Stage Left: June 2019

Sunday, June 30, 2019

St. Louis theatre calendar for the week of July 1, 2019

The Muny and Insight continue to celebrate revolution while the Actors' Studio opens its annual new play festival and Union Avenue Opera unveils a new production of Leonard Bernstein's often-revised Candide.

1776
Photo courtesy of The Muny

The Muny presents the musical 1776 nightly at 8:15 through July 3rd. "With the American Revolution underway, a nation's independence is ready to be claimed. The three-time Tony Award-winning 1776 sets ablaze the historic signing of the Declaration of Independence and illuminates the personalities, passions and compromises that created a nation. Featuring a telling score that includes "Sit Down, John," "He Plays the Violin" and "Momma Look Sharp," this Muny production will mesmerize, delight and inspire you." Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

Union Avenue Opera presents Leonard Bernstein's Candide Fridays and Saturdays at 8 PM, July 5 - 13. Performances take place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. The opera is sung in English with projected English text. For more information, visit unionavenueopera.org or call 314-361-2881.

CSZ St. Louis presents The ComedySportz Show on Saturday nights at 7:30 pm. The show is "action-packed, interactive and hilarious comedy played as a sport. Two teams battle it out for points and your laughs! You choose the winners the teams provide the funny!" Performances take place on the second floor of the Sugar Cubed, 917 S Main St. in St Charles, Mo. For more information: www.cszstlouis.com.

The HIlton St. Louis Frontenac presents The Dinner Detective Murder Mystery Dinner Show through July 27. "Solve a hilarious crime while you feast on a fantastic dinner. Just beware! The culprit is hiding in plain sight somewhere in the room, and you may find yourself as a Prime Suspect before you know it!" For more information: https://www.thedinnerdetective.com/st-louis

The Bissell Mansion Murder Mystery Dinner Theatre presents Flaming Saddles through July 28 The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

The Lemp Mansion Comedy-Mystery Dinner Theater presents Muurder in Maaaybury! through July 27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

St. Louis Actors' Studio presents the Neil LaBute New Theater Festival, Part 1 July 5 - 14 at the Gaslight Theatre, 358 North Boyle. The festival features professional, new and previously unproduced one-act plays 45 minutes or less in length, chosen from submissions to the festival over the previous year. The plays in part 1 are "Great Negro Works of Art" by Neil LaBute, "Color Timer" by Michael Long, "Privilege" by Joe Sutton, and "Kim Jong Rosemary" by Carter W. Lewis. For more information, call 314-458-2978 or visit stlas.org.

The St. Louis Writers' Group presents a reading of The Red Diary by Charlie Jacobsen on Monday, July 1, at 6:30 pm. "The red diary of Marilyn Monroe is the focus of this comedy adventure which takes place during an eventful afternoon in St. Louis. Why the diary was hidden here is another matter, but its exact location was encoded in a painting at the Art Museum. Many years later Charlie, the grandson of the man who hid it has taken job at the museum to search for the painting. Charlie’s AI assistant Eva and her agent Nikita join in the chase and everyone converges on the curator’s bookstore in a madcap ending." The event takes place upstairs at Big Daddy's, 1000 Sidney in Soulard. For more information: www.stlwritersgroup.com.

The Revolutionists
Photo by John Lamb

Insight Theatre Company presents The Revolutionists by Lauren Gunderson Thursdays through Saturdays at 8 pm and Sundays at 2 pm through July 14. "Four beautiful, badass women lose their heads in this irreverent, girl-powered comedy set during the French Revolution's Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It's a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold. " Performances take place at the Marcelle Theatre in Grand Center. For more information, call 314-556-1293 or visit insighttheatrecompany.com.

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 Calendar.

Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Saturday, June 29, 2019

Review: You say you want a revolution

The 1969 American Revolution musical "1776," a splendid production of which is at the Muny through July 3rd, is not so much a traditional Broadway show as it is a play with musical interludes. Fortunately that play, by veteran screenwriter Peter Stone (his film credits include "Charade" and "Father Goose"), is a damn fine one.

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

Jenny Powers, Robert Petkoff
Photo courtesy of The Muny

Although it plays fast and loose with some historical facts, the book for "1776" is remarkably faithful to the personal and political conflicts that nearly sunk American independence. It is, for example, true that the Continental Congress demanded 86 changes in Jefferson's original Declaration of Independence--including, infamously, the deletion of an anti-slavery clause. But it's fictional that approval of the actual independence by the Congress was dependent on those changes.

Still, that fiction is based on the reality of the compromises that were necessary to achieve independence. When, towards the end of the play, Benjamin Franklin notes that "revolutions come into this world like bastard children...half improvised and half compromised" it provokes the laughter of recognition.

Robert Petkoff, Ali Ewoldt, Adam Heller
Photo courtesy of The Muny

The score for "1776" is by songwriter Sherman Edwards, whose previous credits consisted mostly of pop tunes like "Wonderful, Wonderful" and "See You In September." There are only 15 songs--not a lot for a show that runs around three hours, including intermission--but they all illuminate character and advance the story line brilliantly. Indeed, they're so closely integrated into the show that they have never had a life outside of it, but that's hardly a knock on their quality.

In any case, a production of "1776" is going to stand or fall on the strength of its cast, and the Muny has assembled a darn near perfect one here. Robert Petkoff anchors it as John Adams, with a commanding voice and an appealing combination of passion and spiky combativeness in the opening number "Sit Down, John." He also captures the character's sentimental side in "Yours, Yours, Yours," the touching duet with his wife Abigail, winningly played by Jenny Powers.

Harry Bouvy, Alex Prakken, Benjamin Love
Photo courtesy of The Muny

Adam Heller is an appealing rogue as Benjamin Franklin and Keith Hines's Thomas Jefferson is a classic example of the iron fist in a deceptively genteel velvet glove. Ali Ewoldt shines in her cameo appearance as Martha Jefferson, describing her husband's musical courtship in the charming waltz "He Plays the Violin."

In fact, anyone seeing "1776" for the first time would probably be surprised to see how many of the best musical moments go to relatively minor characters. The most notable is likely "Molasses to Rum," in which North Carolina delegate Edward Rutledge mounts a cynical defense of slavery by pointing out the way New England maritime interests profited from it indirectly as part of the "triangular trade" https://en.wikipedia.org/wiki/Triangular_trade#Atlantic_triangular_slave_trade. Bobby Conte Thornton delivers it with a serpentine smirk and a powerful voice that makes the song as fascinating as it is morally appalling. Equally memorable is the moving "Momma Look Sharp" in which the Courier (Alex Prakken), Congressional Custodian Andrew McNair (Harry Bouvy), and the nameless Leather Apron (Benjamin Love) lament the deaths of young soldiers in the war.

Bobby Conte Thornton and the company
Photo courtesy of The Muny

There are many other fine performances here, including great work by local actors like Ben Nordstrom (Dr. Josiah Bartlett), Jerry Vogel (Rev. John Witherspoon), Larry Mabrey (Lewis Morris), and Joneal Joplin (Stephen Hopkin, never without his rum). There's not a weak link anywhere. Given that there are 27 named roles, that's pretty impressive.

Luke Cantarella's unit set has enough levels to create a variety of playing areas, especially when combined with John Lassiter's lights and the massive Muny turntable. Greg Emetaz's video projections add visual interest and even some fireworks for Adams's big final number "Is Anybody There?" There's not much choreography in "1776," but the steps Enrique Brown has given his cast or singing actors work well for them.

Adam Heller, Robert Petkoff, Keith Hines
Photo courtesy of The Muny

James Moore conducts a fine account of the score and Rob Ruggiero's expert direction pulls everything together into an immensely satisfying whole. Yes, it's a long show, but it's so compelling that you'll probably be astonished by how late it has gotten by the time the cast takes their curtain call at around 11:15.

That said, it can be hard to watch "1776" now. That's because it reminds us that we are a nation founded by well-read, educated men who could (and usually did) speak and write in coherent English sentences. At a time when the executive branch is dominated by puerile illiteracy, it's difficult to contemplate how far we have fallen.

Performances of "1776" continue through July 3rd on the Muny's outdoor stage in Forest Park. Come early to get a good parking spot, and then grab a drink and a snack and settle in to watch the preshow Americana-themed cabaret starring St. Louis's own Omega D. Jones and Berklea Going on the small stage east of the main entrance. You'll be glad you did.

Review: The kids are alright

This past Tuesday night (June 25th, 2019) Opera Theatre offered the fifth edition of its annual "Center Stage" concert. If what I saw Tuesday was any indication, I'm pretty annoyed with myself for missing the last four.

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

The quintet from Il barbiere di SivigliaPhoto by Eric Woolsey

Center Stage features members of OTSL's Gaddes Festival and Gerdine Young Artists programs performing opera excerpts. They were accompanied by members of the St. Louis Symphony conducted by Roberto Kalb and, in two of the selections, by Assistant Conductor Jacobsen Woolen. Working in the limited space in front of the orchestra on the Loretto-Hilton stage, MaryAnn McCormick, James Blaszko, and Seán Curran provided some limited staging that provided a good sense of the dramatic shape of the selections without cluttering up the space with set pieces. The evening was a perfectly balanced mix of old and new, familiar and rare, comic and tragic, all delivered with a degree of professionalism that speaks well to the quality of OTSL's programs for emerging artists.

The septet from The Merry Widow
Photo by Eric Woolsey

There were so many wonderful performances that I can't list them all here, so I'll content myself with listing some of my personal favorites, beginning with an enchanting "Qui di sposa eterna fede," the great "lovers' farewell" duet from Donizetti's "Lucia di Lammermoor" by tenor Matthew Cairns and soprano Elena Villalón. Ms. Villalón was also impressive earlier as Marzelline in "Jetzt, Schätzchen, jetzt sind wir allein," a comic duet from Beethoven's "Fidelio," with tenor Ryan Bryce Johnson as her hapless would-be suitor Jaquino.

There were other terrific love duets as well. Soprano Sydney Baedke and baritone Hayden Smith were touching in "The Zephyr/One Star: from Rick Ian Gordon's "Grapes of Wrath" while soprano Lisa Marie Rogali and Mr. Cairns got the delicate bloom of "Suzel buon di" (from Mascagni's "L'Amico Fritz") just right. Soprano Katerina Burton and tenor Ángel Vargas were properly tragic in "No, Non dir questo" from Puccini's "La Rondine."

"A Real Slow Drag" from Treeomonisha
Photo by Eric Woolsey

There was plenty of great comedy as well, in numbers like "To part is such sweet sorrow" from "Die Fledermaus" with Ms. Baedke, soprano Jessica Niles, and baritone Gregory Feldmann and "You're back where you first began" (from "The Merry Widow") with the male septet, headed by baritone Leroy Y. Davis as Danilovitsch, performing a kick line courtesy of Mr. Curran. The rapid-fire patter ensemble from "Il barbiere di Siviglia" in which everyone tries to convince poor Don Basilio that he has scarlet fever, was done to a fine comic turn. The quintet consisted of Mr. Feldmann as Figaro, mezzo Jamie Groote as Rosina, and baritone Heeseung Chae as an enraged Dr. Bartolo, with tenor Calvert Young as Almaviva and bass Griffen Hogan Tracy as the befuddled Basilio.

There were some immensely appealing rarities in the evening, such as the scene from Dvorak's "Rusalka" in which the sorceress Jezibaba (mezzo Rehanna Thelwell in a performance of hair-raising intensity) cons poor Rusalka (beautifully sung by soprano Greer Lyle) into giving up her voice so she can become human and wed her prince. One of my favorites was the brief scene from Ravel's "L'heure espagnole," with mezzo Courtney Elvira as Concepción, the wife of clockmaker Torquemada (tenor Ndumiso Nyoka) who smuggles her lovers upstairs in clocks. Everyone involved got the comic absurdity of the situation just right.

Elena Villalón as Marzelline in Fidelio
Photo by Eric Woolsey

The concert concluded with two great ensemble numbers: the complex "Tonight Quintet" from "West Side Story" with its multiple vocal lines and "A Real Slow Drag," the toe-tapping finale from Scott Joplin's "Treemonisha." The latter featured the entire ensemble led by Ms. Burton as Treemonisha and mezzo Tesia Kwarteng as Lucy, along with the graceful dancers from OTSL's "Fire Shut Up In My Bones."

It was a delight hearing the orchestra on the stage rather than down in the pit. The acoustics in the theatre are fairly dry, making it easier to hear individual instrumental voices in a way that's not really possible in Powell Hall. Although the band occasionally overwhelmed the singers, the balance was pretty good overall.

"Center Stage" was a one-night-only event and while I understand the necessity of that from a scheduling stand point, given its high quality, it's a pity there aren't more performances. You can, in any case, see many of these performers in the regular season shows, which continue through June 30th.

Friday, June 28, 2019

Chuck's Choices for the weekend of June 28, 2019

New productions by the Muny and Max and Louie join the Grand Center Theatre Crawl on an already crowded list of recommendations.

New This Week:

1776
Photo courtesy of The Muny

The Muny presents the musical 1776 opening on Thursday, June 27, at 8:15 p.m. and running through July 3rd. "With the American Revolution underway, a nation's independence is ready to be claimed. The three-time Tony Award-winning 1776 sets ablaze the historic signing of the Declaration of Independence and illuminates the personalities, passions and compromises that created a nation. Featuring a telling score that includes "Sit Down, John," "He Plays the Violin" and "Momma Look Sharp," this Muny production will mesmerize, delight and inspire you." Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

My take: While 1776 is unquestionably fictional and compresses and rearranges history in order to create viable theatre, there's no doubt that it is, at heart true to the story of the political and personal conflicts that eventuall led to American independence. It's entirely unlike a conventional musical and, in fact, it holds the record for the longest scene in a musical without any music, with over a half-hour passing between the fourth and fifth songs during the first act. There's no singing or dancing chorus and nearly all of the 28 named characters are well-drawn individuals. It's a remarkable piece of musical theatre and the Muny's production is first rate.

Fire Shut Up In My Bones
Photo by Eric Woolsey

St. Louis Public Radio presents the Grand Center Theatre Crawl on Friday from 7-10 pm. and Saturday at from 2-5 and 7-10 pm, June 28 and 29, at various locations in the Grand Center Arts District. Join St. Louis Public Radio for the finest offerings of the bustling St. Louis theatre scene at the Grand Center Theatre Crawl. Rotate through venues in Grand Center to get free access to 24 local theatre groups in short performances." Featured theatre companies Equally Represented Arts, Insight Theatre Company, Slightly Askew Theatre Ensemble, Prison Performing Arts, R-S Theatrics, The Midnight Company, and West End Players Guild. For more information: stlpublicradio.org

My take: Here's a chance to get sneak previews of some of what's coming up on local stages. Think of it as a kind of theatrical tasting menu. And for free, no less.

Indecent
Photo courtesy of Max and Louie

Max and Louie Productions presents Indecent Thursdays at 7:30 pm, Fridays and Saturdays at 8 pm, and Sundays at 3 pm through June 30. "Winner of numerous awards including an acclaimed Tony-winning run on Broadway, "Indecent" by Pulitzer Prize-winning playwright Paula Vogel, is the true story of a groundbreaking scandalous play and the courageous artists who risked their careers and lives to perform it. " Performances take place at the Grandel Theatre, 3610 Grandel Square in Grand Center. For more information: maxandlouie.com.

My take: Probably the most succinct summary of this production comes from Ann Lemmons Pollack: "Indecent is a beautiful, heavy-going drama. Paula Vogel’s play...tackles censorship, homophobia and antisemitism in an utterly seductive manner. It’s themes are serious-to-downright-grim, but it’s mesmerizing. The Max and Louie production of it at the Grandel gives it all they’ve got and does it proud." Other critics have been equally quick to praise the show.

Held Over:

The Boy from Oz
Photo by Peter Wochniak

Stages St. Louis presents the musical The Boy From Oz through June 30. "Dazzling and hilarious as the legendary Peter Allen himself, THE BOY FROM OZ follows the Australian singer-songwriter from his humble beginnings performing in backcountry pubs to his international stardom beside such Hollywood icons as Judy Garland and her daughter Liza Minnelli. " Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. For more information: stagesstlouis.org.

My take: Peter Allen's many fine songs have been a real blessing to cabaret artists over the years. This is a show I very much wanted to see but just couldn't because of our travels. Here's your last chance to enjoy it before it closes.

The Caper on Aisle 6

The Coronation of Poppea
Photo by Eric Woolsey

The Marriage of Figaro
Photo by Eric Woolsey

Rigoletto
Photo by Eric Woolsey

Opera Theatre of St. Louis presents Verdi's Rigoletto running through June 30. "There is no purer love than that of a father for his daughter - and no more impossible task than protecting her from the world. Rigoletto is a bitter court jester who serves the Duke of Mantua, a lecherous womanizer. Together, they are despised throughout the city. But alone, Rigoletto is all tenderness when it comes to his innocent young daughter, Gilda. Little does he know that an ominous curse is about to take its toll. When the Duke seduces Gilda, only to then abandon her, the enraged father swears vengeance. Set to some of Verdi's most powerful music, this tale of innocence lost is wrenchingly poignant and all too human." The opera runs approximately two hours with one intermission and is performed in English with English supertitles. Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. For more information: experienceopera.org call 314-961-0644.

My take: Rigoletto is dark and disturbing stuff, especially in this menacing production. Not all of the director's decisions make sense, but most of them work very well. And the singing and acting could hardly be better.

Thursday, June 27, 2019

Review: Vice chairman

Vice triumphant. Virtue punished. Wisdom dismissed out of hand. Just another day with Fox and Friends. Or maybe Monteverdi's The Coronation of Poppea at Opera Theatre.

Brenton Ryan, Emily Fons
Photo by Eric Woolsey

Originally written for the Venetian carnival season in 1643 and then largely forgotten until the late 19th century, Monteverdi's last opera is the story of how Nero divorced his wife Octavia and elevated his mistress Poppea to the throne. There are at least a dozen different editions of the opera, and in all of them Giovanni Francesco Brusenello's libretto takes considerable liberties with what we know of history.

Director Tim Albery adds a few more in the English translation he prepared for this production, which originated at Opera North in Leeds (UK) in 2014. But all of them end with Nerone and Poppea singing a rapturous love duet after dispatching their rivals through a mix of violence and banishment. For the original Venetian audience, it would have been an opportunity to relish a wicked entertainment while still reflecting on how this tale of moral corruption was so typical of those decadent Romans.

David Pittsinger
Photo by Eric Woolsey

Judging from the hairstyles and costumes, Mr. Albery has moved the action from 65 AD to the 1960s, thereby allowing a contemporary audience to view the disreputable action from a comforting (if illusory) distance. And if you can ignore the pointlessly ugly set, which appears to be a cross between a disused swimming pool and a warehouse, it's still pretty wickedly entertaining. It retains a darkly comic edge right up the final act, when Mr. Albery jumps the shark with some violence that's not in any version of the libretto, including his own.

Monteverdi's heavily ornamented music demands a lot from the singers, and certainly gets it from this excellent cast. Tenor Brenton Ryan and mezzo Emily Fons both do full justice to their characters' acrobatic vocal lines while convincingly conveying their unbridled lust and borderline mania. Bass-baritone David Pittsinger's is a vocal powerhouse as the philosopher Seneca and soprano Patricia Schuman displays impressive musical and dramatic range as Poppea's nurse Arnalta, a role often sung by a contralto or even a tenor.

Sarah Mesko, Tom Scott-Cowell
Photo by Eric Woolsey

Countertenor Tom Scott-Cowell makes an auspicious OTSL debut as Ottone, whose love for Poppea's maid Drusilla (soprano Devon Gutherie in another striking performance) dooms them both to exile (in the libretto) and death (in Mr. Albery's staging). As the guard Lucano, tenor Philippe L'Esperance has a nice star turn in the inebriated Act II singing contest with Nerone.

Soprano Sydney Baedke makes her dual roles of the goddess Fortuna and the page Valletto so clearly different that I didn't notice at first that they were being sung by the same person. There's great work here as well by soprano Jennifer Aylmer as the goddess Virtù, mezzo Michaela Wolz as the strutting Amore (a.k.a. Cupid), and mezzo Sarah Mesko as the tragically spurned Ottavia. As Seneca's three Familiari, countertenor Jacob Ingbar, tenor Joseph McBrayer, and bass Griffen Hogan Tracy shine in their complex second act trio.

Patricia Schuman, Emily Fons
Photo by Eric Woolsey

The eight-piece on-stage Baroque orchestra, including two theorbos, a lirone, and a viola da gamba, plays the score with crystalline perfection under the direction of Nichola Kok, conducting from one of the two harpsichords.

Opera Theatre's The Coronation of Poppea has one more performance on Friday, June 28th. It's sung in English with projected English text and it's on view at the Loretto-Hilton Center on the Webster University campus.

Wednesday, June 26, 2019

Review: The 'Fire' this time

In the introductory essay to her libretto for Fire Shut Up In My Bones, the operatic treatment of the memoir of the same name by New York Times editor and op-ed columnist Charles Blow getting its world premiere at Opera Theatre through June 29th, playwright Kasi Lemmons tells us that the title refers to the Biblical prophet Jeremiah, who described the word of God as "a fire shut up in my bones. I am weary of holding it in; indeed, I cannot." (Jeremiah 20:9, NIV).

Davóne Tines and Karen Slack
Photo by Eric Woolsey

In the opera, the fire shut up in the young Charles Blow's bones is not the word of God but rather a toxic mix of rage, self-doubt, and emotional need stemming from his early years as the youngest of five boys in a poverty-stricken home in rural Louisiana. Confused by his emerging bisexuality, unable to fully connect with his brothers, and hungry for a degree of affection his overworked mother Billie can't provide, the seven-year-old "Char'es-Baby" is molested by his amoral cousin Chester.

As the opera opens, the young adult Charles is on his way to kill Chester, urged on by the character of Destiny. "Don't hesitate, boy, not for a moment. Chickens must come home to roost." But as Charles's story unfolds in flashbacks, he begins to seriously question that resolve.

The story of Fire Shut Up In My Bones ought to be filled with dramatic urgency, but both Ms. Lemmons's libretto and Terence Blanchard's restless, jazz-inflected score seem to exist at a remove from the characters and the action. The first act, which concludes with Chester's attack on the young Charles, packs a real emotional punch, but the energy seems to dissipate and become somewhat bogged down in the biographical detail of the second and third acts.

Julia Bullock, Jeremy Denis as
Char'es Baby, Davóne Tines
Photo by Eric Woolsey

That said, the work is getting a certified rouser of a presentation by a wonderful cast, including five impressive dancers flawlessly executing Seán Curran's choreography, all under the expert direction of OTSL veteran James Robinson. Bass-baritone Davóne Tines dominates the show as a blindingly intense Charles, contrasting sharply with soprano Karen Slack's harried but loving Billie.

Baritone Markel Reed is a chillingly sociopathic Chester and tenor Chaz'men Williams-Ali is a credibly feckless Spinner, Billie's ne'er-do-well husband. Soprano Julia Bullock is compelling as Greta, who loves and inexplicably leaves Charles. She's also effective in the dual roles of Destiny and Loneliness, although without referring to the libretto it's not always clear which one is which. Others in the cast play multiple roles with remarkable facility.

William Long conducts members of the St. Louis Symphony along with a small jazz combo in what certainly sounds like an authoritative account of Mr. Blanchard's score.

In a June 16th New York Times article , Charles Blow judged Fire Shut Up In My Bones to be "absolutely stunning, musically and visually, as well as in the performances." It didn't have the same effect on me but, as they say, your mileage may vary. Performances are sung in English with projected English text and continue through June 29th at the Loretto Hilton Center on the Webster University campus.

Monday, June 24, 2019

Review: Wait until dark

Verdi's 1851 tragedy Rigoletto is certainly a dark and menacing tale.

Nicholas Newton, Joshua Weeker, chorus
Photo by Eric Woolsey

From the ominous brass fanfares that open the prelude to Rigoletto's final despairing howl of "La maledizione" ("The old man cursed me" in this translation) it's a story of vice rewarded and virtue punished in which only the amoral Duke of Mantua lives happily ever after.

Under the direction of Bruno Ravella, the current Opera Theatre production, which runs through June 30, emphasizes the opera's darkness in literal fashion, with the men dressed mostly in black (contrasting with the brighter colors of the women) and the lighting sometimes so dim that faces are difficult to see. Mr. Ravella has shifted the action from Renaissance Mantua to Paris in the 1880s (when the play on which the opera is based, Victor Hugo's Le roi s'amuse, was written) and has given Rigoletto a ventriloquist's dummy to highlight (unnecessarily, in my view) the character's "schizophrenic nature."

None of this seems to add much to the drama but, except for a few moments when the dummy steals focus from baritone Roland Wood's excellent performance, it doesn't seem to do any damage either.

Roland Wood, So Young Park
Photo by Eric Woolsey

Mr. Wood's Rigoletto is powerfully sung, credibly acted, and serves as a solid foundation for this generally excellent production. This is a Rigoletto boiling with a rage and frustration that makes the character's ultimately destructive determination to punish the Duke for seducing his daughter Gilda entirely understandable-if no less appalling.

As the sociopathic Duke, tenor Joshua Weeker oozes charm from every pore. Soprano So Young Park is a heartbreaking Gilda, whose absurdly self-sacrificing nature leads to the opera's tragic conclusion, and her performance of the coloratura passages in the famous "Caro nome" aria in Act I was a real winner.

Bass-baritone Nicholas Newton's powerful voice enhances the small role of the doomed Count Monterone, whose dying curse falls heavily on Rigoletto, and bass Christian Zaremba makes an impressive OTSL debut as the ironically principled assassin Sparafucile.

Christian Zaremba, Roland Wood
Photo by Eric Woolsey

Conductor Roberto Kalb leads the St. Louis Symphony musicians in a fine, robust account of Verdi's dramatic score. Cary John Franklin's chorus sings, as always, with powerful assurance.

It can be difficult to watch Rigoletto these days, given how many contemporary Dukes we seem to have in positions of power. But maybe that's a reason to see it all by itself. "We still must negotiate how best to deal with the tyrants amongst us," writes Hannah McDermott in an essay in the program. "The opera's plot still resonates...Rigoletto's themes, tragically, endure."

Opera Theatre's Rigoletto is sung in English with projected English text and runs through June 30 at the Loretto Hilton Center on the Webster University campus.

St. Louis theatre calendar for the week of June 24, 2019

The Muny anticipates July 4th with the musical 1776 and Insight mines the French Revolution for comedy.

The Muny presents the musical 1776 opening on Thursday, June 27, at 8:15 p.m. and running through July 3rd. "With the American Revolution underway, a nation's independence is ready to be claimed. The three-time Tony Award-winning 1776 sets ablaze the historic signing of the Declaration of Independence and illuminates the personalities, passions and compromises that created a nation. Featuring a telling score that includes “Sit Down, John,” “He Plays the Violin” and “Momma Look Sharp,” this Muny production will mesmerize, delight and inspire you." Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

Southern Illinois University at Edwardsville presents Shakespeare's As You Like It Fridays and Saturdays at 7:30 pm and Sundays at 2 pm through June 30. "The theatrical and enchanting Shakespeare that you have come to expect from SIUE Summer Theater continues; this beloved romantic comedy moves from the magical Forest of Arden to the mysterious 1920's Ozark forests, complete with original, Old-Time Tunes. Our hero Rosalind, finding herself on the run from the evils of the city with her best friend Celia and her philosophical fool Touchstone, disguises herself as a young man and begins a journey of self-discovery. Falling in love and learning who you are by "acting the part" are the heart of this classic tale of romance and reconciliation." Performances take place in the Metcalf Theater on the campus in Edwardsville, IL. For more information, call 618-650-2774 or visit siue.edu.

The Boy from Oz
Photo by Peter Wochniak

The Caper on Aisle 6

Circus Flora presents its new show, The Caper on Aisle 6 through June 30 under the air-conditioned, red-and-white, big top tent in Grand Center. "A trip to the grocery store is not usually the most exciting part of our day. But the market is a place of intrigue and excitement in "The Caper in Aisle 6." An ancient and powerful substance, long thought to be gone from the Earth, is found in the unlikeliest of places: aisle six of the local grocery store. What secrets does aisle six hold, and what adventures will it set in motion?" For more information: circusflora.org.

Opera Theatre of St. Louis presents Center Stage on Tuesday, June 25, at 8 pm. "Rising opera stars from across the country step into the spotlight for one thrilling night of song. Cheer on the members of OTSL's nationally acclaimed young artist programs - normally seen in small roles and the season ensemble - as they perform some of opera's greatest hits and cherished rarities, accompanied onstage by members of the renowned St. Louis Symphony Orchestra. The future of opera is bright, indeed!" The performance takes place at the Loretto-Hilton Center at 130 Edgar Road on the Webster University campus. For more information: opera-stl.org call 314-961-0644.

CSZ St. Louis presents The ComedySportz Show on Saturday nights at 7:30 pm. The show is "action-packed, interactive and hilarious comedy played as a sport. Two teams battle it out for points and your laughs! You choose the winners the teams provide the funny!" Performances take place on the second floor of the Sugar Cubed, 917 S Main St. in St Charles, Mo. For more information: www.cszstlouis.com.

The Coronation of Poppea
Photo by Eric Woolsey

Opera Theatre of St. Louis presents Monteverdi's The Coronation of Poppea through June 28. "The fight for the throne is never dignified. Poppea will stop at nothing to become Empress, no matter who she has to blackmail, betray, or kill. And Emperor Nero, who is infatuated with Poppea, is not thinking with his head. Separately, they're bad enough. Together, they will turn Rome upside down. Sexy, bloodthirsty, and unapologetic, this opera is the best kind of political thriller." The opera runs approximately two hours and 50 minutes with one intermission and is performed in English with English supertitles. Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. For more information: experienceopera.org call 314-961-0644.

The HIlton St. Louis Frontenac presents The Dinner Detective Murder Mystery Dinner Show through July 27. "Solve a hilarious crime while you feast on a fantastic dinner. Just beware! The culprit is hiding in plain sight somewhere in the room, and you may find yourself as a Prime Suspect before you know it!" For more information: https://www.thedinnerdetective.com/st-louis

Stages St. Louis presents the musical Disney's 101 Dalmatians, based on the animated film, through June 30. "Join the evil Cruella De Vil and her two klutzy henchmen as they try to steal a litter of the cutest puppies ever to hit jolly old London Town. But not to worry - this fur-raising adventure ends happily with plenty of puppy power to spare! " Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. For more information: stagesstlouis.org.

Fire Shut Up In My Bones
Photo by Eric Woolsey

Opera Theatre of St. Louis presents Fire Shut Up In My Bones by Terence Blanchard and Kasi Lemmons, based on the memoir by columnist Charles Blow, through June 29. "One moment can change everything. When Charles discovers that his cousin has returned to his Louisiana hometown, he races home from college to confront his past. Memories and shadows surround Charles as he strives to move beyond a cycle of violence and forge a brave new path. Terence Blanchard, composer of OTSL's sold-out hit Champion, teams up with screenwriter Kasi Lemmons (Eve's Bayou) for a haunting, powerful, and tender coming-of age story inspired by a memoir celebrated as "stunning" (Essence), "riveting" (Chicago Tribune), and "exquisite" (The New York Times)." The opera runs approximately two hours and 25 minutes with one intermission and is performed in English with English supertitles. 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: opera-stl.org call 314-961-0644.

The Bissell Mansion Murder Mystery Dinner Theatre presents Flaming Saddles through July 28 The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

St. Louis Public Radio presents the Grand Center Theatre Crawl on Friday from 7-10 pm. and Saturday at from 2-5 and 7-10 pm, June 28 and 29, at various locations in the Grand Center Arts District. Join St. Louis Public Radio for the finest offerings of the bustling St. Louis theatre scene at the Grand Center Theatre Crawl. Rotate through venues in Grand Center to get free access to 24 local theatre groups in short performances." Featured theatre companies Equally Represented Arts, Insight Theatre Company, Slightly Askew Theatre Ensemble, Prison Performing Arts, R-S Theatrics, The Midnight Company, and West End Players Guild. For more information: stlpublicradio.org

The Q Collective presents the rock musical Hedwig and the Angry Inch Thursdays and Fridays at 8 pm and Saturdays at 8 and 10:30 pm through June 29. "The Q Collective is excited to present John Cameron Mitchell and Stephen Trask's groundbreaking, Obie-winning Off-Broadway musical Hedwig And The Angry Inch, in which the 'internationally ignored song stylist' Hedwig Schmidt, herself, tells us her wild life story, as a fourth-wall smashing East German rock 'n' roll goddess who also happens to be the victim of a botched sex-change operation. This outrageous and unexpectedly powerful story is dazzlingly performed by Hedwig (née Hansel) in the form of a rock gig/stand-up comedy backed by the hard-rocking band The Angry Inch. It's a rocking ride, funny, touching, and ultimately inspiring to anyone who has felt life gave them an inch when they deserved a mile." Performances take place at The Monocle, 4510 Manchester in The Grove. For more information: eventbrite.com.

Indecent
Photo by Gerry Love

Max and Louie Productions presents Indecent Thursdays at 7:30 pm, Fridays and Saturdays at 8 pm, and Sundays at 3 pm through June 30. "Winner of numerous awards including an acclaimed Tony-winning run on Broadway, "Indecent" by Pulitzer Prize-winning playwright Paula Vogel, is the true story of a groundbreaking scandalous play and the courageous artists who risked their careers and lives to perform it. " Performances take place at the Grandel Theatre, 3610 Grandel Square in Grand Center. For more information: maxandlouie.com.

The Muny presents the musical Kinky Boots opening on Wednesday, June 19, at 8:15 p.m. and running through June 25th. '"Step into a dream where glamour is extreme" with the U.S. regional premiere of the international smash-hit-musical Kinky Boots! Winner of six Tony Awards, the Olivier Award and the Grammy, this huge-hearted hit tells the story of a struggling British shoe factory that finds a surprising way to recreate themselves! Featuring 16 Grammy Award-winning original songs penned by pop icon Cyndi Lauper, this sparkling, stiletto sensation will "lift you up!"' Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

The Marriage of Figaro
Photo by Eric Woolsey

Opera Theatre of St. Louis presents Mozart's comedy The Marriage of Figaro running through June 29. "Life at court is about to get complicated. The maid Susanna is determined to wed her fiancé, Figaro, while the Count is equally determined to add her to his list of conquests. But Susanna and Figaro won't allow one self-entitled nobleman to ruin their happy ending! They each hatch their own plots to teach their master a lesson. What follows is a whirlwind day of romantic intrigue, cunning schemes, and uproarious fun. One of Mozart's most beloved masterpieces, The Marriage of Figaro reminds us all that love will always prevail, and forgiveness is always within reach." The opera runs three hours and ten minutes with one intermission and is sung in English with English supertitles. Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. For more information: opera-stl.org call 314-961-0644.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Muurder in Maaaybury! through July 27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

Broadway Fantasies presents Our Favorite Songs Saturdays at 7 pm and Sundays at 2 pm through June 30. " A wonderful 2 hours of song and dance entertainment supporting CORP County older residents program. Directed by Christy Simmons and Musical direction by Joe Dreyer." Performances take place at the Chesterfield Family YMCA, 16464 Burkhardt Place. For more information: broadwayfantasies.com.

Insight Theatre Company presents The Revolutionists by Lauren Gunderson Thursdays through Saturdays at 8 pm and Sundays at 2 pm, June 27 - July 14. "Four beautiful, badass women lose their heads in this irreverent, girl-powered comedy set during the French Revolution's Reign of Terror. Playwright Olympe de Gouges, assassin Charlotte Corday, former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, and try to beat back the extremist insanity in 1793 Paris. This grand and dream-tweaked comedy is about violence and legacy, art and activism, feminism and terrorism, compatriots and chosen sisters, and how we actually go about changing the world. It's a true story. Or total fiction. Or a play about a play. Or a raucous resurrection…that ends in a song and a scaffold. " Performances take place at the Marcelle Theatre in Grand Center. For more information, call 314-556-1293 or visit insighttheatrecompany.com.

Rigoletto
Photo by Eric Woolsey

Opera Theatre of St. Louis presents Verdi's Rigoletto running through June 30. "There is no purer love than that of a father for his daughter - and no more impossible task than protecting her from the world. Rigoletto is a bitter court jester who serves the Duke of Mantua, a lecherous womanizer. Together, they are despised throughout the city. But alone, Rigoletto is all tenderness when it comes to his innocent young daughter, Gilda. Little does he know that an ominous curse is about to take its toll. When the Duke seduces Gilda, only to then abandon her, the enraged father swears vengeance. Set to some of Verdi's most powerful music, this tale of innocence lost is wrenchingly poignant and all too human." The opera runs approximately two hours with one intermission and is performed in English with English supertitles. Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. For more information: experienceopera.org call 314-961-0644.

Christ Memorial Productions presents The Selfish Giant Friday and Saturday at 7:30 pm and Sunday at 2:30 pm, June 28-30. "This narrated retelling of the endearing story of The Selfish Giant will feature physical arts including mime, dance, gymnastics and other circus arts and it will be set to powerful orchestration by Dan Goeller, an accomplished and published composer, as presented by a full, live orchestra. The vision for this presentation has been described as a beautiful synergy of story, symphony music and circus arts." Performances take place at Christ Memorial Lutheran Church, 5252 South Lindbergh. For more information, visit CMPShows.org or call 314-631-0304.

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 Calendar.

Sunday, June 23, 2019

Review: A 'Marriage' made in heaven

Mozart's The Marriage of Figaro is over 230 years old, but the new Opera Theatre of Saint Louis production is as fresh as (to quote W.S. Gilbert) “the flowers that bloom in the spring, tra-la.”

Aubrey Allicock and Monica Dewey
Photo by Eric Woolsey

Credit director Mark Lamos, whose theatrical resume is substantial, for keeping the pace tight and respecting both the material and his audience enough to make sure the comic business is all based on the characters, the text, and the music-something which is by no means guaranteed when it comes to comic opera of this vintage. He's content to tell Mozart and Da Ponte's story without imposing a questionable concept on it, and the quality of the results speaks (and sings) for itself.

The cast could hardly be better, headed by bass-baritone Aubrey Allicock as the resourceful Figaro and soprano Monica Dewey as his bride-to-be Susanna, who does not suffer fools gladly. Bass-baritone Nathan Stark is a masterful Dr. Bartolo, mezzo Samantha Gossard an endearingly love-struck Cherubino, and baritone Theo Hoffman, whose Josef K. was a highlight of OTSL's The Trial two years ago, is just as impressive in the radically different role of Almaviva. Soprano Susannah Biller, who was a perfect Adina in OTSL's Elixir of Love in 2014, once again proves both a strong singer and actress in the wide-ranging role of Rosina, the Countess Almaviva.

Susannah Biller
Photo by Eric Woolsey

The rest of the company is just as solid, all the way down to the smallest roles. Christopher Allen conducts a solid reading of the score from the harpsichord.

Performances of The Marriage of Figaro are sung in English (the wonderful translation by Andrew Porter the OTSL commissioned back in 1981) and continue through June 29th at the Loretto-Hilton Center on the Webster University campus.

Friday, June 21, 2019

Chuck's Choices for the weekend of June 21, 2019

Yes, Chuck's Choices has been on vacation because I've been out of the country since just after Memorial Day. I'm back, and here's a roundup of theatrical recommendations based on what I saw before I left, what my fellow critics are recommending, and what I think just looks interesting. There's a LOT of great stuff out there! But don't hesitate; many of these shows close this weekend and nearly all of them will be gone by the end of the month.

New This Week:

The Gateway Men's Chorus

The Gateway Men's Chorus presents 1969: Stonewall Remembered Saturday at 8 pm and Sunday at 2 pm, June 22 and 23. "It was the Age of Aquarius, Woodstock, the moon landing, and the Stonewall Riots in Greenwich Village. 1969 marks the 50th anniversary of Stonewall, the flashpoint for the LGBTQIA+ rights movement. Featuring solemn pieces through disco celebrations, GMC shines a light on LGBT history, especially transgender women of color, who led the charge for change but have largely been erased from the narrative of gay rights." Performances take place at the auditorium of the Touhill Center on the campus of the University of Missouri at St. Louis. For more information: touhill.org.

Be More Chill
Photo by Jill Ritter Lindberg

New Line Theatre presents the musical Be More Chill Thursdays through Saturdays at 8 PM through June 22. "The Breakfast Club meets Little Shop of Horrors, as New Line closes its season by bringing you the new sci-fi rock musical BE MORE CHILL -- currently breaking records on Broadway! -- with music and lyrics by Joe Iconis and book by Joe Tracz, based on the bestselling novel by Ned Vizzini. It's an honest, fearless, funny look at life in the digital age, exploring teen depression, bullying, and other current issues through the comic lens of sci-fi films of the 50s, horror flicks of the 80s, and teen movies of the 90s. The show has been selling out everywhere it runs. Jeremy is just an average, nothing-special teenage nerd -- until he finds out about the Squip ("Super Quantum Unit Intel Processor"), a tiny Japanese supercomputer in a convenient pill, which promises to "upgrade" him and bring him everything he desires most: a date with Christine, an invite to the coolest party of the year, and a chance to survive life in his suburban New Jersey high school." Performances take place at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in Grand Center. For more information, visit newlinetheatre.com or call 314-534-1111.

The Boy from Oz
Photo by Peter Wochniak

The Caper on Aisle 6

The Coronation of Poppea
Photo by Eric Woolsey

Love's Labours Lost

Shakespeare Festival St. Louis presents the comedy Love's Labors Lost nightly except for Mondays through June 23. "Belonging to Shakespeare's "lyrical" period, which also included Romeo and Juliet and A Midsummer Night's Dream, the play tells the story of the Princess of France and her ladies who arrive on a diplomatic mission to Navarre only to be met by a young king and his lords who have taken a vow not to see women. Affairs of state give way to affairs of the heart as Shakespeare reveals with great humor and compassion the way our culture sometimes doesn't fully prepare us for the realities of love and intimacy. A feast of language and theatrical virtuosity, Love's Labors Lost shimmers with all the passion and promise of a first kiss." Beginning at 6:30 the Green Show presents pre-play entertainment a variety of local performers on multiple stages. The play begins at 8 p.m. Performances take place in Shakespeare Glen next to the Art Museum in Forest Park. For more information, visit shakespearefestivalstlouis.org.

The Marriage of Figaro
Photo by Eric Woolsey

That Uppity Theatre Company presents The Mueller Report: Read, Sing, Resist on Saturday, June 22, from 2-5 pm. "A diverse array of artists, activists, elected officials and community people will come together to participate in a free event to read excerpts and summaries of the Mueller Report and offer related commentary through song. The event will also include voter registration in partnership with St. Louis Voter Registration Group, refreshments, a selfie station and the debut performance by the St Louis chapter of Sing Out, Louise, a New York social activist group founded in 2017 that writes parodies with political commentary of iconic songs." The free event takes place at Projects+Gallery at 4733 McPherson in the Central West End.

Rigoletto
Photo by Eric Woolsey

Sylvia
Photo by John Lamb

Stray Dog Theatre presents Sylvia Thursdays through Saturdays at 8 pm through June 22. "Greg brings home a dog he found in Central Park - or that has found him - bearing only the name "Sylvia" on her collar. She offers Greg an escape from the frustrations of his job and the unknowns of middle age. To his wife Kate, however, Sylvia becomes a rival for affection. This touching comedy celebrates our love of mans best friend." Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

Mariposa Artists presents A Taste of New York on Saturday, June 22, at 8 pm. The evening features performances by cabaret artists Lisa Yaeger, Ruth Carlin, Mary Sue Daniels, and Diane D'angelo. Rick Jensen is pianist and music director for the show, which is directed by Lina Koutrakos. The performance takes place at the Kranzberg Arts Center, 501 N. Grand in Grand Center. For more information: metrotix.com

Travels With My Aunt

Act Inc presents Travels with My Aunt by Graham Green, adapted by Giles Havergal, Saturday at 7:30 pm and Sunday at 2 pm, June 22 and 23. "Retired bank manager, Henry Pulling's life is so quiet that he muses, "I found myself agreeably excited by my mother's funeral." From that inauspicious beginning Henry finds his life turned topsy turvy by the arrival of his eccentric, Aunt Augusta. A cross between "Auntie Mame" and Mata Hari, she spirits him around the globe encountering all sorts of intoxicating characters and exhilarating adventures along the way." Performances take place in the Emerson Black Box Theatre at the J. Scheidegger Center for the Arts on the Lindenwood campus in St. Charles, MO. For more information, visit actincstl.com.

Stage Left

Sunday, June 30, 2019

St. Louis theatre calendar for the week of July 1, 2019

Saturday, June 29, 2019

Review: You say you want a revolution

Review: The kids are alright

Friday, June 28, 2019

Chuck's Choices for the weekend of June 28, 2019

Thursday, June 27, 2019

Review: Vice chairman

Wednesday, June 26, 2019

Review: The 'Fire' this time

Monday, June 24, 2019

Review: Wait until dark

St. Louis theatre calendar for the week of June 24, 2019

Sunday, June 23, 2019

Review: A 'Marriage' made in heaven

Friday, June 21, 2019

Chuck's Choices for the weekend of June 21, 2019

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