St. Louis theatre calendar for the week of June 1, 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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Mariposa Artists presents Angie Nicholson in her cabaret debut About Time on Friday and Saturday, June 5 and 6, at 8 p.m. The show is directed by Lina Koutrakos with Rick Jensen on piano. The performance takes place at The Chapel, 6238 Alexander Drive in Clayton. For more information: angie.brownpapertickets.com.

The St. Lou Fringe presents Act Your Pants Off, a special benefit performance for the Fringe, on Tuesday, June 2, beginning at 7 PM. " The stakes - and waistlines - have never been higher. St Lou Fringe pairs up with local Actor's Equity Association professional actors to offer you the very best talent in St Louis, in the most relentless setting. Top St Louis talent put themselves and their craft to the test as our city's strongest actors face off in challenges the likes of which they've never seen, fighting for audience approval - and fighting to keep their belts buckled! And you thought auditions were a beast." The event takes place at Off Broadway, 3511 Lemp. For more information: stlfringe.com.

Anthony and Cleopatra

Shakespeare Festival St. Louis presents Anthony and Cleopatra nightly except for Tuesdays June 14. Performances take place in Shakespeare Glen next to the Art Museum in Forest Park. Curtain time is 8 PM. For more information, visit shakespearefestivalstlouis.org. Read the 88.1 KDHX review!

Opera Theatre of St. Louis presents Rossini's comedy The Barber of Seville in rotating repertory with three other operas through June 27. "There's a good reason it's one of the world's most popular operas! Rossini's zany and sparkling score sets the gold standard for opera that is fresh, elegant, funny, and brimming with vocal fireworks. Delight as the young barber Figaro helps Count Almaviva steal the beautiful Rosina from under the nose of her doddering guardian." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644. Read the 88.1 KDHX review!

Photo: ProPhotoSTL

Gitana Productions presents Black and Blue by by Lee Patton Chiles with music by Tbeats Entertainment Saturday, June 7, at 3 PM. “An original play of hope and healing, exploring the assumptions that all young black men are dangerous, and that all cops are bad. ” Performances take place at Greater St. Marks Church, 9950 Glen Owen, in Ferguson. For more information: www.gitana-inc.org. Read the 88.1 KDHX review!

Stages St. Louis presents Disney's The Aristocats, based on the film, June 3-28. "Sacrè bleu! Madame's furry felines have been cat-napped! What's a cat to do? Luckily, Thomas O'Malley and his rag-tag bunch of Alley Cats are ready to spring to the rescue of Duchess and her Aristokittens. What happens next is anyone's guess! You'll be clapping your paws and wagging your tail to our hep, jazzy beat. With songs like "The Aristocats," "Scales and Arpeggios," and "Ev'rybody Wants to Be a Cat," this modern version of the familiar Disney classic is just purrrrr-fect for the entire family. " Performances take place at the Westport Playhouse in Westport Plaza. For more information, visit stagesstlouis.org or call 314-821-2407.

Photo: Tom Gannam

Stray Dog Theatre presents the musical Dog Sees God: Confessions Of A Teenage Blockhead Thursdays through Saturdays at 8 PM June 4-20. "A New York Fringe Festival hit which satirizes the Peanuts comic strip by aging its cast of characters into their teenage years. Consumed with teenage angst, experimentation and sexual identity, CB and his friends face questions of morality, the existence of an afterlife and true friendship. " Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.  

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

Mariposa Artists presents In Concert: Classic Rock Reimagined and Unpluged on Thursday, June 4, at 8 p.m. The show is features 11 local singers and directed by Lina Koutrakos with Rick Jensen on piano. The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center. For more information: inconcertstl.brownpapertickets.com.

Act Two Theatre presents Mark Twain's Is He Dead?, adapted by David Ives, June 5-14. "Jean-Francois Millet, a young painter of genius, is in love with Marie Leroux but in debt to a villainous picture-dealer, Bastien Andre. Andre forecloses on Millet, threatening debtor's prison unless Marie marries him. Millet realizes that the only way he can pay his debts and keep Marie from marrying Andre is to die, as it is only dead painters who achieve fame and fortune. Millet fakes his death and prospers, all while passing himself off as his own sister, the Widow Tillou. Now a rich “widow,” he must find a way to get out of a dress, return to life, and marry Marie. " Performances take place in the St. Peters Cultural Arts Centre at 1 St Peters Centre Blvd, St. Peters, MO 63376. For more information: act2theater.com.

GoodPeople Theatre presents Is This Really Happening Right Now?: A Series of Vignettes Friday and Saturday, June 5 and 6. The performances take place at Restituo Coffee Shop, 4100 Shenandoah in the Shaw Neighborhood. For more information: heygoodpeopletheatre.wordpress.com.

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

Circus Flora presents its new show, One Summer on 2nd Street through June 28 under the air-conditioned, red-and-white, big top tent in Grand Center next to Powell Hall. "Travel back with us to The Jazz Age - to a time at which American cities grew rapidly, becoming home to families from all walks of life and corners of the map. We'll journey together to a typical block in a typical city on a typical day - and meet a very atypical set of families. Find yourself enchanted by a small Ukrainian family who tame the cats that live in the alley. Feel the excitement as Russian carriage drivers ride wildly through the streets, and the Flying Wallendas maneuver their way along clotheslines strung between buildings. Experience the bliss of young love, determined to stand strong amid their families' protests. These stories, and more, will come alive under the Big Top this summer." For more information, visit circusflora.org.

Theatre Lab presents the drama The Pillowman running through June 7. "Katurian, a writer of short stories which often depict violence against children, has been arrested by two detectives, Ariel and Tupolski, because some of his stories resemble recent child murders. When he hears that his brother Michal has confessed to the murders and implicated Katurian, he resigns himself to his execution but attempts to save his stories from destruction. The play includes both narrations and reenactments of several of Katurian's stories, most notably the autobiographical "The Writer and the Writer's Brother", which tells how Katurian developed his disturbed imagination by hearing the sounds of Michal being tortured by their parents." Performances take place at the Gaslight Theater, 358 North Boyle in the Central West End. For more information: brownpapertickets.com . Read the 88.1 KDHX review!

Southern Illinois University at Edwardsville Summer Showbiz presents the musical revue Red Hot and Cole Wednesday through Saturday at 7:30 PM and Saturday and Sunday at 2 PM, through June 7. The show is "a scintillating mixture of biography and song, celebrating the great American songwriter, Cole Porter, who brought style, elegance and sophistication to the stages and soundstages of Broadway and Hollywood, delighting the world with his devilishly clever rhymes, fresh and unexpected melodies, and sassy, sexy sensibility. Red Hot and Cole is a musical champagne tribute to a glittering age gone by, and the man and talent who was Cole Porter." Performances take place in the Dunham Hall theater on the campus in Edwardsville, IL. For more information, call 618-650-2774.

Opera Theatre of St. Louis presents the American premiere of Handel's Richard the Lionheart in rotating repertory with three other operas June 7 through June 26. "If you only know him from Robin Hood, you don't know the whole story of Richard the Lionheart. Shipwrecked on the way to the Third Crusade, one of England's bravest kings must disguise himself to protect his future bride and prevent war in a foreign land. But who can he trust in this all-too-real game of thrones? Handel's virtuosic vocal writing in this opera, never before heard in the United States, makes Richard an eagerly-anticipated event for all music-lovers." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

Opera Theatre of St. Louis presents Puccini's La Rondine in rotating repertory with three other operas through June 28. " Can a beautiful, sophisticated Parisian courtesan find happiness with a young man from the country? Or is her love affair doomed by a past she cannot keep secret? Celebrated OTSL music directorStephen Lord brings Puccini's gorgeous music and romantic storytelling to life in this stunning, newbelle epoque period production." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

The Monroe Actors Stage Company presents the comedy See How They Run Fridays and Saturdays at 7:30 and Sundays at 2:30 p.m., June 5-14, in the Historic Capitol Theatre in downtown Waterloo, Illinois. For more information, visit www.masctheatre.org or call 618-939-7469.

Smokey Joe's Cafe

Stages St. Louis presents the musical revue Smokey Joe's Café, based on the songs of Lieber and Stoller through June 28. " Welcome to the neighborhood for a nostalgic exploration of the lives, loves, and aspirations of a group of friends who know how to rock 60s style. Featuring nearly 40 chart-topping hits that span over three decades of popular American music, this thrilling Grammy Award-winning song celebration will knock your socks off. Relive the glory days of rock and roll with such pop standards as “Stand By Me,""Jailhouse Rock," “I'm A Woman," “Hound Dog," and “On Broadway.” Now, Baby, that's rock 'n' roll! Words and Music by Jerry Leiber and Mike Stoller." Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. For more information, visit stagesstlouis.org or call 314-821-2407.

Photo: Jill Ritter Lindberg

New Line Theatre presents Kurt Weill and Bertolt Brecht's Threepenny Opera, in the English adaptation by Marc Blitzstein, Thursdays through Saturdays at 8 PM, through June 20. "Before there was Urinetown, before Cabaret or Sweeney Todd, there was this dark, comic masterpieces of the art form, Kurt Weill and Bertolt Brecht's world-famous musical comedy thriller, THE THREEPENNY OPERA (which is not actually an opera), in the famous translation by composer-lyricist Marc Blitzstein (The Cradle Will Rock). This is the show that launched the pop standard, “Mack the Knife,” with a haunting jazz score, acid harmonies, wickedly clever lyrics, and very questionable morals. This is the musical that inspired many shows New Line has produced over the years, includingCabaret, Urinetown, Bat Boy, Sweeney Todd, Assassins, Bloody Bloody Andrew Jackson, and so many other modern musicals. Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, visit newlinetheatre.com or call 314-534-1111.

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 June 1, 2015

Timothy O'Leary

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Opera Theatre of St. Louis presents Art, Music, and Unraveling the Mystery of History: Changing the Past to Shape the Future, a panel discussion moderated by OTSL General Director Timothy O'Leary, on Thursday, June 4, at noon. The panel explores two operas which changed our perspectives on history: Handel's treatment of the Crusader King Richard in Richard the Lionheart and Hans Krása's Brundibár, a children's opera used as Nazi propaganda. The panel includes Richard the Lionheart director Lee Blakeley, countertenor Tim Mead, and curator and director of education for the Holocaust Museum and Learning Center of St. Louis Dan Reich. The event takes place at the Missouri History Museum, 5700 Lindell Boulevard in Forest Park. For more information, visit mohistory.org.

Opera Theatre of St. Louis presents When Good Sopranos Go Bad: The Dueling Divas that Stole Handel's Spotlight in Richard the Lionheart on Monday, June 1, at 7:30 p.m., The panel discussion features St. Louis Symphony Chorus Director Amy Kaiser, along with Grant Llewellyn, Lee Blakeley, and Jean-Marc Puissant. The event takes place at The Ethical Society, 9001 Clayton Road. For more information: experienceopera.org or 314-961-0644.

Opera Theatre of St. Louis presents the American premiere of Handel's Richard the Lionheart, opening on Sunday, June 7, at 7 p.m. and running in rotating repertory with three other operas through June 26. "If you only know him from Robin Hood, you don't know the whole story of Richard the Lionheart. Shipwrecked on the way to the Third Crusade, one of England's bravest kings must disguise himself to protect his future bride and prevent war in a foreign land. But who can he trust in this all-too-real game of thrones? Handel's virtuosic vocal writing in this opera, never before heard in the United States, makes Richard an eagerly-anticipated event for all music-lovers." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

Photo: Ken Howard

Opera Theatre of St. Louis presents Rossini's comedy The Barber of Seville in rotating repertory with three other operas through June 27. Performances this week are Thursday at 8 p.m. and Saturday at 1 p.m., June 4 and 6. "There's a good reason it's one of the world's most popular operas! Rossini's zany and sparkling score sets the gold standard for opera that is fresh, elegant, funny, and brimming with vocal fireworks. Delight as the young barber Figaro helps Count Almaviva steal the beautiful Rosina from under the nose of her doddering guardian." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644. Read the 88.1 KDHX review!

Opera Theatre of St. Louis presents Puccini's La Rondine in rotating repertory with three other through June 28. This week's performance is on Wednesday, June 3, at 8 p.m. "Can a beautiful, sophisticated Parisian courtesan find happiness with a young man from the country? Or is her love affair doomed by a past she cannot keep secret? Celebrated OTSL music director Stephen Lord brings Puccini's gorgeous music and romantic storytelling to life in this stunning, new belle epoque period production." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

Chris Botti

The St. Louis Symphony Orchestra presents trumpeter Chris Botti in concert on Friday, June 5, at 7:30 p.m. "Grammy® Award-winning trumpeter Chris Botti returns by popular demand to Powell Hall performing his famous smooth jazz stylings that will blend with the lush sounds of the STL Symphony. Hear one of the world's most beloved instrumentalists in this one night only, not-to-be missed performance." The performance takes place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

The St. Louis Symphony Orchestra presents Music of the Eagles on Saturday, June 6, at 7:30 p.m. "Considered one of the best-selling bands of all time, the Eagles have won six Grammy® Awards and had five number one singles. Amplified by a full rock band, Brent Havens returns to conduct the STL Symphony as they capture the Eagles' astonishing harmonies in all the classics, including “Hotel California,” “Desperado” and “Take It Easy.” The performance takes place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

The Tavern of Fine Arts presents the SIUE Flute Studio Recital on Saturday, June 6, at 5:30 p.m. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

Chuck's Choices for the weekend of May 29, 2015

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

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New This Week:

Anthony and Cleopatra

Shakespeare Festival St. Louis presents Shakespeare's Anthony and Cleopatra nightly except for Tuesdays June 14. Performances take place in Shakespeare Glen next to the Art Museum in Forest Park. Curtain time is 8 PM. For more information, visit shakespearefestivalstlouis.org.

My take: As I write in my review for OnSTL.com, Shakespeare Festival St. Louis is producing a deftly edited and superbly acted production of this late Shakespeare tragedy/comedy/history. This isn't the easiest play to do, and other companies have stubbed their toes on it in the past, but under Mike Donahue's expert direction this fine cast does very well with material that is dramatically complex and open to a wide variety of interpretations. You can sit on the grass for free, but personally I recommend springing for one of the $20 reserved seats. That's still plenty cheap for theatre of this quality.

Emily Fons as Rosina and
Dale Travis as Dr. Bartolo
Photo: Ken Howard

Opera Theatre of St. Louis presents Rossini's comedy The Barber of Seville in rotating repertory with three other operas through June 27. "There's a good reason it's one of the world's most popular operas! Rossini's zany and sparkling score sets the gold standard for opera that is fresh, elegant, funny, and brimming with vocal fireworks. Delight as the young barber Figaro helps Count Almaviva steal the beautiful Rosina from under the nose of her doddering guardian." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

My take: As I write in my review for KDHX, everyone connected with this production can congratulate themselves on a job well done. Taking as his point of departure the animated and colorful films of Spanish director Pedro Almodóvar, Mr. Shell has produced a loopy, slightly surreal, and highly engaging take this comic opera classic. The updated bits are always funny and sometimes inspired. And there aren't so many of them that they pull focus from the singers and the text and score of the opera. This is a production that respects the intelligence of its audience and doesn't assume that we need to be constantly distracted in order to be entertained.

Ben Watts

The Kranzberg Arts Center presents Wonderful Enough: Ben Watts Sings Cole Porter, Noel Coward, Jerry Herman, Peggy Lee, and More on Saturday, May 30, at 8 p.m. Carol Schmidt is music director and pianist for the program, which is directed by Tim Schall. The Kranzberg Center is at 501 North Grand in Grand Center. For more information: benwatts.brownpapertickets.com.

My take: As I say in my preview article, a well-constructed cabaret act is ultimately a kind of one-act play, which is why actors—who have the advantage of understanding dramatic form—often create some of the best cabaret. Mr. Watts has shown that he can do both comedy and drama, and his appearances at The Cabaret Project's open mic nights (which I host) have been very impressive. And, of course, Tim Schall and Carol Schmidt are cabaret pros of considerable standing themselves. This is likely to be an auspicious debut.

Held Over:

My Mother's Lesbian Jewish Wiccan Wedding
Photo: Eric Woolsey

New Jewish Theater presents the musical My Mother's Lesbian Jewish Wiccan Wedding May 7-31. "The surprise hit of both the Toronto Fringe Festival and New York Musical Theater Festival, My Mother's Lesbian Jewish Wiccan Wedding is the sweet, tuneful and true story of the journey of the playwright's mother as she discovered her true self. Despite its specific title, MMLJWW is a universal story about parents and children, falling in love, and finding out who you are. It has heart and soul and in today's political climate, it couldn't be more timely - plus, it's a TRUE STORY!" Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

My take: As I wrote in my review for KDHX, David Hein and Irene Sankoff's unapologetically autobiographical musical is a pleasant and pleasing little show. It's so light that a stiff breeze would blow it away, but its heart is in the right place, which counts for a great deal. Ed Coffield has assembled a great cast and directed them well. Sets and costumes are bright and colorful and the on-stage band is solid. When I saw it on its opening weekend it was sold out, so you might want to order tickets sooner rather than later.

Opera Preview: Stage director Michael Gieleta on Opera Theatre's "La Rondine"

Michael Gieleta
michaelgieleta.com

This Saturday, May 30th, Opera Theatre of St. Louis presents Puccini's rarely seen "lyrical comedy" "La Rondine" ("The Swallow") in the original 1917 version. The opera has only been seen once before on the OTSL stage—in 1996, when the company presented the American premiere of the third (1921) version. I interviewed stage director Michael Gieleta via email during the final week of rehearsals.

Chuck Lavazzi: Puccini famously left "La Rondine" in a bit of a mess when he died, with three different performing versions available. OTSL has decided on the original 1917 version, which seems to be a popular choice. What were the factors the led you and your collaborators to pick this one as opposed to the other two?

Michael Gieleta: I don't think Puccini's lateral takes on "La Rondine" are any different from his takes on "Madama Butterfly," or of many now-famous American musicals which, for different reasons, get written and rewritten before, during and after they reach Broadway/the West End. It's not untypical of the composers' creative process and of its response to the various kind of pressure from the publishers, producers and the initial press feedback. Lastly, there are the stars who demand an extra "number" (be it "Send in the Clowns" or "Una furtiva lagrima") before the final curtain. Does anyone ever perform the Berlin version of Ibsen's "Doll's House" at the end of which Nora decides to stay with the husband and the children in order to keep the family hearth alit?

OTSL considered the original, Monte Carlo-premiered version of "La Rondine" most immediate and straightforward and that was the version it was decided to go along with. It may mean that our male lead misses out on his "Parigi è una città dei desideri" Act One aria introduced in the later versions, but he more than makes up for it later in the opera!

"La Rondine" doesn't seem to get as much attention as Puccini's more famous operas. Why do you think that might be?

It's an interesting question that could be asked in reverse: why is it that "Tosca," "Butterfly," and "Bohème" have been more present in the repertoire than "Manon Lescaut," "The Girl of the Golden West," "Il Tabarro," "La Rondine" or even "Turandot"?

What makes "La Rondine"'s rare appearance in the rep even more particular is the fact that, unlike some of the titles above, "La Rondine" has a genuine "hit", "Qu'il bel sogno di Doretta". Furthermore, it is one of Puccini's most loved, performed and enduring arias. The biographical background of the premiere of the piece is an unusual one too; I've written about it at length in the programme note.

What is important is that some titles, some composers and some authors simply come in and out of fashion. It's up to each generation to find their sung or unsung heroes according to that generation's sensitivities towards beauty, drama and music. If you stand outside the famous Paris Opera House, you may as well ask what the busts of Spontini, Halévy, Meyerbeer and Auber are doing next to those of Mozart, Beethoven and Rossini.

As you write in your program note, "La Rondine" was often referred to (inaccurately and dismissively) as Puccini's "operetta," but that this is finally changing. Do you think the attitudes of the protagonist Magda might play a part in that? She seems a bit less inclined to play the victim than Puccini's more well-known heroines, which would make her more plausible to a contemporary audience.

As "La Rondine" is being reappreciated in the modern day, the contemporary audiences get a chance to directly experience this paradox: whatever monikers were applied to the opera in the past, they are not necessarily substantiated by the work itself.

Magda is no victim at all; she takes responsibility for her choices and she sticks to those choices. We are given minimal background information concerning the characters as if the piece was prompting the audience to figure the actual storyline out for themselves from the scraps of textual evidence. In that context, "La Rondine" is reminiscent of a good theatrical play in which the author renounces traditional omniscience and where the public free to interpret the scarcely narrated facts in their own way. To quote Puccini's contemporary playwright Luigi Pirandello: "it is so, (if you think so)". That's the spirit, I believe, in which Puccini and Adami were writing "La Rondine."

So it is, in some ways, a very modern work.

Last question: the last opera you directed here in St. Louis was Smetana's "The Kiss" back in 2013. At the time, I couldn't help noticing that the heroine, Vendulka, was a refreshingly independent-minded woman with attitudes toward the opposite sex and marriage that sounded very modern, given that the opera premiered in 1876. As a director, are you drawn to libretti that (unlike so much of 19th century opera) feature strong-willed heroines? Or am I just reading too much into this?

I'm very flattered, Chuck, that you have noticed the parallel. I see myself as a storyteller and an interpreter of the material left over by the composer and the librettist. It's Smetana and Puccini (and countless others) who put strong-willed women at the centre of their works. "La Rondine" is quite unusual in Puccini's cannon as it does not have a pre-existing literary source. But that gives both the artists and the audience a wider scope for unbiased interpretation. There's much less play-like realism in "La Rondine" (as opposed to such intricately crafted theatrical set-ups as those found in "Tosca" or "Butterfly," based respectively on plays by Sardou and Belasco); such absence of narrative certainties makes my job all the more demanding, it enriches the rehearsal process and prompts us all in the rehearsal room to stretch our imagination beyond the factual succinctness of the stage directions in the score.

Ticket information for "La Rondine," the season's other operas, and information on the entire OTSL experience (including picnic suppers on the lawn before the shows) is available at Opera Theatre of Saint Louis.

Cabaret Preview: Ben Watts' "Wonderful Enough" at the Kranzberg, May 30, 2015

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Cabaret, according to local cabaret pro Ken Haller, is the art of telling stories through song—which means it's a form of theatre. A well-constructed cabaret act is ultimately a kind of one-act play, which is why actors—who have the advantage of understanding dramatic form—often create some of the best cabaret.

Which brings us to "Wonderful Enough," the cabaret debut by local actor Ben Watts this Saturday, May 30, at the Kranzberg.

I first became aware of Mr. Watts' talent back in July of 2009 when we both appeared in Stray Dog Theatre's "Rocky Horror Show" (him as Riff Raff, me as the Narrator). He had an obvious gift for comedy and a clear, high tenor voice that had what the late Anna Russell once referred to as "a good cutting edge"—very helpful given the then-primitive state of Stray Dog's sound system (it has since gotten a lot better). His performance as Prior Walter in Stray Dog's "Angels in America" in April of 2012 demonstrated that he could handle dramatic material as well.

Carol Schmidt

Over the last few months, Mr. Watts has been making regular appearances at The Cabaret Project's open mic night at the Tavern of Fine Arts (which I host), where he has demonstrated that he can sell a ballad as well as a novelty number. You'll find plenty of both in his show this weekend, and if the rehearsal I attended on Tuesday is any indication, his performances will be solid.

I came in towards the end of the run through, so I missed some (but by no means all) of the comedy numbers. The set of ballads I saw, though, was pretty impressive. It began with a blues-infused "St. James Infirmary" (complete with a bit of Leon Redbone vocalise) before moving on to Kurt Weill's world-weary "Barbara Song" (from "Threepenny Opera") and finally a beautifully operatic arrangement by music director and pianist Carol Schmidt of Jim Steinman's "Total Eclipse of the Heart."

Tim Schall

At that point, a break in the mood was required, and I got one in the form of Cole Porter's classic "Let's Do It"—introduced with a short and very funny monolog about the trials of gay dating in the 21st century.

I don't want to go into too much detail, since part of the fun of a cabaret show lies in the element of surprise. So I'll just say that if what I heard Tuesday is any indication, "Wonderful Enough" will be a welcome debut, and an important addition to the ever-expanding cabaret scene in St. Louis. Mr. Watts, Ms. Schmidt, and director (and local cabaret pro) Tim Schall appear to have put together a very solid evening with a well-balanced song list that cuts across multiple genres.

Ben Watts' "Wonderful Enough" is this Saturday, May 30, at 8 p.m. at the Kranzberg Center, 501 North Grand in Grand Center. For more information, visit the show web site.

Dr. Batolo on the verge of a nervous breakdown: Opera Theatre's "Barber of Seville"

Jonathan Beyer as Figaro
Photo: Ken Howard

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What: Rossini's The Barber of Seville
Where: Opera Theatre of St. Louis
When: Through June 27, 2015

Stage director Michael Shell, conductor Ryan McAdams, and the cast of Opera Theatre of Saint Louis' "Barber of Seville" can all congratulate themselves on a job well done. Kelley Rourke's translation/adaptation of the original libretto and Mr. Shell's visual concepts take a few liberties as they move the action up to (roughly) the mid-1960s, but I felt that none of them violated the intentions of either the original opera or, for that matter, the Beaumarchais play that started it all. The result it a loopy, slightly surreal, and highly engaging take this comic opera classic.

Emily Fons as Rosina and
Dale Travis as Dr. Bartolo
Photo: Ken Howard

In an email interview with me prior to the opening, Mr. Shell—who originally created this production for Opera Philadelphia last fall—said that he set out to create a "Barber" that was "vibrant, energetic, and very Spanish". He took as his point of departure the animated and colorful films of Spanish director Pedro Almodóvar, which, as he writes in his director's notes in the program, "have all the elements of a Rossini opera. Almodóvar is brilliant at walking the line between dramatic comedy and melodramatic absurdity. His films, rich with a vintage feel, are also deeply embedded in Spain and Spanish culture."

The updated bits are always funny and sometimes inspired. When, for example, Almaviva enters Bartolo's house in Act II disguised as a singing teacher so he can flirt with Rosina, he does so with a sitar and Yoga poses. Rosina's music master Don Basiliso becomes a smarmy nightclub singer, complete with a mic and an absurd Salvador Dali mustache. And the officer of the watch and guards who enter at the height of the comic chaos at the end of Act I are nothing short of living Warner Brothers cartoons, with wacky choreography courtesy of the ever-reliable Seán Curran.

And then there's the thunderstorm sequence in Act II that Rossini inserted to imply the passage of time between the scene in which Rosina, Figaro, and Almaviva plot Rosina's escape and the actual escape itself. Usually, the stage is bare. In this case, it's filled with the nightmare Bartolo has after downing one too many drinks from his bar. Dancing roosters figure prominently.

Shoko Kambara's candy-colored sets and Amanda Seymour's gaudy costumes add to the vivid cinematic imagery.

Christopher Tiesi as Almavivia, Emily Fons as
Rosina, and Jonathan Beyer as Figaro
Photo: Ken Howard

So, yes, there's plenty of action in this "Barber." And while some of it is only tangentially connected to the story, it's never allowed to draw attention from the singers and it always serves the comedy well. Even when, as in the Act I finale, there's a lot of movement going on, it's kept mostly upstage, so it's easy to keep the focus on the principals. This is a production that respects the intelligence of its audience and doesn't assume that we need to be constantly distracted in order to be entertained.

With the exception of bass-baritone Dale Travis as Bartolo, this cast is entirely new to Opera Theatre. It's always a pleasure to see some new faces on the stage, especially when they're this good.

Baritone Jonathan Beyer is Figaro, the versatile fixer who can arrange an assignation as easily as he can shave your beard. Mr. Beyer created this role in the Opera Philadelphia production, and he clearly couldn't be more comfortable in it. He's a tall, commanding comic presence on the stage with a versatile voice that's more than up to Rossini's demands. His "Largo al factotum" was gracefully done, and without the excessive ornamentation that some singers are prone to give it.

Christopher Tiesi as Almavivia
Jonathan Beyer as Figaro
Photo: Ken Howard

Christopher Tiesi is the lovelorn Almaviva, with a ringing tenor and a feel for comedy that makes him an ideal foil for Mr. Beyer's Figaro. The fact that he's so much shorter than Figaro also creates some amusing "Mutt and Jeff" images in their scenes together.

Bass-baritone Dale Travis is another big actor with an equally large voice, and it serves him well as the comically pompous Bartolo. He delvers Rossini's rapid patter songs with ease and impressively precise diction. South Korean bass-baritone Jeongcheol Cha rounds out the principal male cast as the wily (if ineffectual) Basilio. His "gossip" aria "La calunnia è un venticello" was a first-act highlight.

Mezzo-soprano Emily Fons is Rosina. The role was originally written for a contralto, but sopranos and mezzos have done well with it over the years, and Ms. Fons sounded entirely comfortable with it, giving us an "Una voce poco fa" in Act I that was both beautifully sung and hilariously in character. Soprano Eliza Johnson only has one short aria ("l vecchiotto cerca moglie" in Act II) as the maid Berta, but she makes it a charming little character bit.

There are fine performances as well from baritone Benjamin Taylor as Almaviva's friend Fiorello, baritone Jonathan McCullough as the increasingly rattled Officer at the end of Act I, tenor Todd Barnhill as the Notary, and tenor Geoffrey Agpalo as the servant Ambrogio.

Christoper Tiesi as Almaviva
Emily Fons as Rosina, and
Jonathan Beyer as Figaro
Photo: Ken Howard

Down in the orchestra pit, conductor Ryan McAdams does well by Rossini's infectious score, beginning with a performance of the overture that was both rousing and nuanced. There were a few moments on opening night when the orchestra and the singers sounded not entirely in synch, but on the whole it all came together splendidly.

The projected English text was a bit spotty on opening night, but given how clearly everyone in this cast enunciates I didn't find that to be an issue. The bottom line is that the things that really matter all work very well in this production, making it a lively and enjoyable opener for OTSL's 40th anniversary season.

The Opera Theatre of St. Louis production of Rossini's "Barber of Seville" continues through June 27 in rotating repertory with three other operas at the Loretto-Hilton Center on the Webster University campus. The opera is sung in English with projected English text. For ticket information: experienceopera.org.

St. Louis theatre calendar for the week of May 25, 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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Anthony and Cleopatra

Shakespeare Festival St. Louis presents Anthony and Cleopatra nightly except for Tuesdays June 14. Performances take place in Shakespeare Glen next to the Art Museum in Forest Park. Curtain time is 8 PM. For more information, visit shakespearefestivalstlouis.org. Read the 88.1 KDHX review!

Opera Theatre of St. Louis presents Rossini's comedy The Barber of Seville in rotating repertory with three other operas through June 27. "There's a good reason it's one of the world's most popular operas! Rossini's zany and sparkling score sets the gold standard for opera that is fresh, elegant, funny, and brimming with vocal fireworks. Delight as the young barber Figaro helps Count Almaviva steal the beautiful Rosina from under the nose of her doddering guardian." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644. Read the 88.1 KDHX review!

The Hawthorne Players present The Best of Hawthorne: Cowboy Swing Saturday May 30 at 8 p.m. The performance takes place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.com.

Gitana Productions presents Black and Blue by by Lee Patton Chiles with music by Tbeats Entertainment Friday and Saturday at 7:30 PM and Sunday at 3 PM, May 29-31. “An original play of hope and healing, exploring the assumptions that all young black men are dangerous, and that all cops are bad. ” Performances take place in the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information: www.gitana-inc.org. Read the 88.1 KDHX review!

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

The Wildey Theater presents the one-womancomedy Late Night Catechism on Friday and Saturday, May 29 and 30 at 8 p.m. " Call it Loretta Young meets Carol Burnett. This is part catechism class, part stand-up routine. It's an interactive comedy, one of the longest running shows in Chicago and U.S. theater history. You, the audience member, are part of Sister's class. She'll take you back to the days of the Latin Mass, meatless Fridays, and remind you about that good old ruler across the knuckles!" The Wildey Theatre is at 252 North Main Street in Edwardsville, Illinois. For more information, visit wildeytheatre.com.

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

My Mother's Lesbian Jewish Wiccan Wedding
Photo: Eric Woolsey

New Jewish Theater presents the musical My Mother's Lesbian Jewish Wiccan Wedding through May 31. "The surprise hit of both the Toronto Fringe Festival and New York Musical Theater Festival, My Mother's Lesbian Jewish Wiccan Wedding is the sweet, tuneful and true story of the journey of the playwright's mother as she discovered her true self. Despite its specific title, MMLJWW is a universal story about parents and children, falling in love, and finding out who you are. It has heart and soul and in today's political climate, it couldn't be more timely - plus, it's a TRUE STORY!" Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283. Read the 88.1 KDHX review!

Circus Flora presents its new show, One Summer on 2nd Street, May 28 through June 28 under the air-conditioned, red-and-white, big top tent in Grand Center next to Powell Hall. "Travel back with us to The Jazz Age - to a time at which American cities grew rapidly, becoming home to families from all walks of life and corners of the map. We'll journey together to a typical block in a typical city on a typical day - and meet a very atypical set of families. Find yourself enchanted by a small Ukrainian family who tame the cats that live in the alley. Feel the excitement as Russian carriage drivers ride wildly through the streets, and the Flying Wallendas maneuver their way along clotheslines strung between buildings. Experience the bliss of young love, determined to stand strong amid their families' protests. These stories, and more, will come alive under the Big Top this summer." For more information, visit circusflora.org.

Theatre Lab presents the drama The Pillowman opening on Saturday, May 29, and running through June 7. "Katurian, a writer of short stories which often depict violence against children, has been arrested by two detectives, Ariel and Tupolski, because some of his stories resemble recent child murders. When he hears that his brother Michal has confessed to the murders and implicated Katurian, he resigns himself to his execution but attempts to save his stories from destruction. The play includes both narrations and reenactments of several of Katurian's stories, most notably the autobiographical "The Writer and the Writer's Brother", which tells how Katurian developed his disturbed imagination by hearing the sounds of Michal being tortured by their parents." Performances take place at the Gaslight Theater, 358 North Boyle in the Central West End. For more information: brownpapertickets.com

Southern Illinois University at Edwardsville Summer Showbiz presents the musical revue Red Hot and Cole Wednesday through Saturday at 7:30 PM and Saturday and Sunday at 2 PM, May 29-June 7. The show is "a scintillating mixture of biography and song, celebrating the great American songwriter, Cole Porter, who brought style, elegance and sophistication to the stages and soundstages of Broadway and Hollywood, delighting the world with his devilishly clever rhymes, fresh and unexpected melodies, and sassy, sexy sensibility. Red Hot and Cole is a musical champagne tribute to a glittering age gone by, and the man and talent who was Cole Porter." Performances take place in the Dunham Hall theater on the campus in Edwardsville, IL. For more information, call 618-650-2774.

Opera Theatre of St. Louis presents Puccini's La Rondine in rotating repertory with three other operas May 30 through June 28. " Can a beautiful, sophisticated Parisian courtesan find happiness with a young man from the country? Or is her love affair doomed by a past she cannot keep secret? Celebrated OTSL music directorStephen Lord brings Puccini's gorgeous music and romantic storytelling to life in this stunning, newbelle epoque period production." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

Smokey Joe's Cafe

Stages St. Louis presents the musical revue Smokey Joe's Café, based on the songs of Lieber and Stoller May 29 - June 28. " Welcome to the neighborhood for a nostalgic exploration of the lives, loves, and aspirations of a group of friends who know how to rock 60s style. Featuring nearly 40 chart-topping hits that span over three decades of popular American music, this thrilling Grammy Award-winning song celebration will knock your socks off. Relive the glory days of rock and roll with such pop standards as “Stand By Me,"“Jailhouse Rock," “I'm A Woman," “Hound Dog," and “On Broadway.” Now, Baby, that's rock 'n' roll! Words and Music by Jerry Leiber and Mike Stoller." Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. For more information, visit stagesstlouis.org or call 314-821-2407.

New Line Theatre presents Kurt Weill and Bertolt Brecht's Threepenny Opera, in the English adaptation by Marc Blitzstein, Thursdays through Saturdays at 8 PM, May 28-June 20. "Before there was Urinetown, before Cabaret or Sweeney Todd, there was this dark, comic masterpieces of the art form, Kurt Weill and Bertolt Brecht's world-famous musical comedy thriller, THE THREEPENNY OPERA (which is not actually an opera), in the famous translation by composer-lyricist Marc Blitzstein (The Cradle Will Rock). This is the show that launched the pop standard, “Mack the Knife,” with a haunting jazz score, acid harmonies, wickedly clever lyrics, and very questionable morals. This is the musical that inspired many shows New Line has produced over the years, includingCabaret, Urinetown, Bat Boy, Sweeney Todd, Assassins, Bloody Bloody Andrew Jackson, and so many other modern musicals. Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, visit newlinetheatre.com or call 314-534-1111.

The Kranzberg Arts Center presents Wonderful Enough: Ben Watts Sings Cole Porter, Noel Coward, Jerry Herman, Peggy Lee, and More on Saturday, May 30, at 8 p.m. Carol Schmidt is music director and pianist for the program, which is directed by Tim Schall. The Kranzberg Center is at 501 North Grand in Grand Center. For more information: benwatts.brownpapertickets.com.

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 May 25, 2015

The Chamber Project St. Louis

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The Chamber Project St. Louis presents Choice on Friday, May 29, at 8:00 PM. "You vote for your favorites at all of the Chamber Project concerts all season long, and we play the winners in one epic concert. Come and hear your favorites performed one last time at our final concert of the season!" The performance takes place at The Chapel, 6238 Alexander Drive in Clayton. For more information: www.chamberprojectstl.org.

Opera Theatre of St. Louis presents Puccini's La Rondine in rotating repertory with three other operas May 30 through June 28. "Can a beautiful, sophisticated Parisian courtesan find happiness with a young man from the country? Or is her love affair doomed by a past she cannot keep secret? Celebrated OTSL music directorStephen Lord brings Puccini's gorgeous music and romantic storytelling to life in this stunning, newbelle epoque period production." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

The Sheldon Concert Hall presents the contemporary chamber ensemble Alarm Will Sound on Thursday, May 28, at 8 PM. “The ensemble performs the newest music being composed today with energetic virtuosity and a sense of adventure, creating programs that not only span a wide range of styles, but also transform the traditional concert experience itself.” The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

The St. Louis Chamber Chorus presents Concert Six: Wiliam Billings and Richard Rodney Bennet on Sunday, May 31, at 3 p.m. "The first truly American composer, William Billings, contributes songs from the Revolutionary War period, which seem worlds apart from the urbane witticisms of an adopted New Yorker, Richard Rodney Bennett. Calico Pie, his delightful cycle of Edward Lear poems, is reprised by the choir that gave its US premiere in 2000." The concert takes place at Union Avenue Christian Church, 733 Union at Enright in the Central West End. For more information: www.chamberchorus.org.

Salvadora Galan

The St. Louis Cultural Flamenco Society presents Salvadora Galan in concert on Saturday, May 30, at 8 p.m. "Don't miss this opportunity to experience Flamenco in its most compelling form with an artist supremely gifted as both guitarist and singer in a one woman show, presented by the St. Louis Cultural Flamenco Society. From Seville, Spain, Ms. Galan developed in a family where Flamenco is life itself. A contest winner at age 13, she began performing professionally at age 17. Since then she has toured regularly internationally, and has just performed in Austin Texas for the Alianza Latinoamericano, and in Miami in the Festival de Cante Flamenco. If you attend, you will never forget the experience." The performance takes at the Ethical Society of St. Louis, 9001 Clayton Road. For more information: ethicalstl.org.

Steven Jarvi conducts The St. Louis Symphony Youth Orchestra with clarinet soloist Aleksis Martin in a concert of music by Bernstein, Mozart, and Rimski-Korsakov on Saturday, May 30, at 8 p.m. The performance takes place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

Steven Jarvi conducts The St. Louis Symphony Orchestra in Lost in Space: Star Wars and More on Sunday, May 31, at 2 p.m. "The STL Symphony takes you on a cosmic ride to distant galaxies performing music inspired by outer space. Resident Conductor Steven Jarvi leads the orchestra in a newly released suite to John Williams' score from the original Star Wars trilogy, as well as selections from Star Trek, 2001: A Space Odyssey and more. Arrive early for your family to take a selfie with Storm Troopers and other favorite characters from Star Wars!" The performance takes place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

The 442s

The Tavern of Fine Arts and Civil Life Brewing Company present The 442s in concert on Tuesday, May 26, at 8 p.m.. “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 Jilliann Law, soprano and Jake Tackett, tenor in concert on Friday, May 29, at 8 p.m. 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 the Senses in Harmony ensemble in concert on Saturday, May 30, at 8 p.m. " The "Senses in Harmony" cast is delighted to return for their 3rd annual May concert, presenting a 4-act program to celebrate scenes of Spring, Love, the Garden, and Home. Soprano Rebecca Drury and pianist/tenor Jon Garrett will be joined by mezzo-soprano Rebecca Hatlelid and baritone Erik Olson. Narration will tie together all musical sets, which will include classical art song in various languages, opera, and popular musical theatre." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

For Memorial Day, remember the forgotten men

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So, we all know who Busby Berkeley was, right? Those of us who treasure those old 1930s musicals know he was the king of the lavish production number with lots of pretty girls—numbers designed to lift the spirits of a nation suffering from a binge of laissez-faire capitalism, yes?

Well, he was certainly that. But, as anyone who has seen many the two big "Gold Diggers" films of 1933 and 1935 will attest, he was a good deal more.

His choreography for "Lullaby of Broadway" in "Gold Diggers of 1935," for example, is surprisingly dark and even frightening, ending with singer/dancer Winifred Shaw pushed to her death from a window by a massive crowd of tap dancers whose moves, as the number progresses, begin to increasingly resemble an aggressive march—complete with something that looks suspiciously like a Nazi salute. The fact that the scene takes place in a massive, surreal space only adds to the fascist imagery.

All of which brings us to Harry Warren and Al Dubin's "Remember My Forgotten Man," the finale of "Gold Diggers of 1933." Up to this point, the movie has been typical fluffy backstage romance. As the curtain rises on this last number, though, we see Joan Blondell as a down-on-her-luck blonde sharing a discarded cigarette with an equally downtrodden man and reciting lyrics with an unexpected political punch:

"I don't know if he deserves a bit of sympathy
Forget your sympathy, that's all right with me
I was satisfied to drift along from day to day
Till they came and took my man away
Remember my forgotten man
You put a rifle in his hand
You sent him far away
You shouted: 'Hip-hooray!'
But look at him today"

Singer Etta Moten takes up the song and the camera pans to images of women of all ages, clearly left alone and desperate. Next we see a parade of soldiers returning from World War I to cheering crowds. At first we see the victors, hale and hearty. But they’re soon replaced by the walking wounded, trudging through the rain. Then by the homeless in a bread line. The message is clear: once the veterans had done their job, America forgot about them.

Sound familiar? It certainly would have to viewers of the film in 1933, since FDR had made the "forgotten man" the theme of a "Fireside Chat" radio address in 1932. "These unhappy times," he said, "call for the building of plans that rest upon the forgotten, the unorganized but the indispensable units of economic power, for plans like those of 1917 that build from the bottom up and not from the top down, that put their faith once more in the forgotten man at the bottom of the economic pyramid."

They would also have remembered the 1932 march on Washington, D.C., of the "Bonus Army"—a rally of 43,000 protesters (including 17,000 WW I veterans) demanding payment in cash for their service certificates. Then-President Herbert Hoover responded in typical fashion by sending the infantry, cavalry, and tanks to drive the marchers out and burn their tent city to the ground.

The number ends in typical Berkeley fashion with an elaborately staged scene of marching doughboys and unemployed, but unlike Berkeley’s usual finales defiant instead of joyous. That’s right: this classic bit of fluff ends with a huge musical protest song.

So take a few minutes from your Memorial Day cookout to watch this angry hymn to America’s forgotten men—and, these days, forgotten women as well. And observe how little some things have changed in this country.

Chuck's Choices for the weekend of May 22, 2015

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

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New This Week:

Sean Green and Mikayla Sherfy
in An Initial Condition

Tesseract Theatre Company presents An Initial Condition by Taylor Gruenloh through May 24. "A determination to create a miracle turns into a journey of the unknown when Chance, a young mathematician, is brought on to help map out cancer in a young girl's body. His determination to solve the problem inside Sarah's body takes Chance to places that are unimaginable." Performances take place at the Regional Arts Commission, 6128 Delmar. For more information: tesseracttheatre.org.

My take: Tesseract is one of those companies that is not shy about presenting new and provocative material. As Tina Farmer writes in her review for KDHX, "their mission to produce new plays that probe current topics in imaginative works is something the company has adhered to consistently and with success." She notes that this production "may need a few additional revisions to improve the pacing, but continues a string of shows from the company that are challenging, entertaining and deeply provocative."

Held Over:

My Mother's Lesbian Jewish Wiccan Wedding
Photo: Eric Woolsey

New Jewish Theater presents the musical My Mother's Lesbian Jewish Wiccan Wedding May 7-31. "The surprise hit of both the Toronto Fringe Festival and New York Musical Theater Festival, My Mother's Lesbian Jewish Wiccan Wedding is the sweet, tuneful and true story of the journey of the playwright's mother as she discovered her true self. Despite its specific title, MMLJWW is a universal story about parents and children, falling in love, and finding out who you are. It has heart and soul and in today's political climate, it couldn't be more timely - plus, it's a TRUE STORY!" Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

My take: As I wrote in my review for KDHX, David Hein and Irene Sankoff's unapologetically autobiographical musical is a pleasant and pleasing little show. It's so light that a stiff breeze would blow it away, but its heart is in the right place, which counts for a great deal. Ed Coffield has assembled a great cast and directed them well. Sets and costumes are bright and colorful and the on-stage band is solid. When I saw it on its opening weekend it was sold out, so you might want to order tickets sooner rather than later.

Opera Preview: A conversation with Michael Shell, stage director of Opera Theatre's "Barber of Seville"

Michael Shell
michaelshelldirector.com

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Opera Theatre of St. Louis opens its 2015 festival season with Rossini's popular comic opera "The Barber of Seville" on Saturday, May 23rd. The production, which will run through June 27th, will alternate with three other operas on the main stage of the Loretto-Hilton Center on the Webster University campus.

This will be OTSL's sixth production of the opera. In an email interview, I asked stage director Michael Shell (who directed Mozart's "Cosi fan Tutte" for OTSL back in 2012) what to expect in this latest version of the Rossini classic.

Chuck Lavazzi (CL): When this production made its first appearance with Opera Philadelphia last October, the reviewer for PhillyNow praised its "modernist set design and colorful costumes". How would you describe the look of this new "Barber"?

Michael Shell (MS): I would describe the look of new production as vibrant, energetic and very Spanish. The music is vibrant and energetic/rhythmic. I wanted the look and feel of this production and the way we tell the story to match the vibrant rhythmic quality of the music. This is not Beaumarchais's "Barber of Seville." This is very much a Rossini comedy in the best sense. It walks the line between reality and absurdity and I wanted an environment that could sustain and allow for both. The updating of the piece, using the films of Pedro Almodovar as a jumping off point, helped give us a different way to look at the whole. Not to ignore any aspect of what was there, but allow us to go to a variety of different places.

CL: How does that vision of "Barber" influence the way you direct your singers? Is there a particular acting style you're going for that might be different from a more traditional production?

MS: I always come from a place of what does the character want and how do they get it. That is the most important thing. What changes because of this take on the show, is the how. How they go about achieving their goals becomes just as important as what the goals or objectives are. How does Bertha, for example, who I feel really loves Bartolo, go about getting him to notice her. The Count's disguise as Don Alonso allows the meaning of his words at the top of Act II "Peace and joy and understanding" to go to a different place in order to trick Bartolo.

CL: Yes. Actors can never go wrong asking "what's my objective in this scene?" regardless of whether there's music behind them or not.

MS: Absolutely!! I agree completely. Tends to not be the first thing that opera singers ask, but I am fortunate that this cast was very interested in discussing and working towards that so that we could make interesting choices on how to go about achieving their objectives.

Shell's "Cosi fan Tutte" at OTSL, 2012
experienceopera.org

CL: The notion of what's funny varies among cultures and often changes over time. Directors of Shakespeare's comedies, for example, often find themselves faced with a real challenge in keeping the shows funny for a modern audience when the references for so many of the jokes have been lost over the centuries. Do you find a similar challenge in 18th and 19th century comic operas? How do you deal with it, if so?

MS: In terms of comedies, the good comedic operas by Mozart or Rossini for example, have tapped into something that is universal and still relevant to us today. So while my choice of setting for this production is updated, and it certainly allows us to be somewhat anachronistic at times, the whole point was to tap into that universal humor that is intrinsic in the piece. And perhaps by putting it in a setting that is distant but still closer to our time than the original period, it may be more humorous to some people who might not be enticed by a traditional telling. The new touches that make it perhaps more humorous are only able to work because we have found situations that match the ones in the piece. For example - In discussion the characters with my team, we decided that because Bartolo is so blind to not only the fact that Rosina could never love him, but somewhat oblivious to everything that is going on around him, that he should be an eye doctor. And in our efforts to keep the character of Rosina from being just this bored, sometimes petulant girl, in this production, we thought that Bartolo would make her be his medical assistant / secretary in order to keep an eye on her. So in his aria near the end of Act I, we introduce a patient into the mix while Bartolo is fuming with anger at Rosina. So he is having to deal with this patient and Rosina at the same time. The exam gets out of control as he loses his cool with Rosina.

This is in no way saying that a traditional telling of this piece is equally as funny. But I figured that it might be interesting to explore a new side of this piece to do what you said about keeping it funny for a modern audience.

CL: One last question: OperaBase shows "Barber" as the eighth most performed opera in the world right now and the third most performed comedy, right behind Mozart's "Marriage of Figaro." What do you think is behind that continuing popularity?

MS: To answer your question - I think I can sum that up with one word : JOY. There is so much joy in the spirit of the piece that I think that is why it has stood the test of time. There is joy in the story, in the characters and especially Rossini's music. It is just a lot of fun to be in this world. And what I hope our production has done has created a world, that may be different than the normal one, but a world that the audience wants to be in and be a part of.

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For ticket information on "The Barber of Seville," the season's other operas, and information on the entire OTSL experience (including picnic suppers on the lawn before the shows): experienceopera.org.