Symphony Preview: Beyond the sea

All good things, they say, must come to an end. This weekend (April 30 and May 1) Stéphane Denève conducts the St. Louis Symphony Orchestra (SLSO) in a program that pays tribute to SLS Chorus Director Amy Kaiser, who is retiring after 26 years (a total of 27 seasons) with the orchestra. She departs on a magic carpet of concert triumphs (including a resplendent Mozart “Requiem” last month) and a wave of fond memories by members of the chorus and orchestra.

[Preview the music with my commercial-free Spotify playlist.]

Appropriately, the evening features two works in which the chorus figures prominently: Debussy’s “Nocturnes” (the third movement features a women’s chorus) and Vaughan Williams’s "A Sea Symphony" for soloists, chorus, and orchestra. It opens, though, with a purely orchestral piece that is getting its third performance with the SLSO since 2020.

Violinist and composer
Jessie Montgomery

That popular piece is “Starburst” by contemporary violinist and composer Jessie Montgomery, whose music has appeared frequently on SLSO programs over the last few years—most recently on April 8-10, when the orchestra gave the local premiere of her “Rounds for Piano and Strings.”

Originally composed for a nine-piece string ensemble and later arranged for string orchestra by Jannina Norpoth, "Starburst" is a delightful sonic explosion that, in the composer's words, refers to "the rapid formation of large numbers of new stars in a galaxy at a rate high enough to alter the structure of the galaxy significantly." To my ears, "Starburst" also calls to mind musical depictions of fireworks by composers like Stravinsky and Debussy while still speaking in a sonic voice that is entirely Ms. Montgomery's own.  Rapidly ascending motifs shoot up, expand into musical stars, and then start over again in what the composer describes as "a multidimensional soundscape" that constitutes "a play on imagery of rapidly changing musical colors."

There are plenty of musical colors in Debussy's "Nocturnes" as well, although they’re more like the subtle hues of Impressionist paintings than Montgomery’s sonic pyrotechnics. It consists of three short tone poems (total playing time is around 25 minutes) inspired by literary poems by the symbolist writer Henri de Regnier. The composer wrote a fairly detailed program for "Nocturnes," and rather than attempt to paraphrase it, I'm just going to quote it in toto, using the translation from Donald Brook's “Five great French composers: Berlioz, César Franck, Saint-Saëns, Debussy, Ravel: Their Lives and Works”:

The title Nocturnes is to be interpreted here in a general and, more particularly, in a decorative sense. Therefore, it is not meant to designate the usual form of the Nocturne, but rather all the various impressions and the special effects of light that the word suggests. 'Nuages' renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading away in grey tones lightly tinged with white. 'Fêtes' gives us the vibrating, dancing rhythm of the atmosphere with sudden flashes of light. There is also the episode of the procession (a dazzling fantastic vision), which passes through the festive scene and becomes merged in it. But the background remains resistantly the same: the festival with its blending of music and luminous dust participating in the cosmic rhythm. 'Sirènes' depicts the sea and its countless rhythms and presently, amongst the waves silvered by the moonlight, is heard the mysterious song of the Sirens as they laugh and pass on.

Women of the SLS Chorus
Photo courtesy of the SLSO

The mysterious song of the Sirens will  be sung by members of the women’s chorus. That wordless song is, as Kaiser observes in this weekend’s program notes, “harder for the chorus than it first appears. Stéphane wants a very light, almost innocent sound. It should also be very fluid, like water flowing.”

The aquatic theme continues after intermission with the massive “Sea Symphony”—Vaughan Williams’s first symphony, although he never assigned it or his other symphonies a number. It began life in 1903 (just four years after the premiere of Debussy’s “Nocturnes”) as “The Ocean,” a collection of songs for chorus. By the time it was completed in 1909, it had expanded into a full, four-movement choral symphony in which the chorus is not an add-on but rather an integral part of the ensemble.

“The chorus gets very few breaks,” writes Kaiser in the program notes, and plumbs profound emotional depths. “The symphony is like a farewell to life, and the poetry is so cosmic and deeply felt—it's a very profound piece. I had to figure out how to not be a puddle at every rehearsal!”

Walt Whitman from the frontispiece
of Leaves of Grass
By Samuel Hollyer (1826-1919)
of a daguerreotype by
Gabriel Harrison (original lost). -
Morgan Library & Museum,
Public Domain, Link

Running over an hour, it’s a big, complex piece that calls, in addition to the chorus and soprano and baritone soloists, for a sizable orchestra (including an organ).  That could be viewed as surprisingly ambitious for a first symphony. But by the time the “Sea Symphony” had its premiere in 1910, with the the composer on the podium, Vaughan Williams was nearly 40 and no neophyte. He had studied British folk music extensively and had traveled to abroad to study with (among others) Maurice Ravel, which “set VW’s imagination free to roam on the largest scale.” Ravel, he would later recall, taught him “how to orchestrate in points of colour rather than in lines.”

Although the music is strongly shaped by British folk songs, the actual words of the “Sea Symphony” are by the American poet Walt Whitman, from his “Leaves of Grass” collection. Whitman wasn’t well known in Britain at the time, and it was the noted mathematician and philosopher Bertrand Russell who introduced Vaughan Williams to Whitman’s work. The composer found himself in sympathy with what David Cox (in volume 2 of Robert Simpson’s indispensable “The Symphony”) calls the “unconventionally direct utterance” of the poet. The commanding first movement uses verses from “The Song of the Exposition” and “Song for all Seas, all Ships,” while the ruminative second movement is based on “On the Beach at Night Alone.” The third movement scherzo uses all of “After the Sea-ship” and the lengthy, transcendent finale quotes extensively from “Passage to India.”

I’m assuming the SLSO will use projected text during the concert but if not, the complete lyrics for the “Sea Symphony” are available online. You’ll find this especially helpful if you’re listening to the concert broadcast on the 30th.

The Essentials: The SLSO bids a fond farewell to SLS Chorus Director Amy Kaiser, retiring after 27 seasons, with a program of Vaughn Williams’s “Sea Symphony,” Debussy’s “Nocturnes,” and Jessie Montgomery’s “Starburst.” Stéphane Denève conducts the orchestra and chorus along with soloists Katie Van Kooten, soprano, and Stephen Powell, baritone. Performances are Saturday at 8 pm and Sunday at 3 pm, April 30 and May 1. The Saturday concert will be broadcast live, as usual, on St. Louis Public Radio and Classic 107.3.

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

Symphony Review: That (very) big band sound at the St. Louis Symphony

It was another Big Band night at the St. Louis Symphony Orchestra (SLSO) last Saturday (April 23) as guest conductor Kirill Karabits made his St. Louis debut with a program that emphasized large instrumental forces and sound levels that sometimes approached rock concert intensity.

[Find out more about the music with my symphony preview.]

The program opened with Azerbaijani composer/pianist Franghiz Ali-Zadeh‘s “Nagillar” (Fairy Tales), a 2002 work that begins with a massive, attention-grabbing crash and then soars off in a riot of orchestral color. Inspired by an episode from the “Thousand and One Nights” involving a magic carpet flight and the subsequent adventures of a prince and princess, “Nagillar” is a veritable catalog of the kind of unorthodox instrumental techniques that were regarded as avant-garde around 50 or 60 years ago. Piano strings are strummed directly, hit with mallets, and otherwise altered to produce unusual sounds. The brasses blare and yawp, woodwinds squeal and twitter, and at one point the musicians are instructed to improvise on a collection of motifs ad libitum.

Kirill Karabits

The result was an eclectic mix of influences from Schoenberg, Webern, Messiaen, John Cage, and other composers championed by Ali-Zadeh as a pianist, along with elements of traditional Azerbaijani music. At around 15 minutes, it was just the right length to retain its novelty, sustain its high energy level, and allow the audience to admire the remarkable virtuosity of the SLSO musicians. Kudos also to Maestro Karabits for pulling together a complex score that was so thick with notes that you could see them from the dress circle.

One stage change later we had a somewhat smaller orchestra (albeit with five percussionists) for the Harp Concerto by Argentinian composer Alberto Ginastera, with SLSO Principal Harp Allegra Lilly as soloist. Originally commissioned in 1956 by Philadelphia Orchestra harpist Edna Phillips, the work didn’t get its premiere until nearly a decade later. That’s partly because the composer lacked experience in writing for the harp and partly because the concerto broke a lot of new ground by extending the range of sounds the instrument (and the player) were called upon to produce.

That poses many technical hurdles for both the soloist and the conductor, which may be one reason why it’s not heard more often. The SLSO hasn’t done it since 1974, for example, but you wouldn’t have known that from the high quality of Saturday night’s performance.

Lilly was superb in the solo role, with plenty of bite and drive in the lively first and third movements, perfectly lyrical angst in the second, and a stunning rendition of the difficult cadenza that links the second and third movements. She seriously rocked the piece—which is exactly what you want in a dance-influenced work like this one. Under Karabits’s precise direction, Lilly’s fellow musicians gave her outstanding support.

The evening closed with Prokofiev's Symphony No. 5. Composed at the artists' colony of Ivanovo just as the war with Germany was turning in Russia's favor in 1944, the symphony was last heard here in September 2014 with David Robertson on the podium. Originally scheduled for a March 2020 SLSO program that was cancelled by the pandemic, the Fifth is, as a wartime work, arguably more relevant today—especially since Prokofiev was born in what is now Ukraine.

Described by the composer as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit," the Fifth does carry an air of triumph, especially in the majestic opening theme. But it feels like the war was never far from the composer's mind. You can hear it in the militant percussion of the first movement and the anguished climax of the third. There are caustic comments from the brass and percussion, and the boisterous Allegro giocoso finale is briefly interrupted by a short, dissonant passage for a small string ensemble just before the final big chord.

All of the Fifth’s many moods were on display in Karabits’s absorbing performance. There was palpable anguish and terror in the development section of the first movement, along with an overpowering coda. The contrast between the militaristic main theme and more playful trio of the Allegro marcato second movement was sharply drawn, and the brutal death march the emerges towards the end of the third movement was chilling. The finale was appropriately triumphal without sacrificing any of Prokofiev’s subtle irony.

Kirill Karabits and Daniel Lee

And then there was the usual fine playing by the SLSO. The woodwinds were in superb form, especially in the second movement. So was the large brass section—five horns, four trumpets, three trombones (including Gerry Pagano’s stentorian bass), and tuba (Chance Trottman-Huiet). Great sound all around, in short.

That was the end of the official program, but Karabits returned to the podium after a massive ovation to thank the audience for their warm response and to offer an unlisted encore as a gesture of solidarity with his fellow Ukrainians, suffering under the brutal aggression of Russia. It took the form of the lovely “Angel: Poem Nocturne” by the Ukrainian composer Théodore Akimenko (1876-1945), whose work is only now coming to light in the West. The performance—including the beautiful solo by Principal Cello Daniel Lee—and the sentiment behind it were, I’m happy to report, both enthusiastically embraced by the audience on Saturday.

Next at Powell Hall: The SLSO bids a fond farewell to SLS Chorus Director Amy Kaiser, retiring after 27 seasons, with a program of Vaughn Williams’s “Sea Symphony,” Debussy’s “Nocturnes,” and Jessie Montgomery’s “Starburst.” Stéphane Denève conducts the orchestra and chorus along with soloists Katie Van Kooten, soprano, and Stephen Powell, baritone. Performances are Saturday at 8 pm and Sunday at 3 pm, April 30 and May 1. The Saturday concert will be broadcast live, as usual, on St. Louis Public Radio and Classic 107.3.

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

Cabaret Review: Prime Prine: Marissa Mulder's John Prine tribute is a reminder of his importance

I never thought of myself as a fan of the late singer/songwriter John Prine, but Marissa Mulder’s “Souvenirs,” a Prine tribute show that played The Blue Strawberry April 21 and 22, showed that I was wrong.

It turns out that I have admired Prine’s songs for years. It’s just that my mind’s ear hears many of them in voices as diverse as those of John Denver (“Paradise”) and Bette Midler (“Hello in There”). Which just shows how influential Prine was even when he wasn’t singing.

Marissa Mulder at The Blue Strawberry

So I was surprised at the high percentage of the evening’s 16 songs that I not only knew but loved, especially in Mulder’s winning, country-inflected performances. When I saw Mulder’s Tom Waits show back in 2014, I was impressed by how Mulder magically metamorphosed into the battered, world-weary, ironic narrator who lurks in all of Waits's lyrics. This time around, she morphed into a fresh-faced folk singer who might have just come from a busking gig in a subway station, complete with a bit of the rural twang that you can hear in Prine’s own voice.

Back then, I called it a startling act of theatrical legerdemain. It was less startling this time partly because I was prepared for it and partly because the transformation was less radical since Mulder is, as Stephen Holden has written, an “engagingly sunny” performer by nature. Still, it shows theatrical smarts and an understanding of the importance of completely internalizing the lyric of a song—a fundamental skill for any cabaret artist.

With Jon Weber on piano and St. Louis’s own Brian Clark on guitar, Mulder delivered a solid evening of droll gems like “Illegal Smile,” “In Spite of Ourselves,” and “Dear Abby,” as well as sniffle-inducing sentimental numbers such as “Hello in There” and “I Remember Everything.”  In between, we got little biographical bits about Prine and the origins of the songs—most of which were news to me, and which were fascinating in their own right.

I never knew, for example, that “Your Flag Decal Won’t Get You into Heaven Anymore” (a song which is still sadly relevant) and “Hello in There” were both inspired Prine’s experiences as a mail carrier. Or that the titular town of “Paradise” was a real place the songwriter had visited as a child before (as the lyric goes) “Mr. Peabody’s coal company” did, indeed, wipe it out of existence in pursuit of a buck. And I certainly had no idea that he played the last song he ever wrote, “I Remember Everything,” at his first-ever Paris concert on February 13, 2020.

The show was a sellout and the crowd loved him, but the trip proved fatal for Prine, who was diagnosed with COVID-19 when he returned home. He died on April 7th.

Musically, Prine’s songs follow a fairly rigid pattern—verse followed by multiple refrains—but Mulder, Weber, and Clark all brought enough variety to their performances so that the evening rarely felt repetitious. Clark had some fine solos and provided sensitive accompaniment for the rueful “Speed of the Sound of Loneliness.” Weber’s sparing use of the "slip note" piano style associated with "Nashville sound" architect Floyd Cramer added to the folksy atmosphere.

Thanks to Jim Dolan for bringing Marissa Mulder back to town. I missed her Lennon/McCartney show here, so it was good to see her in action again. To find out when she’s coming to your town, check out her web site. For information on what’s coming up at The Blue Strawberry, check theirs.

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

St. Louis theatre calendar for the week of April 25, 2022

Now including both on-line and live events during the pandemic. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills. To get your event listed here, send an email to calendar [at] stageleft.org.

Act Two Theatre presents the comedy-mystery Any Number Can Die Wednesdays through Fridays at 7:30 pm and Sundays at 2 pm through May 1. “A Comedy-Murder-Mystery with a hilarious tip-of-the-hat to the mystery plays of the Twenties complete with sliding panels, robed figures, wills being read at midnight, and more. Four ingenious murders take place in an island mansion as a pair of elderly detectives set to work on their first case. The ever-popular storm, the unexpected guests, the cryptic poem, and the missing fortune all add to the intricate and inventive mystery off which the laughs bounce.” Performances take place at the St. Peters Cultural Center in St. Peters, MO. For more information: https://www.acttwotheatre.com/

Micaela Diamond

The Blue Strawberry presents Micaela Diamond in I Got Me Babe on Tuesday, April 26 at 7:30 pm. "Micaela Diamond was plucked fresh out of high school to play the youngest Cher in The Cher Show on Broadway, earning her a Theater World Award for best debut performance. In I Got Me Babe, she gets up close and personal on what it’s like being thrust into stardom and adulthood at the exact same time. From little girl fantasies, to scene partnering with John Legend, to culinary school in a pandemic, Micaela belts her way through Sondheim, The Beatles, Streisand, and of course Cher to prove why this old soul is the young lady Broadway can’t stop buzzing about." The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Nellie McKay

The Blue Strawberry presents Nellie McKay on Thursday, April 28, at 7 pm. "Nellie McKay is a modern cabaret star who brings her smooth vocals, witty humor and big personality to every show. Nellie McKay has released seven acclaimed albums, won a Theatre World Award for her Broadway portrayal of Polly Peachum in The Threepenny Opera, co-created and starred in the award-winning off-Broadway hit Old Hats, and has conceived and performed musical biographies of Barbara Graham, Rachel Carson, Joan Rivers, and Billy Tipton."  The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Santino Fontana

The Cabaret Project presents A Gala Evening with Santino Fontana on Friday, April 29, at 8:30 pm. The evening will begin with cocktails at 6 pm followed by dinner and an auction beginning at 6:45 pm. Tickets are available for the show only or for the full gala evening, which includes valet parking, VIP seating, and a post-show reception with Fontana. Fontana is replacing the originally scheduled Laura Benanti, who was had to withdraw because of an exposure to CPOVID-19. The event takes place at the Sheldon Concert Hall and Ballroom in Grand Center. Note that, for this event, masks will be required for all attendees. For more information: www.thecabaretproject.org

ERA Theatre presents the radio play SHE by Nancy Bell with music by Joe Taylor and Lyrics by Nancy Bell via on-demand streaming  "SHE controls the radio station of the fascist regime in power. SHE's also the star of the broadcast. Her recording studio abounds with music and oysters. But in the nearby government camps full of misfits and would-be revolutionaries, only torture and starvation is thick on the ground. Tonight, however, SHE's realm feels different. The bombs sound closer. Time moves faster. But SHE will finish her radio show, and it will be her finest. If executing every number in the broadcast means some people need to die, so be it; it is a small sacrifice. The citizens need her and she will not let them down." SHE is available on most major platforms including Spotify, Amazon Music, Apple Music, YouTube, and BandCamp. For more information: www.eratheatre.org

Hamilton
Photo: Joan Marcus

The Fabulous Fox presents the musical the musical Hamilton through May 15. “HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography.” The Fabulous Fox is on North Grand in Grand Center. For more information: www.fabulousfox.com.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Bullets in the Bathtub J through May 7. "Mob bosses, flappers, bootleggers and crooked cops will abound as event attendees are transported back in time to Trixie's speakeasy right in the heart of the roaring 20's. There will be plenty of rowdy characters at this fun, interactive event but none so dangerous as Harry "Bullets" Hyde. He’s the boss of the bosses and he is not too keen on "The Familys" taking over his territory. Parts will be passed out at the door and guests can participate as much or as little as they would like too. Some might be famous gangsters of the past, others may dodge the cops as they bootleg over state lines and a few might even be fun, flirty flappers. When a group like this gets together, it’s almost inevitable that somebody ends up "sleeping with the fishes." The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

R-S Theatrics presents While the Ghostlight Burns, a virtual discussion series featuring R-S Artistic Director Sarah Lynne Holt in conversation with St. Louis theatre artists, Mondays at 7 pm.  Conversations will be archived at the R-S Theatrics YouTube channel. For more information: r-stheatrics.com/while-the-ghostlight-burns.html

SATE (Slightly Askew Theatre Ensemble) opens its 2022 Season of Party, with the sixth annual Aphra Behn Festival, Friday through Sunday, April 29-May 1, at 8:00 pm.  “Established in 2017, the Aphra Behn Festival’s goal is to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. The Aphra Behn Festival is named for a fascinating poet, translator, and spy. Aphra Behn is widely considered to be the first English woman to make her living as a playwright.” The following plays will be presented each night of the festival: Repurposed by Michelle Zielinski, Go Before I Do by Hazel McIntire, and The Super Fun Time Party Palace, by Lize Lewy. Performances take place at the Centene Center for the Arts in midtown St. Louis. For more information: satestl.org

The Sheldon Concert Hall presents comic, author, actress, and podcaster Paula Poundstone on Saturday, April 30, at 8 pm. “Paula Poundstone is one of our country’s preeminent comedians, known for her smart, observational humor and spontaneous wit that has become the stuff of legend. She tours regularly performing over 85 shows a year.” Note that, for this event, masks will be required for all attendees. The show takes place in the auditorium of The Sheldon in Grand Center. For more information: https://www.thesheldon.org/events/paula-poundstone

Triassic Parq
Photo: John Lamb

Stray Dog Theatre presents Triassic Parq the Musical Thursdays through Saturdays through April 30. “Religion, identity, sex… and raptors! Triassic Parq is a raucous retelling of that famous dinosaur-themed film, this time seen from the dino’s point of view. Chaos is unleashed on their not-so-prehistoric world when one dinosaur in a clan of females spontaneously turns male!” Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

The Lonesome West

West End Players Guild presents Martin McDonagh’s The Lonesome West April 29 through May 8. “Brothers Valene and Coleman Connor live alone in their father’s County Galway house after his recent death.  Despite whatever brotherly bond exists between them, they find it almost impossible to exist without getting into the most massive and violent disputes over the most mundane and innocent of topics – a situation the Guardian described in its review of the play as being ‘closeted together in undying hostility like a penned-up Cain and Abel.’  They probably would have killed each other by now were it not for the efforts of young Father Welsh, who has made it his mission to reconcile the two before they do.” West End Players Guild this season will employ touchless ticketing, socially-distanced seating and indoor masking of all patrons and front-of-house staff and volunteers. Performances take place at the Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org

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.

Digital Symphony Review: Denève and the SLSO explore the heart of darkness in video of November 2021 concert

On November 5th and 6th 2021, Stéphane Denève and the St. Louis Symphony Orchestra (SLSO) presented a concert that opened with a powerful work of personal lamentation and ended with a gripping and ultimately horrifying depiction of life under an autocratic regime run by a personality cult centered on a morally bankrupt and violent ideologue. In between we had a violin concerto that evoked images of pines, snow, and brisk northern winds.

[Find out more about the music with my symphony preview.]

Denève conduct Emotive Transformations

It was dark, disturbing, and engrossing. And I loved it. A live HD video recording of that concert, with some illuminating commentary from Maestro Denève, is now available from the orchestra’s web site through August 31st 2022.

The lamentation comes from the opening work, “Emotive Transformations,” written in 2018 by Michigan-born James Lee III. Inspired by the death of the composer’s father the work, as Stéphane Denève said in his pre-concert talk back then, can he heard as referring to the five stages of grief described by Swiss-American psychiatrist Elisabeth Kübler-Ross in her 1969 book “On Death and Dying”: denial, anger, bargaining, depression, and acceptance.

“Emotive Transformations” opens with an agitated theme that suggests the first two stages of denial and anger. A second, more soothing motif in the strings and winds hints at “comforting words” according to Denève, but to my ears it also could include the “bargaining” stage. Denève described a third ascending theme in the strings as a reference to resurrection, and I’m inclined to agree, although you could just as easily say it’s about acceptance.

Either way, that last theme is almost overwhelmed by the opening sense of anger and agitation. Indeed, it eventually takes over the “comfort” theme entirely, turning it into a kind of wail of anguish (depression, possibly?) which slowly descends through the string section and is extinguished. The initial theme returns again, but now it has taken on the character of the acceptance music, rising triumphantly to a final major chord.

Nikolaj Szeps-Znaider

It all sounds a bit like Strauss’s “Death and Transfiguration,” but the resemblance is at best superficial. Lee’s musical world is more compact and less sentimental than that of Strauss. His musical vocabulary is unquestionably contemporary, but still listener-friendly—a hallmark of the new music that Denève has introduced to local audiences. And it is beautifully played by Denève and the band, with a shout-out due to Principal Clarinet Scott Andrews for the tranquil start of the resurrection/acceptance theme.

Up next is the Violin Concerto in D minor, op. 47 by Jean Sibelius. Originally presented in 1904 and then, after a thorough drubbing by critics, premiered in a substantially revised form in 1905, the work is deeply informed by the composer’s love of his native Finland’s forests and striking but somewhat forbidding landscape. I have always found it to be a dramatic and often emotionally intense piece—qualities that are communicated very effectively in Saturday’s deeply committed and finely shaded performance by Denève and soloist Nikolaj Szeps-Znaider.

Close friends outside of the concert hall, Szeps-Znaider and Denève have often performed the Sibelius concerto together, a fact which lends an air of intimacy to the performance and often produces the illusion that you are hearing the music of, in the words of novelist Jasper Fforde, “two minds with but a single thought.”

Denève conducts the Shostakovich Fifth

Szeps-Znaider’s virtuosity is clearly on display in the challenging first movement cadenza and the galloping final movement, but his technique is always deployed in the service of Sibelius’s dark, passionate soundscape. It is, as well, always completely in synch with Denève’s nuanced approach to the work.  The many video closeups make it possible to see Szeps-Znaider at work in a way that wouldn’t be possible in a live concert.

The dark soundscapes of Sibelius are almost tropical compared to the harsh, cold winds that blow through the final work of the evening, Shostakovich’s Symphony No. 5 in D minor. Written over the course of three months in 1937 it was, at the time, seen as an attempt by the composer to get himself off of Stalin’s blacklist, since being on it was likely to end not just his career but his life. He even went so far as to accompany the first performance with an article in the Moscow newspaper Vechernyaya Moskva titled "A Soviet Artist’s Reply to Just Criticism"—lest there be any doubt that he had Learned His Lesson.

It worked. Official response was enthusiastic, and Shostakovich was officially rehabilitated. Even in the West the work was, well through the 1960s, seen as an example of unabashed pandering to mandatory patriotism. As more details began to emerge about what composer’s private thoughts might have been about the fifth symphony, critics and conductors began to realize that something much darker lurked beneath the brilliant orchestration, memorable tunes, and apparent bombast of the Allegro non troppo finale.

That something was a portrait of the grim reality of life in a one-party state run by a mass murderer and his ethically challenged enablers. "Many in the premiere audience were seen to weep openly," wrote Richard Freed in his liner notes for the SLSO’s 1986 recording of the work. "They wept, Shostakovich himself felt, because 'they understood; they understood what was happening around them and they understood what the Fifth was about.'"

These days, performances of the symphony are more likely to emphasize that dark side. Denève’s certainly does. Conducting without a score, he delivers a Fifth that beings with a cry of pain in the strings, followed by snarling march from the brass and percussion sowing death and destruction. The first movement ends with nobody left to tell the tale except the harp and celesta (Allegra Lilly and Peter Henderson, respectively, in a beautifully tragic duet) quietly commenting on the smoking ruin of the battlefield.

Finale of the Shostakovich Fifth

And so it goes for the next three movements. The Allegretto is a lumbering waltz of storm troopers, briefly interrupted by graceful ballerina (Concertmaster David Halen, in a touching solo assisted by Lilly and flutist Jennifer Nitchman). She tries to return in a pleading English horn solo by Jelena Dirks but is ultimately banished from the scene. The Largo that made Russians weep is pure desolation, ending in tranquil string chords that fade to a silence which is violently broken, after only a brief pause, by the aggressive final movement.

Here, in a fusillade of blazing brass and pounding percussion, the Soviet bureaucrats heard triumph, affirmation, and apotheosis. And perhaps, in that first performance, conductor Evgeny Mravisnky made sure it came across that way. But, as Mr. Denève demonstrates, it only takes a few adjustments to reveal the coercion behind that triumph. The slow, relentless hammer blows of the percussion in the coda sound less like affirmation and more like a “tragic, forced smile,” as Denève says in his video introduction. The effect is both thrilling and horrifying.

Depending on the quality of your home theatre system, the sound on the video might or might not deliver quite the same emotional impact of the original performance, which left me in a state of stunned silence. It is, in any case, a brilliant reading which still leaves me with the uneasy feeling that I  have heard America’s future and its name is Dmitri Shostakovich.

This video is part of a series of recordings of recent live concerts. Ticket information and a complete list of videos in the series is available at the SLSO web site.

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

Symphony Preview: Plan B

“The best laid schemes o’ Mice an’ Men,” wrote Robert Burns back in 1785, “Gang aft agley.” The two major works on the St. Louis Symphony Orchestra (SLSO) concerts this weekend (April 23 and 24) offer very different examples of how that can happen.

[Preview the music with my commercial-free Spotify playlist.]

Edna Phillips

Alberto Ginastera’s Harp Concerto, which closes the first half of the program, was commissioned in 1956 by harpist and philanthropist Edna Phillips. At the time, Phillips was principal harpist with the Philadelphia Orchestra and had planned to give the work its premiere with the legendary Eugene Ormandy on the podium. Ginastera, unfortunately, dragged his feet on the assignment, first turning in a version that Phillips regarded as “far too pianistic in nature” and then throwing himself into a study of harp technique in an effort to come up with something more suited to the instrument.

Meanwhile the clock was ticking. By the time Ginastera finally completed the concerto in 1964, with input from the noted Spanish harpist Nicanor Zabaleta, Phillips had already retired. Zabaleta gave the premiere performance in 1965 and would later produce his own revised version of the work in 1968. That’s the version usually performed today, although some notable harpists (such as Heidi Lehwalder) prefer the 1965 original.

Regardless of the version, the Ginastera concerto broke a lot of new ground for the harp by extending the range of sounds the instrument (and the player) could be called upon to produce. Especially in the first movement, the concerto accentuates the percussive more aggressive sounds of the harp without neglecting the more instrument’s more lyrical aspects.

On her websie, Lehwalder, who has been a major proponent of the work for many years now, goes into some detail about the challenges it poses. These include technical hurdles for both the soloist and the conductor, such as getting the balance right between the solo harp and the orchestra (including its five percussionists) and accurately cueing the orchestra’s entrance after the flashy third movement cadenza.

This weekend’s soloist, SLSO Principal Harp Allegra Lilly, apparently agrees. In an interview for Classic 107.3, she describes the concerto as “a workout” that asks the soloist to produce a lot of “high volume, high intensity sound” and demands an extra level of self-care from the performer.  She also talks about being a great admirer of the work ever since she heard a performance by noted harpist Yolanda Kondonassis as a child and sees it as one of her “dream pieces.” Which bodes well for this weekend.

Sergei Prokofiev
See Commons:Licensing
for more information.,
Public Domain, Link

Prokofiev's 1944 Symphony No. 5, which takes up the second half of the program, presents us with another case of plans derailed by fate. Last heard here in September 2014 with David Robertson on the podium, it was originally scheduled for a March 2020 SLSO program that was cancelled by the pandemic. As a wartime work, it is arguably more relevant now—especially since Prokofiev was born in what is now the Ukraine.

Composed at the artists' colony of Ivanovo east of Moscow just as the war with Germany was turning in Russia's favor, the symphony was described by Prokofiev as "a hymn to free and happy Man, to his mighty powers, his pure and noble spirit," and while there is certainly an air of triumph, especially in the majestic opening theme, it has always seemed to me that the war was never far from the composer's mind. You can hear it in (among other places) the militant percussion of the first movement and the anguished climax of the third.

The aura of triumph is also leavened by Prokofiev's characteristic irony. The composer of the "Sarcasms" for piano always seems to have a raised eyebrow or cynical smile behind his most demonstrative music. In the 5th symphony sarcasm takes various forms, including caustic comments from the brass and percussion and the deliberate interruption of the boisterous Allegro giocoso finale by a short, dissonant passage for string quartet and trumpet.

Still, the premiere on January 13th, 1945, was a huge success. Prokofiev himself conducted the USSR State Symphony Orchestra in the Great Hall of the Moscow Conservatory. The performance was preceded by a ceremonial barrage of cannon fire to celebrate Russia's advance into Germany, which no doubt helped set the victorious mood. "There was something very significant in this," recalled the great Russian pianist Sviatoslav Richter, who was present at the performance, "something symbolic. It was as if all of us -- including Prokofiev -- had reached some kind of shared turning point."

And, in fact, they had. Russia's crossing of the Vistula River into Germany was a major turning point in the war on the Eastern Front, which had been a long and bitter business. Of course, it was also a victory for Stalin, but that's another story with a less happy outcome.

Somewhat ironically, given Russia’s current outbreak of bellicosity, the work will be conducted by Ukrainian maestro Kirill Karabits, currently a Chief Conductor of the Bournemouth Symphony Orchestra. He recorded a Prokofiev symphony cycle with that orchestra beginning in 2013, and his recording of the fifth symphony was, according to his bio, “released to critical acclaim in July 2015 shortly before its performance at the BBC Proms.”

By Natella.M - Own work, CC BY-SA 4.0,
https://commons.wikimedia.org

The program opens with “Nagillar” (Fairy Tales), a 2002 work by Azerbaijani composer/pianist Franghiz Ali-Zadeh. Although she was born just two years after the premiere of Prokofiev’s symphony, Ali-Zadeh is not well-known in this country. Her career as both composer and pianist has been largely limited to Europe and this weekend will mark the first appearance of her music on an SLSO program.

This is the point where I would normally tell you what “Nagillar” sounds like, but I’ve been unable to unearth a performance anywhere, including YouTube. So I’ll just refer you to Benjamin Pesetsky’s program notes  wherein we learn that the fairy tales in question are those found in the “Thousand and One Nights”—specifically a magic carpet flight and subsequent adventures by a prince and princess.

The details of those adventures, as described by the composer, would challenge the ingenuity of Richard Strauss, that  great creator of vividly descriptive music for large orchestra. And, in fact, Ali-Zadeh calls for a Strauss-sized band of around 80 musicians, including six percussionists, two keyboard players, and a beefy brass section.

Lacking a recording of the work itself for my Spotify playlist, I have elected for the next-best thing: a recording of the “Nasimi-Passion” for baritone, choir, and orchestra from 2016. With five movements and a run time of over 30 minutes, it’s more than twice the length of “Nagillar.” But it should, at least, give you an idea of the composer’s style, which combines traditional Azerbaijani folk elements with those of 20th-century avant garde composers like Arnold Schoenberg, Alan Berg, John Cage, and Oliver Messiaen. All of whom Ali-Zadeh has championed as a pianist.

The Essentials: Kirill Karabits makes his conducting debut with the SLSO in Ginastera’s Harp Concerto (with soloist Allegra Lilly), Prokofiev’s Symphony No. 5, and  “Nagillar” (Fairy Tales) by Franghiz Ali-Zadeh. Performances take place Friday at 10:30 am, and Saturday at 8 pm, April 22 and 23, at Powell Hall in Grand Center. The Saturday night concert will be broadcast live over the air and on the Internet on St. Louis Public Radio and Classic 107.3.

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

St. Louis theatre calendar for the week of April 18, 2022

Now including both on-line and live events during the pandemic. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills. To get your event listed here, send an email to calendar [at] stageleft.org.

Act Two Theatre presents the comedy-mystery Any Number Can Die Wednesdays through Fridays at 7:30 pm and Sundays at 2 pm, April 20 through May 1. “A Comedy-Murder-Mystery with a hilarious tip-of-the-hat to the mystery plays of the Twenties complete with sliding panels, robed figures, wills being read at midnight, and more. Four ingenious murders take place in an island mansion as a pair of elderly detectives set to work on their first case. The ever-popular storm, the unexpected guests, the cryptic poem, and the missing fortune all add to the intricate and inventive mystery off which the laughs bounce.” Performances take place at the St. Peters Cultural Center in St. Peters, MO. For more information: https://www.acttwotheatre.com/

Marissa Mulder

The Blue Strawberry presents Marissa Mulder Sings John Prine on Thursday and Friday, April 21 and 22, at 7:30 pm. “Marissa Mulder is an award-winning cabaret singer who brings her love of singing and storytelling to the stage in New York City and beyond. Her show, Souvenirs: A Tribute to Songwriting Legend John Prine, will feature her take on some of Prine's most prolific songs; Hello In There, Illegal Smile, Sam Stone and more. "  The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Chuck Lavazzi and Carol Schmidt

The Cabaret Project and The Blue Strawberry present a Singers Open Mic on Tuesday, April 19, from 7 to 9:30 pm. “Chuck Lavazzi is your host, with pianist and music director Carol Schmidt. If you plan to sing bring sheet music or a chart in your own key, and perform your favorite Broadway, pop, or jazz tunes. Or you can just relax, have a drink and dinner or a snack, and enjoy the music. No admission or cover, but there is always a tip jar! All proceeds go to The Cabaret Project, a 501c3 non-profit dedicated to promoting, developing, and sustaining the art of cabaret in St. Louis. "  The Blue Strawberry is at 364 N. Boyle. For more information: thecabaretproject.org.

ERA Theatre presents the radio play SHE by Nancy Bell with music by Joe Taylor and Lyrics by Nancy Bell via on-demand streaming  "SHE controls the radio station of the fascist regime in power. SHE's also the star of the broadcast. Her recording studio abounds with music and oysters. But in the nearby government camps full of misfits and would-be revolutionaries, only torture and starvation is thick on the ground. Tonight, however, SHE's realm feels different. The bombs sound closer. Time moves faster. But SHE will finish her radio show, and it will be her finest. If executing every number in the broadcast means some people need to die, so be it; it is a small sacrifice. The citizens need her and she will not let them down." SHE is available on most major platforms including Spotify, Amazon Music, Apple Music, YouTube, and BandCamp. For more information: www.eratheatre.org

Hamilton
Photo: Joan Marcus

The Fabulous Fox presents the musical the musical Hamilton through May 15. “HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography.” The Fabulous Fox is on North Grand in Grand Center. For more information: www.fabulousfox.com.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Bullets in the Bathtub J through May 7. "Mob bosses, flappers, bootleggers and crooked cops will abound as event attendees are transported back in time to Trixie's speakeasy right in the heart of the roaring 20's. There will be plenty of rowdy characters at this fun, interactive event but none so dangerous as Harry "Bullets" Hyde. He’s the boss of the bosses and he is not too keen on "The Familys" taking over his territory. Parts will be passed out at the door and guests can participate as much or as little as they would like too. Some might be famous gangsters of the past, others may dodge the cops as they bootleg over state lines and a few might even be fun, flirty flappers. When a group like this gets together, it’s almost inevitable that somebody ends up "sleeping with the fishes." The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Opera Theatre of Saint Louis, in conjunction with Cinema St. Louis and the Webster Film Festival, presents the Harvey Milk Film Festival Friday and Saturday, April 22 and 23. The festival includes screenings of the films Milk and The Times of Harvey Milk as well as a panel discussion with OTSL director James Robinson and actor/director Ken Page moderated by Joshua Ray, a QFest St. Louis co-programmer and contributor to Cinema St. Louis’ film blog The Lens. For more information: opera-stl.org.

R-S Theatrics presents While the Ghostlight Burns, a virtual discussion series featuring R-S Artistic Director Sarah Lynne Holt in conversation with St. Louis theatre artists, Mondays at 7 pm.  Conversations will be archived at the R-S Theatrics YouTube channel. For more information: r-stheatrics.com/while-the-ghostlight-burns.html

Slaying Dragons presents Crossing the Abyss on Sunday, April 24, at noon. “It's Christmastime for a family in Saint Louis, but the joy of the season is tempered by the realization that a grandparent has Alzheimer's.” The performance takes place at Center for Spiritual Living, 12875 Fee Fee Road. For more information: www.onthestage.tickets/show/slaying-dragons/loop-3244

Hand to God
Photo courtesy of St. Louis Actors’ Studio

The St. Louis Actors’ Studio presents Hand to God by Robert Askins Fridays and Saturdays at 8 pm and Sundays at 3 pm through April 24. “After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas. Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own. HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind us.” Performances take place at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org

Triassic Parq
Photo: John Lamb

Stray Dog Theatre presents Triassic Parq the Musical Thursdays through Saturdays through April 30. “Religion, identity, sex… and raptors! Triassic Parq is a raucous retelling of that famous dinosaur-themed film, this time seen from the dino’s point of view. Chaos is unleashed on their not-so-prehistoric world when one dinosaur in a clan of females spontaneously turns male!” Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

The St. Louis Writers' Group presents A Festival of One-Acts, Part 2 on Tuesday, April 19 at 6:30 p.m. The reading takes place at Big Daddy’s, 1000 Sidney in Soulard and on line via Facebook. For more information, visit the St. Louis Writers' Group Facebook page.

Webster Conservatory presents the musical Amélie Friday and Saturday, April 22 and 23, at 7:30 pm and Sunday, April 24, at 2 pm. “Based on the now iconic film, "Amélie" offers a fresh take on the beloved protagonist, an extraordinary young woman who lives quietly in the world but loudly in her mind. When a chance at love comes her way, Amélie realizes that to find happiness she will have to risk everything and say what is in her heart. Guest artist Wendy Renée Greenwood--a seasoned theatre educator, actor, director, stage manager, props designer, and playwright--directs.” Performances take place on the Browning Mainstage in the Loretto-Hilton Center on the Webster University campus in Webster Groves. For more information: www.webster.edu/conservatory

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.

Symphony Review: Childress and Pratt conquer new musical worlds with the SLSO

London Symphony violinist Hugh Bean once suggested that conducting “is the strongest evidence I’ve yet seen that telepathy, in one form or another, exists.” When I first saw St. Louis Symphony Orchestra (SLSO) AssistantConductor Stephanie Childress on the podium last year, I was inclined to agree.  Seeing her conduct an eclectic mix of works by Sebelius, Dvořák, and contemporary American composer Jessie Montgomery this past Friday (April 8), I see no reason to revise that opinion.

[Find out more about the music with my symphony preview.]

Childress opened the concert with a powerfully atmospheric reading of the 1907 revision of Sibelius's 1893 tone poem "En Saga.” The title and the music itself both suggest a narrative thread, but Sibelius would later write that “En Saga” was an intensely personal work that was “the expression of a state of mind” with no “literary explanations.” Even so, it’s impossible not to hear the composer’s love of his native Finland’s forests and its striking (if forbidding) landscapes in this highly dramatic work. The tremolos and arpeggios that suggest brisk northern winds were given vivid life by the SLSO strings, and the oboes, bassoons, and clarinets gave a sharp bite to the melancholy folk-like tune that accompanies them in the opening measures. The violas lent a dark beauty to their featured role early in the work and the keening clarinet solo that brings “En Saga” to its hushed conclusion was expertly done by Tzuying Huang.

L-R: Jessie Montgomery, Awadagin Pratt,
Stephanie Childress

Up next was Montgomery’s “Rounds for Piano and Strings,” a co-commission by the SLSO, the Art of the Piano Foundation (for Awadagin Pratt, who was the soloist last weekend), and eight other American orchestras. Inspired by T. S. Eliot’s poem “Four Quartets,” the work a relatively complex musical structure. “I set the form of the work as a rondo, within a rondo, within a rondo,” writes Montgomery. “The five major sections are a rondo; section “A” is also a rondo in itself; and the cadenza – which is partially improvised by the soloist – breaks the pattern, yet, contains within it, the overall form of the work.”

You’d think that would make for thorny listening, but Montgomery is too skilled a composer for that. That “A” section has a sound all its own, with flashing arpeggios bracketing a section characterized by big “power chords.” It’s clearly different from the music of the more contemplative second section or the dance-like fourth. And all of them are different from the wild and showy cadenza, which includes unusual techniques like plucking the piano strings with the sustaining pedal held down—an eerie and unexpected effect. Overall, “Rounds” is a fascinating and even fun work that will surely have a life after its premiere performances.

Given that “Rounds” was written for, and with input from, Pratt, it’s not surprising that he played it with an impressive mix of technique and poetry. His performance of that finger-busting cadenza, in particular, was a genuine barn burner. He got a quick and enthusiastic standing ovation from the Friday night crowd—an ovation for which the composer was on hand to share.

The concert closed with a dynamic and nuanced Dvořák Symphony No. 9 ("From the New World"). Conducting without a score, Childress delivered a Ninth that, for sheer brilliance, belongs up there with the SLSOs last performance in 2017 with David Robertson. I called that one "world class.” So was this.

There were so many wonderful moments in this “New World” that I simply couldn’t make notes on all of them and still revel in the sheer joy of the music. For example, the slower tempo and touch of rubato in the lyrical second theme of the first movement (the one that sounds like “Swing Low, Sweet Chariot”) was a nice touch. Cally Banham’s performance of the famous cor Anglias solo in the second movement was a perfect match for the sense of homesickness that lies behind the movement’s tranquility. The scherzo had fierce, fast energy. And the final movement crackled with drama.

Stephanie Childress and the SLSO

To quote a Noël Coward lyric, I couldn’t have liked it more. In her pre-concert remarks, Childress noted that Dvořák’s Ninth is “as triumphant as it is melancholic,” and is therefore an apt metaphor for our times. It was a perceptive observation, and her interpretation reflected it.

The SLSO has a notable track record when it comes to picking Assistant Conductors who then go on to important careers: Ward Stare and Gemma New come immediately to mind. If tonight was any indication, Childress is on a similar course. She has excellent rapport with the musicians, a deep understanding of the structure of the works she conducts, and she knows how to use silence as a musical element—even if, as was the case with the end of the “New World,” the audience didn’t quite cooperate.

Next at Powell Hall: Ron Spigelman conducts the orchestra in a performance of the score for “Harry Potter and the Deathly Hallows, Part 1” as the film is shown on the big screen. Performances are Friday at 7 pm and Saturday at 2 and 7 pm, April 15 and 16. The regular season returns April 22 and 23, with a program of works by Ginastera, Prokofiev, and Azerbaijani composer/pianist Franghiz Ali-Zadeh.

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

St. Louis theatre calendar for the week of April 11, 2022

Now including both on-line and live events during the pandemic. Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills. To get your event listed here, send an email to calendar [at] stageleft.org.

Mark Saunders

The Blue Strawberry presents Mark Saunders in Saunders Sings Sondheim on Saturday, April 16, at 7:30 pm. “Sing out, Louise! Mark Saunders, accompanied by Jon Garrett, takes you on a journey through the canon of Stephen Sondheim. Join him for a night of fishing, laughing, and storytelling as we celebrate the genius of Stephen Sondheim! "  The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

ERA Theatre presents the radio play SHE by Nancy Bell with music by Joe Taylor and Lyrics by Nancy Bell via on-demand streaming  "SHE controls the radio station of the fascist regime in power. SHE's also the star of the broadcast. Her recording studio abounds with music and oysters. But in the nearby government camps full of misfits and would-be revolutionaries, only torture and starvation is thick on the ground. Tonight, however, SHE's realm feels different. The bombs sound closer. Time moves faster. But SHE will finish her radio show, and it will be her finest. If executing every number in the broadcast means some people need to die, so be it; it is a small sacrifice. The citizens need her and she will not let them down." SHE is available on most major platforms including Spotify, Amazon Music, Apple Music, YouTube, and BandCamp. For more information: www.eratheatre.org

Hamilton
Photo: Joan Marcus

The Fabulous Fox presents the musical the musical Hamilton opening on Tuesday, April 12 at 7:30 pm and running through May 15. “HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography.” The Fabulous Fox is on North Grand in Grand Center. For more information: www.fabulousfox.com.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Bullets in the Bathtub J through May 7. "Mob bosses, flappers, bootleggers and crooked cops will abound as event attendees are transported back in time to Trixie's speakeasy right in the heart of the roaring 20's. There will be plenty of rowdy characters at this fun, interactive event but none so dangerous as Harry "Bullets" Hyde. He’s the boss of the bosses and he is not too keen on "The Familys" taking over his territory. Parts will be passed out at the door and guests can participate as much or as little as they would like too. Some might be famous gangsters of the past, others may dodge the cops as they bootleg over state lines and a few might even be fun, flirty flappers. When a group like this gets together, it’s almost inevitable that somebody ends up "sleeping with the fishes." The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

R-S Theatrics presents While the Ghostlight Burns, a virtual discussion series featuring R-S Artistic Director Sarah Lynne Holt in conversation with St. Louis theatre artists, Mondays at 7 pm.  Conversations will be archived at the R-S Theatrics YouTube channel. For more information: r-stheatrics.com/while-the-ghostlight-burns.html

The St. Louis Actors’ Studio presents Hand to God by Robert Askins Fridays and Saturdays at 8 pm and Sundays at 3 pm through April 24. “After the death of his father, meek Jason finds an outlet for his anxiety at the Christian Puppet Ministry, in the devoutly religious, relatively quiet small town of Cypress, Texas. Jason’s complicated relationships with the town pastor, the school bully, the girl next door, and—most especially—his mother are thrown into upheaval when Jason’s puppet, Tyrone, takes on a shocking and dangerously irreverent personality all its own. HAND TO GOD explores the startlingly fragile nature of faith, morality, and the ties that bind us.” Performances take place at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org

Stray Dog Theatre presents Triassic Parq the Musical Thursdays through Saturdays April 14-30. “Religion, identity, sex… and raptors! Triassic Parq is a raucous retelling of that famous dinosaur-themed film, this time seen from the dino’s point of view. Chaos is unleashed on their not-so-prehistoric world when one dinosaur in a clan of females spontaneously turns male!” Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org

The Washington University Performing Arts Department presents Bull in a China Shop by Bryana Turner Thursday through Sunday, April 14-17. Performances take place in the Hotchner Studio Theatre on the  Washington University Campus. For more information: pad.wustl.edu/

Webster Conservatory presents Student Voices Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, April 15-17. “WebCo celebrates the unique voices of current students, curating a selection of short, original performance texts. Join us for the world premiere of this collection. Guest artist Kathryn Bentley, associate professor of theater and artistic director of Southern Illinois University’s Black Theatre Workshop, directs.” Performances take place in the Emerson Studio Theatre on the Webster University Campus. For more information: www.webster.edu/conservatory

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.