At the keyboard this weekend is Emanuel Ax, a pianist with a long and distinguished career in both the concert and chamber music worlds and an impressively large catalog of recordings (he has been a Sony classical artist since 1987).  He knows the Brahms Second intimately and has performed it four times with the SLSO, including twice with David Robertson. This weekend will mark his 40th anniversary of his first appearance with the orchestra.

Edward Elgar, circa 1900
en.wikipedia.org

The concerts will open with a work of more modest proportions: Edward Elgar's 1905 "Introduction and Allegro," op. 47, scored for string orchestra with a solo string quartet, much in the manner of the Baroque concerto grosso. It was was written on commission to show off the strings of the newly-established London Symphony Orchestra and contains some wonderful stuff, especially for the solo quartet. "It's really beautiful, and kind of strange," says viola soloist Morris Jacob in an interview in the program. "It's Elgar at his best. He writes so well for strings, with beautiful, intimate moments, some of which are just majestic."

Elgar prefaced the score with the following lines from Act IV, Scene 1 of Shakespeare's oddball tragicomedy "Cymbeline" describing the decidedly mixed emotions displayed by one of the key characters:

Nobly he yokes
A smiling with a sigh, as if the sigh
Was that it was, for not being such a smile; The smile mocking the sigh, that it would fly From so divine a temple, to commix
With winds that sailors rail at.

"Shakespeare reveled in paradox," writes Ms. Saller, "the conjoining of apparent antitheses. Elgar did too, but in a different idiom." The Introduction begins wistfully in G minor but soon waxes lyrical with a tune that Elgar said was inspired by a song he heard sung by a distant voice during a vacation in Wales. The Allegro concludes with an energetic fugue. "The work," concludes Ms. Saller, "is at once Romantic and Baroque, ecstatic and exact. Like the Bard of Avon, Elgar loved the mongrels best."

Between the Elgar and the Brahms is the St. Louis premiere of "Frenesia" ("Frenzy") by contemporary German composer Detlev Glanert. Composed on commission to celebrate the 150th birthday of Richard Strauss (of "Also Sprach Zarathustra" fame), the piece was inspired by Strauss' tone poem "Ein Heldenleben" ("A Hero's Life").

Detlev Glanert
boosey.com

"Ein Heldenleben," for the benefit of those of you who came in late, is a supreme example of musical egotism. Despite the composer's disclaimer that the work was only party autobiographical and that it was intended to be "a more general and free ideal of great and manly heroism," there's not much doubt that Strauss' hero was Strauss. The work is chock full of quotes from Strauss' music and its portrayal of music critics by a gaggle of chattering woodwinds provoked the expected outrage from the composer's detractors.

That sort of thing would be easy to parody, but Mr. Glanert isn't interested in satire. "Although Glanert admires Strauss's last great tone poem too much to mock it," reports Ms. Saller, "he recognizes that it was a product of its time. Frenesia is the ‘anti-Heldenleben,' he explains, "because the piece is against the traditional Romantic view of grand heroism, which I think is no longer possible after historic events leading to 1945.'"

"Frenesia" was given its world premiere by Xian Zhang and the Royal Concertgebouw Orchestra last January—a performance that was recently made available on YouTube. It's a piece marked by strong contrasts in which loud, aggressive orchestral outbursts that sound like science fiction film music abruptly give way to passages of surprising delicacy. About two-thirds of the way through, the music begins a slow build to a massive final climax before slowly dying away, like "Neptune" from Holst's "The Planets," into silence. Overall, I'm left the impression that Mr. Glanert sees "grand heroism" as being mostly sound and fury, signifying nothing.

"Frenesia" will, in any case, make serious demands on the members of the orchestra. It will be interesting to see what they make of it.

Mr. Glanert is no stranger to the "old wine in new bottles" thing, by the way. Last October he uncorked a re-distillation of some vintage Brahms at Powell Hell in his "Vier Präludien und ernste Gesänge" ("Four Preludes and Serious Songs"), an arrangement of Brahms's op. 121 "Four Serious Songs" for baritone and orchestra. You can see my colleague Gary Liam Scott's review of that concert (which I missed because I was on stage elsewhere) at the KDHX web site.

The essentials: David Robertson conducts the St. Louis Symphony Orchestra with pianist Emanuel Ax on Saturday at 8 p.m. and Sunday at 3 p.m., April 25 and 26. The concerts take place at Powell Symphony Hall, 718 North Grand in Grand Center. For more information: stlsymphony.org.

St. Louis theatre calendar for the week of April 20, 2015

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's events web site.

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The Age of Bees

Tesseract Theatre Company presents The Age of Bees through April 28. "It's the year 2098. The bees are gone and the world struggles to keep up with the resulting ecological and economic changes. In the midst of this, we meet Mel, a young woman who has found sanctuary on an agricultural compound, where there's food and safety. She works alongside other girls, also orphans or castoffs. Sarah and Zed, who run the farm, hope that their next child will be a boy; Sarah is at the end of her fertility, however, and, to her dismay, Mel stands next in line to carry children for Zed. Into this uncertain sanctuary steps Jonathan, an independent field researcher who collects samples of plants to forestall additional ecological devastation. Meeting Mel provides a glimmer of other kinds of scientific riches on this compound, and he is determined to take her with him. Zed's history of violence makes any escape a dangerous proposition. Still, there's the hope that something new can grow, that something good can come from the ruined world they struggle to make theirs." Performances take place at the Regional Arts Commission, 6128 Delmar. For more information: tesseracttheatre.org.

St. Louis Actors' Studio presents Yasmina Reza's comedy Art through May 3 at the Gaslight Theatre, 358 North Boyle. "How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc's best friends, Serge, has just bought a very expensive painting. It's about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn't have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds." For more information, call 314-458-2978 or visit stlas.org.

St. Louis University Theatre presents Shakespeare's comedy As You Like It April 24-May 3. The source of some of Shakespeare's most famous lines this comedy follows the challenging path of love for Rosalind and Orlando. Performances take place in Xavier Hall, 3373 West Pine Mall. he cast will also be performing an excerpt from the show as part the Shakespeare Festival of St. Louis Shake 38 event on Saturday, April 25 from 12-1 pm at the LaMancha Coffee House, 2800 N. 14th St. in Old North St. Louis. For more information, call (314) 977-2998 or visit slumarketplace.slu.edu.
 

Crimes of the Heart

The Hawthorne Players present the Beth Henley's Crimes of the Heart through April 26. "Crimes of the Heart is filled with humanity and humor as it examines the plight of three young Mississippi sisters betrayed by their passions. In the end, the play is the story of how its young characters escape the past and seize the future-but the telling is so true and touching and consistently hilarious that it will linger in the mind long after the curtain has descended. This winner of the 1981 Pulitzer Prize will be directed by Ken Clark, who says, "If you think your family has issues, wait until you visit the Magrath household. As my grandmother once said, Southern hospitality can't fix crazy."" The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.com.

Family Musical Theater presents the Stephen Sondheim musical A Funny Thing Happened on the Way to the Forum through April 26 at the Ivory Theatre, 7622 Michigan. For more information, visit familymusical.org or call 314-571-9579.

An Invitation Out
Photo: John Lamb

Mustard Seed Theatre presents An Invitation Out by Shaulee Cook through May 3. "In this world-premiere comedy of manners, a young man searches for “truth” while living in virtual reality and explores the “reality” of life offline." 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.

Gateway Opera presents Mozart's The Impresario Friday and Saturday, April 24 and 25, at 7:00 p.m. "In this hilarious hour-long show, an entrepreneur struggles to hold together an opera company filled with affairs, feuding singers, and a strained budget. This new expanded English edition commissioned by Gateway Opera features favorites from other Mozart operas including Così fan tutte, The Magic Flute, Idomeneo and more!" Performances take place at the Kranzberg Center 501 North Grand in Grand Center. For more information: 1-800-838-3006 or gatewayopera.org.

Clayton Community Theatre presents Shakespeare's Macbeth Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 23-May 3. Performances take place at the Washington University South Campus Theatre. For more information, call 314-721-9228 or visit placeseveryone.org.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Muuurder in Maaaybury through April 25. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

Alfresco Productions presents the musical Next to Normal Friday through Sunday, April 24-26 "Dad's an architect; Mom rushes to pack lunches and pour cereal; their daughter and son are bright, wise-cracking teens, appearing to be a typical American family. And yet their lives are anything but normal, because the mother has been battling manic depression for 16 years. Next To Normal takes audiences into the minds and hearts of each character, presenting their family's story with love, sympathy and heart. This deeply moving piece of theatre provides a wonderful opportunity for performers to explore dramatic material and showcase vocal talents with an energetic pop/rock score. Next To Normal is an emotional powerhouse that addresses such issues as grieving a loss, ethics in modern psychiatry, and suburban life. PARENTAL ADVISORY - STRONG LANGUAGE AND MATURE CONTENT" Performances take place at the Alfresco Art Center, 2401 Delmar in Granite City, IL. For more information: (618) 560-1947 or www.alfrescoproductions.org.

Dramatic License Productions presents the female version of Neil Simon's comedy The Odd Couple April 24-May 10. "Oscar and Felix become Olive and Florence in this, the equally-hilarious female version of Neil Simon's classic comedy about two unlikely roomies who will either become the best of friends or kill each other trying!" Performances take place at Dramatic License Theatre located at upper-level Sears wing of Chesterfield Mall. For more information, call 636-821-1746 or visit www.dramaticlicenseproductions.org.

The Black Rep presents the musical Once on This Island April 22-May 3. "Once on this Island is a warm fairy tale for children of all ages, told with breezy Caribbean rhythms. A young peasant girl in the French Antilles uses the power of love to bring together people of very different social classes." Performances take place at the Edison Theatre on the Washington University campus. For more information: theblackrep.org.

Lindenwood University presents Shakespeare's Pericles, Prince of Tyre through April 25. "This action-packed production is a tempest-tossed hero's quest-a magical mystery tour spanning decades and continents, culminating in one of the most joyous reunions in the Shakespearean canon. Featuring pirates, goddesses, jousting knights, and a lost princess, Pericles, Prince of Tyre is a theatrical journey you don't want to miss!" Performances take place at the J. Scheidegger Center for the Arts on the Lindenwood campus in St. Charles, MO. For more information, call 636-949-4433 or visit lindenwood.edu/center.

The Bissell Mansion Murder Mystery Dinner Theatre presents Phantom of the Grand Ole Opery through April 26. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

St. Charles Community College presents Ionesco's absurdist comedy Rhinoceros Wednesday through Sunday, April 22-26. Performances take place in the Donald D. Shook Fine Arts Building on the campus at 4601 Mid Rivers Mall Drive in Cottleville, MO. For more information, call 636-922-8050 or visit stchas.edu.

KTK Productions presents the farce Sex, Please, We're Sixty April 24-May 3. "Mrs. Stancliffe's Rose Cottage Bed and Breakfast has been successful for many years. Her guests (nearly all women) return year after year. Her next door neighbor, the elderly, silver-tongued, Bud "The Stud" Davis believes they come to spend time with him in romantic liaisons. The prim and proper Mrs. Stancliffe steadfastly denies this, but really doesn't do anything to prevent it. She reluctantly accepts the fact that "Bud the Stud" is, in fact, good for business. Her other neighbor and would-be suitor Henry Mitchell is a retired chemist who has developed a blue pill called "Venusia," after Venus the goddess of love, to increase the libido of menopausal women. The pill has not been tested. Add to the guest list three older women: Victoria Ambrose, a romance novelist whose personal life seems to be lacking in romance; Hillary Hudson a friend of Henry's who has agreed to test the Venusia: and Charmaine Beauregard, a "Southern Belle" whose libido does not need to be increased! Bud gets his hands on some of the Venusia pills and the fun begins, as he attempts to entertain all three women! The women mix up Bud's Viagra pills with the Venusia, and we soon discover that it has a strange effect on men: it gives them all the symptoms of menopausal women, complete with hot flashes, mood swings, weeping and irritability! When the mayhem settles down, all the women find their lives moving in new and surprising directions." Performances take place at Southampton Presbyterian Church, 4716 Macklind. For more information: kurtainkall.org or call 314-351-8984.

Shakespeare Festival St. Louis presents Shake 38, a city wide performance festival in which all 38 of Shakespeare's plays are performed by 38 different groups in a variety of neighborhoods and locations. Performances take place Wednesday through Sunday, April 22-26. For a complete schedule: sfstl.com.

St. Louis Community College at Florissant Valley presents Steel Magnolias through April 25. Performances take place in the Fisher Theatre on the campus at 3400 Pershall Road. For more information: stlcc.edu/FV under Fischer Theatre or call 314-644-5522.

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.