St. Louis theatre calendar for the week of June 26, 2023

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out.

The Blue Strawberry presents Kelly Howe and Curt Landes Won’t Shut Up: A Saga of Song on Tuesday, June 27, at 7:00 pm. “Join Kelly and Curt for a night of tunes from Beatles to Broadway and plenty in between. Also cocktails.”   The performance takes place in the lounge at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com

Adam Pascal

The Blue Strawberry presents Adam Pascal on Wednesday and Thursday, June 28 and 29, at 7:30 pm. “Join Adam Pascal, from the original Broadway cast of RENT, for an intimate evening of songs and stories, just him and his guitar.”  The performances take place in the lounge at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com

A Call to Conscience presents A Tribute to Katherine Dunham Thursday and Friday at 7 pm and Saturday at 2 pm, June 29 through July 1. Performances take place at Prince of Peace Missionary Church, 9350 Natural Bridge. For more information:  www.eventbrite.com

Encore Theatre Group presents August Wilson’s The Piano Lesson June 30 – July 9. “Set in the 1930s, the play tells the story of a family's struggle to reconcile with their past and their ancestral heritage, as they confront the ghosts of slavery and oppression that haunt them. With powerful themes of legacy, identity, and the role of art in healing wounds of the past, "The Piano Lesson" is a must-see theatrical experience that will leave audiences spellbound. Led by a talented cast and crew, Encore! Theater Group delivers a gripping and emotional performance that will resonate with audiences long after the curtains close. Don't miss this remarkable production, brought to life by one of the most celebrated playwrights of our time.” Performances take place at 2607 Potomac in south St. Louis. For more information: www.encorestl.org.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Death of a Blackheart through August 26. "Ahoy matey! Join us for an exciting evening of murder, mystery and pirates at the best comedy dinner theater show in town. Don your favorite pirate gear and escape to the high seas for an adventure fraught with peril! What part will you play in this hilarious show full of fair maidens, lost boys, rival pirates and wenches? Whichever character you acquire, beware of that famous pirate Captain Jack Blackheart! Aye, he's a scurvy seadog if my eye ever seed one! Gee, I hope no one kills him off!" The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Just One Look
Photo: The Midnight Company

The Midnight Company presents Just One Look by Joe Hanrahan, starring Kelly Howe as Linda Ronstadt, on selected Wednesdays through August 30 at 7:30 pm. “Linda Ronstadt ruled the pop charts and filled stadiums in the 70’s and 80’s. The reigning rock goddess of her era, she later took on light opera - Gilbert and Sullivan on Broadway - and The Great American Songbook with Nelson Riddle. Her involvement in social issues accelerated during her relationship with California Governor Jerry Brown, then running for President. But for Linda, it was always a search for the next great song. Kelly Howe will portray Linda Ronstadt and sing her sensational songs.” Performances continue at The Blue Strawberry, 356 N. Boyle. For more information: bluestrawberrystl.com.

Beauty and the Beast
Photo: Phillip Hamer

The Muny presents Disney’s Beauty and the Beast through June 30 at 8:15 pm.  “Be our guest and bring the entire family for an enchanting night under the stars! Disney’s Beauty and the Beast reminds us to look for the beauty within. With a dose of Muny Magic, this production will bring all your favorite fanciful characters to life, with spectacular sets and costumes. Join Belle, the Beast, Mrs. Potts, Cogsworth, Lumiere and all your favorite spellbound staff of the fabled castle for a summer celebration for any age!” Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

Stages St. Louis presents the musical Aida through July 2. “A timeless love story for the ages, Disney’s AIDA tells the tale of the transcendent love triangle between Aida, a Nubian princess stolen from her country; Amneris, an Egyptian princess; and Radames, the soldier they both love. Set in a time of great turmoil in ancient Egypt, this story of forbidden love has thrilled audiences for over twenty years. Wrapped in an electric Tony and Grammy Award-Winning score by Elton John and Tim Rice, AIDA is both a stunning musical theatre experience, and an uplifting story of faith, duty, and redemption.” Performances take place at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: stagesstlouis.org.
 

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

To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

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.

Opera Review: Tomorrow's opera stars take Center Stage at Opera Theatre

Tuesday night (June 20th) Opera Theatre of St. Louis presented the eighth edition of its justly celebrated “Center Stage” concert. Travel plans obliged us to miss last year’s edition, so I was looking forward to this annual showcase of opera and musical theatre selections performed by the Richard Gaddes Festival Artists and Gerdine Young Artists backed up by the St. Louis Symphony Orchestra under the baton of OTSL Principal Conductor Daniela Candillari.

L-R: Maria Consamus, Anastasia Malliaras
in "We are Women"
Photo: Jessica Flanigan

I was not disappointed, to put it mildly. This was, once again, a tremendously entertaining evening, with a wide variety of music and excellent performances all the way around.

But first, a bit of background. Gerdine Young Artists is an intensive nine-week professional development program for rising young singers that includes master classes, extensive vocal coaching, and performances in both the OTSL chorus as well as in supporting roles in the festival season.

Admission is highly selective. This season there were over 1200 applicants, of whom only 33 made it into the program. Two of them—soprano Amani Cole-Felder and mezzo Elissa Pfaender—were also named Gaddes Festival artists, an honor reserved for “exceptionally remarkable young singers.” If you saw Cole-Felder in “Treemonisha” or Pfaender in “Susannah,” that will probably come as no surprise.

With 22 numbers and a two and one-half hour run time (including intermission) the evening was a long one. But there was so much musical variety and so many strong performances that I hardly noticed. Working in the limited space in front of the orchestra on the Loretto-Hilton stage, directors Claire Choquette, Dian Machin, Ian Silverman, OTSL Artistic Director James Robinson, and Young Artists Artistic Director Patricia Racette provided just enough staging for dramatic context while still moving the evening along at a fast pace.

Daniela Candillari and the SLSO
Photo: Jessica Flanigan

There were so many wonderful numbers that I can’t possibly list them all, so I’ll limit myself to the ones I found especially striking—starting with the first few items on the program.

The SLSO kicked off the festivities with a rousing performance of the overture to Mikhail Glinka’s 1842 fairy tale opera “Ruslan and Lyudmila.” The opera is rarely seen but the overture, with its rapid-fire melodic exchanges and neat solo tympani part, is a popular concert item. The relatively dry acoustic of the Loretto-Hilton Center guaranteed that every note could be heard with a precision that would have been hazardous to an ensemble less polished than the SLSO. In this case, it just highlighted their virtuosity.

Up next was the opening scene from another fairy tale opera, Dvořák’s “Rusalka” (1900). In a bit of comedy reminiscent of the first scene of Wagner’s “Das Rheingold” (like many composers of the late 19th century, Dvořák could not entirely escape Wagner’s shadow) a trio of mischievous wood nymphs (sopranos Anastasia Malliaras and Nina Evelyn Anderson plus mezzo Pfaender) taunt the hapless Water Gnome (a dryly comic performance by bass-baritone Keith Klein) before dashing off and leaving him to shrug his shoulders at being had. This being Dvořák and not Wagner, the teasing isn’t mean-spirited, the Water Gnome doesn’t swear revenge, and the music is infused with spirited Slavonic dance rhythms.

L-R: Olivia Johnson, Victoria Lawal
in "Uzh vechher"
Photo: Jessica Flanigan

The mood then turned lyrical with “Uzh vecher,” from Act I Scene 2 of Tchaikovsky’s 1890 tragedy “Pique Dame” (a.k.a. “The Queen of Spades”), in which the heroine Liza (soprano Victoria Lawal) and her friend Pauline (mezzo Olivia Johnson) stroll in the garden and reflect on the beauty of the countryside.

The voices of the singers blended beautifully, creating a pastoral interlude before the next outbreak of comic hijinks, “Mi volete fiera? / Vado corro” from Donizetti’s 1834 opera buffa “Don Pasquale.” In it, the young widow Norina (played to the comic hilt by soprano Melissa Joseph) and Dr. Malatesta (baritone Titus Muzi III, ditto) plot their revenge on the titular Don, who obstinately stands between the union of Norina and the Don’s nephew Ernesto.

And so it goes, with a perfect blend of comedy and drama for the rest of the evening. In addition to the usual duets and trios there were two splendid and sharpy contrasting sextets: the rarely heard “Ice Cream Sextet” from Kurt Weill’s 1947 opera/musical “Street Scene” (done splendidly by OTSL in 2006) and the famous “Chi mi frena in tal momento” from Act II of Donizetti’s 1835 “Lucia di Lammermoor”—a number so well-known that even the Three Stooges and the Warner Brothers cartoon crew knew they could make fun of it without losing the audience.

L-R: Victoria Lawal, Joseph Park, Adam Catangui,
Rachel Berg, Chancelor Barbaree, Maria Consumas
In the "Ice Cream Sextet"
Photo: Jessica Flanigan

Both sextets are classic examples of the form, in which each character expresses their own unique thoughts on the topic at hand while blending with the others in an elaborate web of vocal counterpoint. In “Lucia,” that topic is the supposed betrayal of Edgardo by Lucia, and the tone is one of shock and outrage. In “Street Scene” it’s all about the glories of the local drugstore lunch counter in general and ice cream in particular, and the tone is one of unbridled (not to say giddy) joy. Under James Robinson’s direction, the members of both ensembles delivered the goods perfectly.

The ”Lucia” ensemble consisted of tenors Ajit Persaud and Namarea Randolph-Yosea as the aggrieved Edgardo and Arturo, respectively, baritone Chancelor Barbaree as Lucia’s manipulative brother Enrico, bass Casey Germain as the chaplain Raimondo, mezzo Gabriela Linares as handmaid Alisa, and soprano Kathleen O’Mara in the starring role of the troubled Lucia. I have nothing but praise for all of them but feel that I must also congratulate O’Mara for an equally compelling Marguerite in the dramatic final trio from Gounod’s “Faust” only two numbers later.

Comedy is at least as demanding as tragedy, though, so I must heap many scoops of praise on the “Street Scene” ensemble: tenor Adam Catangui as the wildly enthusiastic Lippo (the star spot), soprano Victoria Lawal as Mrs. Fiorentino, mezzos Maria Consamus and Rachel Berg as, respectively, Mrs. Jones and Mrs. Olsen, bass-baritone Joseph Park as Mr. Olsen, and baritone Barbaree in the much more benevolent role of Mr. Jones.

L-R: Erin O'Rourke, Xiao Xiao
in "Rodelina"
Photo: Jessica Flanagan

No Center Stage concert would be complete without some spectacular choruses, of course. Act I closed with the highly charged ballroom scene from Act II Scene 1 of Tchaikovsky’s “Eugene Onegin,” in which an absurd argument between Lensky (tenor Jeremiah Tyson) and his friend Onegin (baritone Yazid Gray) about the latter’s flirtation with the former’s fiancée Olga (mezzo Hannah Jeané Jones) escalates into a challenge to a duel, to the horror of Tatiana (soprano Alexandria Crichlow), Larina (mezzo Olivia Johnson), and the ensemble of party guests. It all built to the sort of tremendous musical climax that Tchaikovsky did so well, sung and played with overwhelming power by the chorus and the orchestra.

The evening concluded with an equally potent but far more upbeat night club scene from Act II of Puccini’s “La Rondine” in which the worldly Magda (O’Mara in fine form once again) and her naïve lover Ruggero (tenor Camron Gray) join the poet Prunier (Catangui) and his off again/on again petite amie Lisette (Malliaras) in a joyous toast to love, along with the rest of the ensemble. The opera itself is a bit of a mess, but the sheer ebullience of this scene is always irresistible—as it was on Tuesday night.

Other memorable bits included the delightful duet “We are Women” (from the 1989 version of Bernstein’s “Candide”) with Malliaras and Consamus, the charming “Duo de amor No. 3” from Daniel Catán’s 2010 opera “Il Postino” with tenor César Andrés Parreño as the titular postman Mario and soprano Erin O’Rourke as his soon-to-be bride Beatrice, and the touching farewell scene from Handel’s 1725 opera seria “Rodelina” in which Queen Rodelina (O’Rourke) bids a tearful farewell to her deposed husband Bertardio (mezzo Xiao Xiao in what was, in Handel’s time, a castrato role).

L-R: Amani Cole-Felder, Shavon Lloyd

in "Wheels of a Dream"
Photo: Jessica Flanigan

Other outstanding performers included mezzos Kaswanna Kanyinda and Rachel Barg, sopranos Chase Sanders and Leila Kirves, tenors Yuntong Han and River Guard, and baritone Kellen Schrimper. A shout-out is due as well to Cole-Felder as Sarah and Shavon Lloyd as Coalhouse in “Wheels of a Dream” (from Flaherty an Ahrens’s “Ragtime”). The balance with the band could have been better, but I really love that show and that song.

Not everyone was equally strong in every number and, as noted above, the orchestra sometimes overwhelmed the singers, but I don’t expect perfection from professionals in the early stages of their careers. Besides, the Center Stage evening is, at least in my view, as much a celebration of the future of opera as it is an homage to its past. A whale of a good time was had by all, both on stage and off, and that’s what counts.

If you missed this year’s event you can still, fortunately, see many of these performers in this season’s four operas, all of which have their final performances this Friday through Sunday, June 23–25. For more information, visit the Opera Theatre web site.

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 June 19, 2023

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out.

Absent Friends
Photo: John Lamb

Albion Theatre presents Alan Ayckbourn’s Absent Friends through June 25. “A tea party is arranged supposedly to console an old friend, but it reveals the troubled relationships of the others at the party.  One of Ayckbourn’s most successful plays, it has been called ‘the saddest.…and the funniest” of his plays’.” Performances take place at the Kranzberg Arts Center 501 N. Grand in Grand Center. For more information: albiontheatrestl.org.

The Blue Strawberry presents Omega Jones and Sam Revilla on Friday, June 23, at 7:30 pm. “St. Louis’ own powerhouse vocalists join forces to bring you a night you won’t forget. A back-to-back concert featuring your Broadway favorites and some Pop, R&B, Gospel and many more!” The performance takes place in the lounge at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com

The Blue Strawberry presents Marieann Meringolo: A Lot Of Livin’ To Do! on Saturday, June 24, at 7:30 pm. “Award-winning songstress Marieann Meringolo makes her St. Louis debut! After a year on the road performing for sold-out crowds in Provincetown, Los Angeles, Fire Island, London, and beyond, Marieann brings her critically acclaimed new show right off of her 3 month residency at Chelsea Table + Stage in NYC! Marieann Meringolo will be joined by her longtime Musical Director Doyle Newmyer on piano.  Directed by Will Nunziata.”  The performance takes place in the lounge at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com

Tim Schall

The Blue Strawberry presents Sunday Standard Time—the Pride Edition with Tim Schall and Carol Schmidt on Sunday, June 25, from 6: to 9:00pm. “Join Tim Schall (vocals) and Carol Schmidt (piano) in the lounge for a casual, classy Sunday evening of jazz standards, a little sophisticated pop and a dash of classic Broadway. Tim is no stranger to the theater and concert stages of St. Louis, Chicago and New York's Lincoln Center. Carol has a rich history of entertaining St. Louis audiences as musician and singer. Together they will help you wind down your weekend with timeless music and a lot of irreverent dry humor.”  The performance takes place in the lounge at The Blue Strawberry, 364 N. Boyle. For more information: bluestrawberrystl.com

Circus Flora presents Undercover through June 25. “This summer, Circus Flora enters the daring world of espionage! With nods to beloved spy stories throughout the years, Undercover introduces the world’s top double agent who faces an archvillain obsessed with world domination. Our spy has plenty of helpful allies – but the villain has a team, too. Will good overcome bad . . . and how? Aerialists, acrobats, contortionists, and comedians will craft this thrilling story, which will captivate your whole family!” Performances take place at The Big Top on Washington next to Powell Hall in Grand Center. For more information: circusflora.org.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Death of a Blackheart through August 26. "Ahoy matey! Join us for an exciting evening of murder, mystery and pirates at the best comedy dinner theater show in town. Don your favorite pirate gear and escape to the high seas for an adventure fraught with peril! What part will you play in this hilarious show full of fair maidens, lost boys, rival pirates and wenches? Whichever character you acquire, beware of that famous pirate Captain Jack Blackheart! Aye, he's a scurvy seadog if my eye ever seed one! Gee, I hope no one kills him off!" The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Just One Look
Photo: The Midnight Company

The Midnight Company presents Just One Look by Joe Hanrahan, starring Kelly Howe as Linda Ronstadt, on selected Wednesdays through August 30 at 7:30 pm. “Linda Ronstadt ruled the pop charts and filled stadiums in the 70’s and 80’s. The reigning rock goddess of her era, she later took on light opera - Gilbert and Sullivan on Broadway - and The Great American Songbook with Nelson Riddle. Her involvement in social issues accelerated during her relationship with California Governor Jerry Brown, then running for President. But for Linda, it was always a search for the next great song. Kelly Howe will portray Linda Ronstadt and sing her sensational songs.” Performances continue at The Blue Strawberry, 356 N. Boyle. For more information: bluestrawberrystl.com.

The Muny presents Disney’s Beauty and the Beast June 22-30 at 8:15 pm.  “Be our guest and bring the entire family for an enchanting night under the stars! Disney’s Beauty and the Beast reminds us to look for the beauty within. With a dose of Muny Magic, this production will bring all your favorite fanciful characters to life, with spectacular sets and costumes. Join Belle, the Beast, Mrs. Potts, Cogsworth, Lumiere and all your favorite spellbound staff of the fabled castle for a summer celebration for any age!” Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

A Funny Thing Happened on the Way to the Forum
Photo: Jill Ritter Lindberg

New Line Theatre presents Sondheim’s musical comedy A Funny Thing Happened on the Way to the Forum Thursdays through Saturdays at 8 pm through June 24. “To close New Line's 31st season, Sondheim and comic playwright and screenwriter Burt Shevelove take the classical Roman comedies of Plautus, mash them up with American vaudeville, and the result is one of the great musical farces of all time, every bit as smart and subversive as Sondheim’s later shows. In 1962, this show satirized America’s hang-ups about sex at the beginning of the Sexual Revolution; today, the show bumps up against lots of complicated questions we’ve all been asking lately, about sex, gender, and more.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

Opera Theatre of St. Louis presents its annual Center Stage concert on Tuesday, June 20, at 7:30 pm. “This electric event shines a spotlight on Opera Theatre’s Richard Gaddes Festival Artist and Gerdine Young Artist Programs as these rising opera stars perform iconic melodies from opera’s greatest hits and cherished rarities. Center Stage is curated by Patricia Racette, Artistic Director of Young Artist Programs, and James Robinson, Artistic Director of Opera Theatre.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org

Treemonisha
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Scott Joplin’s Treemonisha through June 24. “Sometimes out of the deepest tragedy springs the greatest hope. Embark on a life-affirming journey of love and creativity in Scott Joplin’s opera Treemonisha, re-imagined with two new acts by composer Damien Sneed and librettist Karen Chilton. As Joplin celebrates his wedding to his new bride, Freddie Alexander, he is inspired to write a masterpiece — with Freddie as his muse. His heroine will be called Treemonisha, and she will lead her community into a bright and bountiful future of education, opportunity, and prosperity.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org

Tosca
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Puccini’s Tosca opening on Saturday, May 25, at 7:30 pm and running through June 25. “The year is 1800. Rome is caught in the middle of a war between Napoleon and the Austrian empire, and republican sympathizers are on the run from the police. Spying, double-crossing, and torture have become the order of the day. Tosca would do anything to protect her lover, the painter Cavaradossi — a fact that the lustful police chief Scarpia is all too ready to exploit. When Cavaradossi is accused of harboring political prisoners, Scarpia asks Tosca to make an unthinkable decision. Little does he know how fiercely she will fight to protect herself and those she loves. ” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org

Opera Theatre of St. Louis presents Mozart’s comedy Così fan tutte through June 23. “Love makes fools of us all. Guglielmo and Ferrando naively insist that their girlfriends Fiordiligi and Dorabella could never fall for other men, and the two women believe that their suitors are the hottest catches in town. But when the jaded Don Alfonso and housemaid Despina team up to prove the young couples wrong, things are primed for an epic battle of the sexes. Set to some of Mozart’s most beautiful music, Così fan tutte embraces the line between romantic comedy and social satire.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org.

Susannah
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Carlisle Floyd’s drama Susannah and running through June 24. “The young and innocent Susannah lives with her brother in a small town in Appalachia. One fateful day, men from her church happen to spot her bathing in a stream and begin to spread vicious rumors about her. As gossip circulates, the community turns their back on Susannah, forcing her to choose between conformity and isolation. But Susannah won’t be made a victim forever. She refuses to give a false confession, inflaming the town around her with tragic, life-altering consequences. Set to a rich score, this classic American opera offers a powerful indictment of religious and social hypocrisy.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org.

Twelfth Night
Photo: St. Louis Shakespeare Festival

St. Louis Shakespeare Festival presents the comedy Twelfth Night Tuesdays through Sundays at 8 pm through June 25. “Often regarded as Shakespeare’s greatest comedy, Twelfth Night is bursting with romance, music and high times. The tale of Viola and her shipwrecked twin brother – separated and finding their way in a strange new world – this year’s Shakespeare in the Park sets them in glamorous, celebrity-filled Miami. In a world of appearances, not everyone is who they seem, but love is love in this glorious Latin-inflected story of longing and reinvention.” Performances take place nightly at 8 pm except for Mondays at Shakespeare Glenn next to the Art Museum in Forest Park. For more information: stlshakes.org.

Stages St. Louis presents the musical Aida through July 2. “A timeless love story for the ages, Disney’s AIDA tells the tale of the transcendent love triangle between Aida, a Nubian princess stolen from her country; Amneris, an Egyptian princess; and Radames, the soldier they both love. Set in a time of great turmoil in ancient Egypt, this story of forbidden love has thrilled audiences for over twenty years. Wrapped in an electric Tony and Grammy Award-Winning score by Elton John and Tim Rice, AIDA is both a stunning musical theatre experience, and an uplifting story of faith, duty, and redemption.” Performances take place at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: stagesstlouis.org.

Vampire Lesbians of Sodom
Photo: John Lamb

Stray Dog Theatre presents the comedy Vampire Lesbians of Sodom by Charles Busch Thursdays through Saturdays through June 24. “One of the longest running comedies in Off Broadway history, Vampire Lesbians of Sodom tells the saga of two fatally seductive vampiresses. Their immortal paths collide throughout history, from ancient Sodom to 1920s Hollywood, and end up in current day Las Vegas. Their bitter rivalry as actresses endures for more than two thousand years! Showbiz has never been so blood thirsty.” 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
 

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

To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

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.

Opera Review: In bad faith

Opera Theatre of St. Louis’s new production of Puccini’s 1900 political tragedy “Tosca” is the third in the company’s history and the first in 20 years. This new version, under the direction of company Artistic Director James Robinson, boasts an excellent cast and a sympathetic, finely shaped reading of the score by members of the St. Louis Symphony Orchestra led by the outstanding Daniela Candillari. It is marred only by a couple of cases of self-indulgent excess by Robinson.

Robert Stahley
Photo: Eric Woolsey

More on that later, though. Let’s start with the good news, beginning with bass-baritone Hunter Enoch’s superb performance as the repellent Baron Scarpia. A classic sociopath consumed with lust and sadism, Scarpia is a textbook case of how an elaborate display of public piety can be a false front for a rotten soul. Moreover, his position as the chief law enforcement officer of the Roman theocracy makes him an ideal advertisement for the wisdom of the separation of Church and State.

Enoch makes Scarpia the villain you love to hate. With a big, ringing voice and a magnetic stage presence, Enoch gives us a Scarpia who, like Zoltan Karpathy, “oils his way across the floor” when he enters at the end of Act I. He exudes smug piety while plotting to use Tosca’s passionate attachment to her lover, the painter Cavaradossi, to betray both him and the escaped political prisoner Angelotti, with tragic results for all concerned. When Tosca cuts Scarpia’s throat with a razor (as opposed to the knife Puccini and his librettists intended) at the end of Act II it is (as Patroclus says in “Troilus and Cressida”) “a good riddance.”

Speaking of Tosca, soprano Katie Van Kooten, who has often been praised for her impressive combination of vocal power and delicacy, demonstrates in her sensitive, multi-layered performance just how she earned those accolades. Tosca is, frankly, a character whose combination of excessive jealousy and (for a supposedly experienced singer and actress) astonishing naivete can be a hard sell. But Van Kooten manages it.

Titus Muzi III and cast
Photo: Jessica Flanigan

She doesn’t do it alone, of course. There has to be serious emotional chemistry between Tosca and Cavaradossi to make their dual tragedy convincing. Cynthia Lawrence and Stephen Mark Brown did it in in 2003 and the combination of Van Kooten and tenor Robert Stahley—last seen here as the cheerfully clueless William Marshall in OTSL’s killer “Regina” in 2018—work the same magic here. Stahley has one of those clarion-clear Heldentenor voices that, when combined with Van Kooten’s in their big love duets, delivers an electrifying effect.

The supporting cast is solid as well. As Angelotti, the former consul of the Roman Republic on the run from Scarpia’s goons, bass-baritone Joseph Park is the very picture of the fear-haunted fugitive. Baritone Titus Muzi III is perfection as the comically fussy Sacristan, muttering about “filthy artists” as he steals Cavaradossi’s lunch. And mezzo Xiao Xiao is a charming offstage presence as the Shepherd Boy, whose sad folk song is heard in the distance as the Act III curtain rises on the grim prison of the Castel Sant’Angelo, where both Cavaradossi and Tosca will breathe their last.

L-R: Huner Enoch, Robert Stahley,
Kellen Schrimper, Adam Catangui
Photo: Jessica Flanigan

In his program notes, Director Robinson writes that because of the opera’s “rich historical context” he and his designers “have enthusiastically decided to firmly ground the production in Rome of 1800 and, in a sense, take a page from the original play in terms of its scale.” Later on, however, he adds that he has decided to  “illuminate the story with a nod to those who excelled at dark psychosexual storytelling, such as Orson Welles, Alfred Hitchcock, and Luis Buñuel.”

One of these things is not like the other.

If you think that means there will be extensive use of video projections, you’d be right. When they’re used to set the scene (as in Act III) they can be very effective. When they’re used to display pseudo-film noir videos that merely belabor the action on stage, they are less useful, if not downright annoying.

The most irritating example of the latter comes at the end of Act I. As conceived by Puccini, it shows Scarpia plotting the seduction and betrayal of Tosca while the chorus celebrates High Mass. Over the massed sound of the chorus, full orchestra, organ, bells, and drums simulating cannon-fire, Scarpia’s visions of lust rise in sync with the choir’s praise of God. As the Te Deum rises to a climax, Scarpia sings “Tosca, mi fai dimenticare Iddio!” (“Tosca, you make me forget God!). As an example of theatrical irony, it’s hard to beat.

That, however, is not what happens in this production. Instead we get Scarpia alone on stage, clutching and eventually arousing himself sexually with Tosca’s glove while the choir is banished to an offstage presence. We also get slow-motion video closeups of this in the background, presumably to ensure that we Get the Point.

This is not just gratuitous, but openly disrespectful of Puccini’s intentions.  As Julian Buden writes in Grove Online, “Puccini was much concerned with authenticity of detail. His friend Father Pietro Panichelli supplied him with information regarding the plainsong melody to which the Te Deum was sung in Roman churches, the correct order of the cardinal’s procession and the costumes of the Swiss Guard.” All this is swept aside, and the result can hardly be called an improvement.

Katie Van Kooten, Enoch Hunter
Photo: Eric Woolsey

Tosca’s death at the end of Act III is also drained of dramatic impact by relying on self-consciously surreal video, but that is, I suppose, small beer by comparison.

Those two fumbles aside, the directorial and scenic choices generally work quite well, keeping the action tense and character driven. Allen Moyer’s massive, imposing sets are appropriately dark and threatening, and his use of a greyscale color palette with accents of blood red is a nice match for the “old movie” style of Greg Emetaz’s videos.

Overall I’d give this “Tosca” a B, since the positives far outweigh the negatives.

A final note: whether by accident or design, Opera Theatre of St. Louis is presenting two works this season in which the principal villain hides his moral bankruptcy behind a pseudo-Christian façade. In Carlisle Floyd’s “Susannah,”  preacher Olin Blitch dominates a small Appalachian church with rants about the “three Ss” (sin, sex, and Satan) while secretly lusting after the innocent title character. In “Tosca,” Scarpia presents a pious image in public while reveling in sexual sadism in private. Either way, the resemblance to certain public figures is hard to miss.

“Tosca” continues in rotating repertory with the rest of the OTSL season through June 25th. Performances are sung in English with English supertitles at the Loretto-Hilton Center on the Webster University campus. For more information, visit the Opera Theatre web site.

Opera Review: The old-time religion

The late Carlisle Floyd’s 1955 opera “Susannah” had its Opera Theatre of St. Louis premiere on June 10th and it is, on every possible level, a resounding success.

Janai Brugger, William Guanbo Su, and the chorus
Photo: Eric Woolsey

Winner of a New York Music Critics’ Circle Award, a Guggenheim Fellowship, and several other honors, “Susannah” is Floyd’s most popular opera and it’s not hard to see why. The score is wonderfully evocative of both the beauty of the Appalachian setting and the poisonous ugliness of the spiteful “Christianity” practiced by the local community.  Based on the story of Susanna and the elders in Chapter 13 of the Book of Daniel, the opera (with both libretto and music by Floyd) generates so much dramatic tension that when it arrives at the final catastrophe it’s almost a relief.

The composer knew the fundamentalist obsession with the Three Ss (sex, sin, and Satan) well. His father’s career as a traveling Methodist minister in South Carolina guaranteed that the young Floyd would become intimately familiar ritual of the revival meeting. In a 1998 New York Times interview he talked about how this experience had affected his life and art. ''The thing that horrified me already as a child about revival meetings was mass coercion,” he recalled, “people being forced to conform to something against their will without even knowing what they were being asked to confess or receive.''

The contemporary relevance of this is, I would think, obvious enough to require no additional comment.

Janai Brugger, Christian Sanders
Photo: Eric Woolsey

So, yeah, “Susannah” is a harrowing experience, although probably not more so than (say) standard repertoire items like "Rigoletto" or "I Pagliacci." Besides it is, in this flawless production, an overwhelmingly powerful one. It boasts spectacular performances by soprano Janai Brugger in the title role, bass William Guanbo Su as preacher Olin Blitch (whose sanctimony and lust ultimately combine to destroy him), tenor Christian Sanders as Susannah’s friend Little Bat McLean (whose weakness ultimately leads him to commit shameful act of betrayal), and tenor Frederick Ballentine as Susannah’s loving but hotheaded brother Sam.

Brugger is especially effective at showing the wide range of her character and her journey from victim to triumphant defender of her home. ''Opera had for so long been about pathetic heroines, heroines as victims,” observed Floyd in the Times interview, “that not everyone was quite ready for a woman this strong.'' Which, in some ways, puts it a notch above those standard repertoire items I mentioned in the last paragraph.

The large supporting cast is equally strong. Bass-baritone Keith Klein and mezzo Elissa Pfaender are standouts as Elder McLean and his equally reprehensible wife, the ringleaders of the spiritual lynch mob, but even the smallest roles are given a depth that makes their moral bankruptcy that much more chilling.

This is, in short, a production that grabs you by the throat from the beginning and never lets go.

Janai Brugger
Photo: Eric Woolsey

Former St. Louis Symphony Orchestra Assistant Conductor Gemma New, who remains a great favorite with local audiences and critics (including yours truly), returns to lead her former colleagues in a splendid performance of Floyd’s score. Under the direction of Andrew Whitfield, the chorus radiates menace.

Director Patricia Racette (whose own performance of the title role won her high praise in San Francisco in 2014) creates a sense of tragic inevitability that perfectly mirrors Floyd’s intentions. Greg Emetaz’s video projections help maintain the relentless pace. The flattened church that is the centerpiece of Andrew Boyce’s set serves as a perfect visual analog for the congregation’s spiritual collapse.

“Susannah” is not an easy work to watch—great art sometimes isn’t. But it’s brilliantly done and is not to be missed. And its story of hypocrites using religion as protective cover for their own inner demons could hardly be more timely. Performances, in English with projected English text, continue through June 24th at the Loretto-Hilton Center on the Webster University campus. For more information, consult the OTSL web site.

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 June 12, 2023

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out.

Albion Theatre presents Alan Ayckbourn’s Absent Friends through June 25. “A tea party is arranged supposedly to console an old friend, but it reveals the troubled relationships of the others at the party.  One of Ayckbourn’s most successful plays, it has been called ‘the saddest.…and the funniest” of his plays’.” Performances take place at the Kranzberg Arts Center 501 N. Grand in Grand Center. For more information: https://albiontheatrestl.org.

The Cherokee Street Theatre Company presents The Clash of the Titans Live Parody through June 17th. “Perseus must prove his worth to his daddy, foil his step-mom, complete  heroic tests, battle Medusa and the KRAKEN to save the Princess Andromeda live on stage Cherokee Street Theater style.” Performances take place through June 1st at Upstairs at The Golden Record, 2720 Cherokee, and June 9 through 17 at the Playhouse at Westport Plaza. For more information: www.cherokeestreettheatercompany.com.

Circus Flora presents Undercover through June 25. “This summer, Circus Flora enters the daring world of espionage! With nods to beloved spy stories throughout the years, Undercover introduces the world’s top double agent who faces an archvillain obsessed with world domination. Our spy has plenty of helpful allies – but the villain has a team, too. Will good overcome bad . . . and how? Aerialists, acrobats, contortionists, and comedians will craft this thrilling story, which will captivate your whole family!” Performances take place at The Big Top on Washington next to Powell Hall in Grand Center. For more information: circusflora.org.

Immigrant Song's Performers

Immigrant Song presents a free Father’s Day Concert on Sunday, June 18, at 4 pm. “Immigrant Song is a non-profit 501c3 organization founded in 2017 in response to the nationwide spike in domestic hate crimes based on the victim's race, religion, sexual orientation, gender and disability. We create intimate concerts featuring a deliberately diverse group of musicians and singers, styles and cultures. This is the sixth in our concert series, and the first in which we celebrate our fathers and forefathers.” The concert features 21 local singers and musicians with musicl direction by Larry D. Pry. Katie McGrath is producer and director. The concert takes place at the Kirkwood Park Lions Amphitheater in Kirkwood, MO. For more information: www.immigrantsong.org.

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Death of a Blackheart through August 26. "Ahoy matey! Join us for an exciting evening of murder, mystery and pirates at the best comedy dinner theater show in town. Don your favorite pirate gear and escape to the high seas for an adventure fraught with peril! What part will you play in this hilarious show full of fair maidens, lost boys, rival pirates and wenches? Whichever character you acquire, beware of that famous pirate Captain Jack Blackheart! Aye, he's a scurvy seadog if my eye ever seed one! Gee, I hope no one kills him off!" The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Just One Look
Photo: The Midnight Company

The Midnight Company presents Just One Look by Joe Hanrahan, starring Kelly Howe as Linda Ronstadt, on selected Wednesdays through August 30 at 7:30 pm. “Linda Ronstadt ruled the pop charts and filled stadiums in the 70’s and 80’s. The reigning rock goddess of her era, she later took on light opera - Gilbert and Sullivan on Broadway - and The Great American Songbook with Nelson Riddle. Her involvement in social issues accelerated during her relationship with California Governor Jerry Brown, then running for President. But for Linda, it was always a search for the next great song. Kelly Howe will portray Linda Ronstadt and sing her sensational songs.” Performances continue at The Blue Strawberry, 356 N. Boyle. For more information: bluestrawberrystl.com.

The Muny presents Beautiful: The Carol King Musical June 12-18 at 8:15 pm.  “An inspiring true story of a music legend, Beautiful: The Carole King Musical takes you on an unforgettable journey of a remarkable career. A tapestry of creativity and innovation, Carole King paved the way for female artists for generations to come.” Performances take place on the Muny's outdoor stage in Forest Park. For more information: muny.org.

Gloria: A Life
Photo: John Gitchoff

New Jewish Theatre presents Emily Mann’s Gloria: A Life Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm, through June 18 “Gloria: A Life explores the iconic feminist's legacy. Decades after Gloria Steinem began raising her voice for equality and championing the voices of others, her vision is as urgent as ever. This play embodies Steinem's philosophy that conversation is a catalyst for change as it celebrates one of the most inspiring women of our time.” Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre.

A Funny Thing Happened on the Way to the Forum
Photo: Jill Ritter Lindberg

New Line Theatre presents Sondheim’s musical comedy A Funny Thing Happened on the Way to the Forum Thursdays through Saturdays at 8 pm through June 24. “To close New Line's 31st season, Sondheim and comic playwright and screenwriter Burt Shevelove take the classical Roman comedies of Plautus, mash them up with American vaudeville, and the result is one of the great musical farces of all time, every bit as smart and subversive as Sondheim’s later shows. In 1962, this show satirized America’s hang-ups about sex at the beginning of the Sexual Revolution; today, the show bumps up against lots of complicated questions we’ve all been asking lately, about sex, gender, and more.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

Treemonisha
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Scott Joplin’s Treemonisha through June 24. “Sometimes out of the deepest tragedy springs the greatest hope. Embark on a life-affirming journey of love and creativity in Scott Joplin’s opera Treemonisha, re-imagined with two new acts by composer Damien Sneed and librettist Karen Chilton. As Joplin celebrates his wedding to his new bride, Freddie Alexander, he is inspired to write a masterpiece — with Freddie as his muse. His heroine will be called Treemonisha, and she will lead her community into a bright and bountiful future of education, opportunity, and prosperity.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org

Tosca
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Puccini’s Tosca opening on Saturday, May 25, at 7:30 pm and running through June 25. “The year is 1800. Rome is caught in the middle of a war between Napoleon and the Austrian empire, and republican sympathizers are on the run from the police. Spying, double-crossing, and torture have become the order of the day. Tosca would do anything to protect her lover, the painter Cavaradossi — a fact that the lustful police chief Scarpia is all too ready to exploit. When Cavaradossi is accused of harboring political prisoners, Scarpia asks Tosca to make an unthinkable decision. Little does he know how fiercely she will fight to protect herself and those she loves. ” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org

Opera Theatre of St. Louis presents Mozart’s comedy Così fan tutte through June 23. “Love makes fools of us all. Guglielmo and Ferrando naively insist that their girlfriends Fiordiligi and Dorabella could never fall for other men, and the two women believe that their suitors are the hottest catches in town. But when the jaded Don Alfonso and housemaid Despina team up to prove the young couples wrong, things are primed for an epic battle of the sexes. Set to some of Mozart’s most beautiful music, Così fan tutte embraces the line between romantic comedy and social satire.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org.

Susannah
Photo: Eric Woolsey

Opera Theatre of St. Louis presents Carlisle Floyd’s drama Susannah and running through June 24. “The young and innocent Susannah lives with her brother in a small town in Appalachia. One fateful day, men from her church happen to spot her bathing in a stream and begin to spread vicious rumors about her. As gossip circulates, the community turns their back on Susannah, forcing her to choose between conformity and isolation. But Susannah won’t be made a victim forever. She refuses to give a false confession, inflaming the town around her with tragic, life-altering consequences. Set to a rich score, this classic American opera offers a powerful indictment of religious and social hypocrisy.” Performances are sung in English with projected English supertitles and take place at the Loretto-Hilton Center on the Webster University Campus. For more information: opera-stl.org.

Twelfth Night
Photo: St. Louis Shakespeare Festival

St. Louis Shakespeare Festival presents the comedy Twelfth Night Tuesdays through Sundays at 8 pm through June 25. “Often regarded as Shakespeare’s greatest comedy, Twelfth Night is bursting with romance, music and high times. The tale of Viola and her shipwrecked twin brother – separated and finding their way in a strange new world – this year’s Shakespeare in the Park sets them in glamorous, celebrity-filled Miami. In a world of appearances, not everyone is who they seem, but love is love in this glorious Latin-inflected story of longing and reinvention.” Performances take place nightly at 8 pm except for Mondays at Shakespeare Glenn next to the Art Museum in Forest Park. For more information: stlshakes.org.

St. Louis Story Stitchers present The Why Of My City,  a new play by Mario Farwell about St. Louis’s black neighborhoods and historic figures, Thursday and Friday, June 15 and 16, at 7 pm. “Wanda, a young African American, returns to St. Louis after graduating high school.  She wants to explore opportunities, but Zoot Suit, a well-known gangster, entices her to come work for him. The community rallies to prevent Wanda from making a serious mistake and with the help of Scott Joplin, Madam CJ Walker, Cool Papa Bell and Tina Turner, they manage to save her from the clutches of Zoot Suit.” Performances take place at the ZACK Theatre, 3224 Locust in Grand Center. For more information: storystitchers.org.

Stages St. Louis presents the musical Aida through July 2. “A timeless love story for the ages, Disney’s AIDA tells the tale of the transcendent love triangle between Aida, a Nubian princess stolen from her country; Amneris, an Egyptian princess; and Radames, the soldier they both love. Set in a time of great turmoil in ancient Egypt, this story of forbidden love has thrilled audiences for over twenty years. Wrapped in an electric Tony and Grammy Award-Winning score by Elton John and Tim Rice, AIDA is both a stunning musical theatre experience, and an uplifting story of faith, duty, and redemption.” Performances take place at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: stagesstlouis.org.

Stray Dog Theatre presents the comedy Vampire Lesbians of Sodom by Charles Busch Thursdays through Saturdays through June 24. “One of the longest running comedies in Off Broadway history, Vampire Lesbians of Sodom tells the saga of two fatally seductive vampiresses. Their immortal paths collide throughout history, from ancient Sodom to 1920s Hollywood, and end up in current day Las Vegas. Their bitter rivalry as actresses endures for more than two thousand years! Showbiz has never been so blood thirsty.” 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
 

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

To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

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.

Opera Review: A reinvented "Treemonisha" marches onward

When I reviewed Opera Theatre of St. Louis’s first production of Scott Joplin’s only surviving opera “Treemonisha” back in 2000 I noted that one of the remarkable things about it was that it existed at all. Ignored during the composer’s lifetime, “Treemonisha” wasn't produced professionally until 1972—55 years after Joplin's death. Prior to that first OTSL production its only previous appearance locally was in 1979.

The "shadow show" prelude
Photo: Jessica Flanigan

The new “Treemonisha” at OTSL through June 24th is even more remarkable in that it takes an exceptionally fine production of Joplin’s opera and adds an operatic prelude and postlude about Joplin and the composition of “Treemonisha” by the composer/lyricist team of Damien Sneed and Karen Chilton. The result is a brand new work (officially described as “an adaptation”) in which the added scenes, as Chilton writes in a prefatory note to the libretto, “should be addressed not [as] a separate addendum but as a continuous part of the opera as a whole.”

So let’s do that.

This new adaptation of “Treemonisha,” then, begins with a roughly 45-minute first act depicting the 1904 marriage of Joplin (baritone Justin Austin) to his second wife, Freddie Alexander (soprano Brandie Inez Sutton). They’re deeply in love. “I delight in our quiet company,” declares Freddie. “Oh, my muse!” sings Joplin. “What tunes you’ll inspire / What magic you’ll conjure.”

Justin Austin as Scott Joplin
Photo: Eric Woolsey

Alas, their joy is short-lived. By the following September, Freddie is near death due to complications from a cold (presumably pneumonia) even as Joplin puts the finishing touches on “Treemonisha.” During a long and harrowing death scene, Joplin shares his high hopes for the opera and, as Freddie expires, he plays a few bars of “Bethena, a Concert Waltz” (“Remember this tune?” he pleads. “So fitting, so apropos of your grace.”).

With Freddie’s death, Joplin’s grief is so profound that (to quote the program), “through the power of Sankofa…he is pulled into the world of his opera, where he can have one more adventure with his great love.” And with that he—and we—are transported to the magical realism of Joplin’s “Treemonisha” courtesy of stage director Rajendra Ramoon Maharaj, conductor George Manahan, and a wonderful design team. Always something of a fairy tale opera, “Treemonisha” gets a brilliantly imaginative and highly effective staging here that minimizes its flaws while maximizing its strong points. The available production shots you see here do not, alas, begin to capture the strong visual appeal of Marsha Ginsburg's sets, Dede Ayite's costumes, and the fanciful wigs and makeup of Krystal Balleza and Will Vicari.

Brandie Inez Sutton and Justin Austin
as Treemonisha and Ruben
Photo: Eric Woolsey

Joplin sets the story in the late 1880s on “a plantation somewhere in the State of Arkansas.” Here, unlike her neighbors, young Treemonisha (Sutton) has been formally educated. As a result she rejects the superstition of Zodzetrick (baritone Phillip Bullock, in an exuberantly theatrical performance) and his fellow conjurers, who prey on the ignorance of the community for their livelihood. Captured by the conjurers and about to be thrown into a wasp's nest, Treemonisha is rescued by her friend Remus (Austin) and returned to the community, who elect her as their leader and pledge to "march onward" to a better life to the infectious strains of “A Real Slow Drag.”

It's a beautiful dream but, like all dreams, it eventually must yield to reality. In a brief final scene we see the aged Joplin—living in squalor, crippled with arthritis, and dying of syphilis—sinking into despair at the failure of his opera and of his artistic vision. “Where is that luminescent future / Of my dreams?”, he cries. His answer, in what might or might not be a dying man’s delirium, comes from the spirit of Freddie:

My dear Maestro
You must know
You are ahead of your time.
[…]
In due season
At the precise hour
Of the Divine’s orchestration
All will know,
Hear and love,
Your wonderous creation.

Raised from the "slough of despond," Joplin links arms with Freddie/Treemonisha and together they exit, humming the tune of “A Real Slow Drag.” Dreams don’t die if you keep “marching onward.”

Norman Garrett and KS. Tichina Vaughan
Photo: Eric Woolsey

Does all of this work as a new opera? Yes and no. The new first act (titled “The Dawning”) is often powerful and moving, but it also tends to be repetitious, retracing the same emotional and philosophical territory often enough to come perilously close to feeling preachy. Some judicious editing would give it more impact, in my view. But as a way, in Chilton’s words, of making “this 21st century re-imagining of Treemonisha aspirational” it clearly succeeds, producing a whole that is, as the cliché goes, more than the sum of its parts. Too, Sneed’s love of Joplin’s music enables him to produce a score that sounds both completely contemporary while still honoring the sonic world of over a century ago.

Critical to the opera’s success, of course, are the strong performances by the cast. Austin and Sutton are particularly outstanding as both Joplin/Remus and Freddie/Treemonisha. As Remus, Austin radiates moral simple conviction in “Wrong is Never Right (A Lecture)”. As Joplin, he is complex, conflicted, and compelling. And he is always vocally powerful and clear. Sutton is just as impressive vocally and her fragile, loving Freddie could not be more different from her self-assured Treemonisha.

Other members of the cast have spotlight moments as well. I have already mentioned Bullock’s delightfully serio-comic Zodzetrick. As Ned, baritone Normal Garrett balances the scales with a commanding delivery of “When Villains Ramble Far and Near.” The role is written for a bass, but Garrett punches out those low notes with authority.

The cast if Treemonisha
Photo: Eric Woolsey

Mezzo KS. Tichina Vaughan is a warm and sympathetic Monisha. Baritone Markel Reed has a priceless comic cameo as Parson Alltalk. And soprano Amani Cole-Felder shines in the dual roles of Freddie’s sister Lovie and Treemonisha’s friend Lucy.

And then there’s the OTSL chorus under the direction of Andrew Whitfield. Originally a choral singer himself, Joplin composed some spectacular ensemble numbers, especially in the final act, and the singers do them up proud. Conductor Manahan leads members of the St. Louis Symphony Orchestra in an exceptionally persuasive reading of the Sneed/Joplin score.

Despite its flaws (Joplin the librettist did not serve Joplin the composer well) I have always loved “Treemonisha.” I don’t think this new adaptation is likely to supplant the original in my affections, but it certainly is a welcome addition to the scene. With their creative rethinking of “Treemonisha.” Sneed and Chilton have once again shown themselves to be a force majeure in contemporary opera.

Performances of “Treemonisha” continue through June 24th at the Loretto-Hilton Center in rotating repertory with the rest of Opera Theatre’s season. Like many new works it could stand a bit of tweaking, but it also deserves to be seen and enjoyed. Performances are sung in English with projected English text. For ticket information, visit the OTSL web site.