Cabaret Review: John Lloyd Young proves there's life after "Jersey Boys" at the Blue Strawberry

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The world is in a mess
With politics and taxes
And people grinding axes
There's no happiness — George and Ira Gershwin, “Slap That Bass”

So sings Fred Astaire in the 1937 film “Shall We Dance?”. Lyricist Ira Gershwin’s solution is to “Slap that bass / Slap it till it’s dizzy.” But if he were still alive and if he’d been in St. Louis last Wednesday and Thursday (May 8 and 9), I think he might have added: “or just see John Lloyd Young at the Blue Strawberry.” Because anyone who didn’t emerge from that show with a smile on their face is a candidate for the curmudgeon hall of fame.

John Lloyd Young and David Duncan
at the Blue Strawberry

With a powerful high baritone that zooms up seamlessly into supernatural falsetto and a blitzkrieg charm that would do credit to the great Gene Kelly, the Tony Award-winning star of “Jersey Boys” is the kind of magnetic performer who wins the audience over the moment the light hits him.  By the time he finished his opening set of the 1966 Lou Christie hit “Lightning Strikes” and “My Prayer” (a hit for The Platters in 1956, although the song was written 30 years earlier) he had the entire house on his side.

He kept them there right to the end with a lively mix of songs and stories. Numbers that were big in the 1950s and 1960s predominated, as you might expect. That included “In the Still of the Night” (written in 1956 by Fred Parris for his group The Five Satins), Harry Noble’s “Hold Me, Thrill Me, Kiss Me” in a rendition inspired by Mel Carter’s 1965 recording (although Karen Chandler first charted with it in 1952), and even a bit of classic Broadway with “I Have Dreamed” from Rodgers and Hammerstein’s 1951 “The King and I.” But he also ventured into the 1970s with Paul McCartney’s 1970 “Maybe I’m Amazed” and Albert Hammond and Mike Hazlewood’s “The Air That I Breathe,” which was a hit for The Hollies in 1974.

Young also ventured out into the audience for some good old show biz mingling. Not everyone can pull that off, but Young’s entire stage presence is so open and approachable that it all felt perfectly natural. He even invited the audience to sing along on some of the hits, and while attempts to match his high notes were doomed from the beginning, a good time was still had by all.

Mixed in with all this were some anecdotes about his unorthodox entry into Broadway stardom, his work as a cultural ambassador for the Obama administration, and a tribute to his musical hero Roy Orbison—complete with shades and a killer performance of “Only the Lonely.” There are some exceptional cabaret talents out there who tend to tell you more than you want to know about their personal lives, but John Lloyd Young is not, happily, one of them.

Oh, yeah: he also did a few numbers from “Jersey Boys.”

Impeccably backing Young up on the piano was David Duncan. He was a sympathetic accompanist, and his frequent solo breaks were powerful stuff.

John Lloyd Young played the Blue Strawberry Showroom and Lounge Wednesday and Thursday, May 8 and 9. It wasn’t his first visit to our town, and judging from the size and enthusiasm of the crowd, I expect it won’t be his last. To find out where he’s appearing now, check out his web site. Meanwhile, live entertainment continues at the Blue Strawberry, with details available at their web site.

Finally: for an in-depth interview with Young, including a look at his many other talents, check out Chuck's Culture Channel on YouTube.

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 May 13, 2024

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 Alpha Players present Charlotte’s Web, adapted by Joseph Robinette from the book by E.B. White, May 17 through 26. “A classic for the entire family! A perfect show for the young and the young-at-heart. All the enchanting characters are here: Wilbur, the irresistible young pig who wants to avoid the butcher; Fern, a young girl who understands animals; Templeton, the gluttonous rat; and most of all, Charlotte, the spider, who proves to be a true friend and a good writer. This beautiful, charming play about friendship will surely warm your heart.” Performances take place in the James J. Eagen Center in Florissant. For more information: www.alphaplayers.org.

The Black Rep presents the musical Timbuktu!, based on the Broadway classic Kismet, opening on Wednesday, May 15,  and running through June 9.  “Opulent beyond man’s dreams, travelers died crossing the Sahara in search of Timbuktu! Set against this exotic locale is the story of the Poet; his beautiful daughter, Marsinah; an evil Wazir of Police; his restless Wife of Wives, Lundanda; and The Mania of Mali, Bobo. While wandering incognito, Bobo meets Marsinah and instantly falls in love. Still, the twisted twine of fate must unravel in many thrilling and exciting ways before the two lovers can finally tie the knot.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

Laka

The Blue Strawberry Laka in I'm Every Woman: Whitney Houston Tribute on Friday May 17, at 7:30 pm. “Laka traces Whitney Houston’s journey from the earliest Billboard #1 albums to her last chart toppers, with excursions to the deeper cuts and the popular soundtracks Bodyguard and Waiting to Exhale. Laka tells the artist’s story the way it happened - from peak to peak to peak, and the tragic descent.”   For more information: bluestrawberrystl.com

The Blue Strawberry presents Sunday Standard Time with Tim Schall and Joe Dreyer on Sunday May 19 at 6 pm. “Join Tim Schall (vocals) and Joe Dreyer (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. Joe 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 Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com

Call to Conscience Interactive Theater for Social Change presents Social Justice Shorts, at 7:30 pm, Saturday at 4 and 7:30 pm, and Sunday at 4 pm, May 17 through 19. “Social Justice Shorts is a one-act play festival featuring thought-provoking new narratives centered around themes such as racial equality, reproductive rights, poverty, gun violence, transgender rights, and more.” Performances take place in the Greenfinch Theatre and Dive on South Jefferson. For more information: acalltoconscience.org.

Encore Theatre Group presents Shakespeare’s The Tragedy of Othello, Moor of Venice May 16 through June 9. “Othello tells the story of a valiant Moorish general, Othello, who falls victim to the manipulations of a cunning villain. Themes of race, prejudice, and the devastating power of jealousy unfold in a way that feels shockingly contemporary. The play serves as a mirror to our society, reflecting the struggles for acceptance and equal footing that many people of color still face.” Performances take place at 2607 Patomac in the Marine Villa neighborhood. For more information: www.encorestl.org.

The Drunkard

KTK Productions presents the musical The Drunkard with music and lyrics by Barry Manilow Fridays and Saturdays at 7:30 pm and Sundays at 2 pm, through May 19. “Mary Wilson and her widowed mother are in dire straights. When it comes to their attention that the cottage they are renting is to be sold, Mary appears before the handsome new owner, Edward, hoping to request his mercy. Edward had already been informed of the debacle by the villainous lawyer, Cribbs, who has set about to destroy the Wilson family. Edward had already determined that the Wilson family was not to be forced from their home. After laying eyes on Mary, Edward is immediately in love, and the wedding is set; Cribbs' plan has been thwarted. He'll have to implement a new plan just as devious, involving the wicked devil's beverage... alcohol!” Performances take place at the Saint John the Baptist Gymnasium, 4200 Delor Street in south St. Louis. For more information: kurtainkall.org

Spirits to Enforce
Photo: Joey Rumpell

The Midnight Company will present Mickle Maher’s Spirits to Enforce Thursdays through Saturdays at 8 pm through May 18. “They’ve finally imprisoned their arch nemesis, Professor Cannibal, and are keeping the City safe from fanged, venomous, ambulatory whales.  And now the Fathom City Enforcers have taken residence in a secret submarine, and are undertaking the most critical work of their crimefighting mission - fundraising.  Their Plan?  They’re getting ready to present a Superheroic benefit performance of THE TEMPEST.  Infused with comic book lore, chorale arrangements and text from Shakespeare’s masterpiece, SPIRITS TO ENFORCE is an utterly unique theatrical trip.” Performances take place at The Kranzberg Black Box theatre in Grand Center.   Ticket information is available at www.metrotix.com

The Midnight Company presents a return engagement of Just One Look by Joe Hanrahan, starring Kelly Howe as Linda Ronstadt, on Wednesday May 15  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 take place at The Blue Strawberry, 356 N. Boyle. For more information: bluestrawberrystl.com

Paula Poundstone

The Sheldon Concert Hall presents comic, author, actress, and podcaster Paula Poundstone on Friday, May 17, at 8 pm. “Paula Poundstone is a standup comedian, author, and podcaster. She regularly plays theaters across the country, hosts a weekly podcast, Nobody Listens to Paula Poundstone (the comedy podcast), and is a regular panelist on NPR’s Wait, Wait… Don’t Tell Me.” The show takes place in the auditorium of The Sheldon in Grand Center. For more information: www.thesheldon.org

The St. Louis Writers Group presents a reading of the new play Tatyana by Shahnaz Ahmed on  Monday, May 13, at 6:30 pm. “When a call from a hospital interrupts a conversation between a father and his teenage son, the past will be explored and secrets will be revealed.” The reading takes place at the Schlafly Tap Room in Midtown.  More information is available at the St. Louis Writers Group Facebook page.

Amy Jo Jackson

The Tennessee Williams Festival St. Louis presents Amy Jo Jackson and music director Brian Nash in the world premiere of Grande Dames: A Celebration of the Diva Wednesday and Thursday, May 15 and 16, at 7:30 pm. “This cabaret will feature an eclectic array of divas of the stage and screen (both real and fictional) like Fanny Brice, Norma Desmond, Stevie Nicks, Judy Garland, Shirley Bassey, and more!” Performances take place in the Curtain Call Lounge at The Fabulous Fox in Grand Center. For more information: www.twstl.org. And check out my video interview with Amy Jo Jackson on Chuck's Culture Channel!

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.

Symphony Review: Yo Yo Ma and Stéphane Denève celebrate Elgar and Debussy

While it might seem superfluous to review the concert that was part of last Friday’s (May 3) annual St. Louis Symphony Orchestra fund-raising gala, it was such a great experience that a few words are perhaps in order.

These full-evening galas typically feature an appearance by a superstar performer and this one was no exception. World-renowned cellist and activist Yo-Yo Ma was the soloist for the Cello Concerto in E minor, Op. 85, by Edward Elgar (1857–1934). First performed in 1919, it’s a spare and, with the exception of the third movement, unsentimental work. There’s little of the kind of expansive late Romantic sound that audiences had come to expect from the composer of the “Enigma Variations” or the concert overtures “Cockaigne” and “In the South.” Poorly performed by an under-rehearsed London Symphony, the concerto got a cool reception and was not repeated in London for over a year.

Yo Yo Ma

At first blush, it seemed an odd choice for a basically celebratory evening, but Ma’s performance was so breathtakingly stellar that the wisdom of that decision quickly became clear. Ma’s sound was uniformly full and robust throughout its range, with even the faintest harmonics emerging with impressive clarity. Maestro Stéphane Denève’s introduction of Ma referred to “the diamond of his sound,” which sounds like hyperbole but was, in fact, completely accurate.

Coupled with his visible emotional commitment to the music and his close communication with both Denève and the orchestra, that sound resulted in a reading of hypnotic intensity. I have never been a great admirer of the Elgar concerto in the past, but Yo-Yo Ma and Stéphane Denève made me a believer last Friday night.

Better yet, the Elgar was preceded by a splendid performance of the popular “La Mer,” written in 1904 by Claude Debussy (1862–1918).  I missed Denève’s last performance of this in 2019, so it was an immense pleasure to see and hear it this time around. His ability to bring out the smallest orchestral details without ever losing sight of the dramatic sweep of Debussy’s brilliant musical canvas reminded me once again that when he conducts, you will hear everything. That includes elements of the music that you might never have noticed before, even if it’s a piece like “La Mer” that has become an audience favorite over the last century.

As Yo-Yo Ma pointed out while introducing his encore Friday night, one of the great things about the SLSO is that “everybody is listening…everybody cares.”

Ma went on to announce that the encore was the 1939 arrangement of the Catalan folk song “El Cant dels Ocells” (“The Song of the Birds”)—an arrangement that Casals made when he left fascist Spain, announcing that he would not play there again until Franco and his autocratic regime were gone and democracy was restored. Casals began each of his concerts with that song from then on.

It was, as Ma reminded us, Casals’ plea for peace and democracy.  The relevance to contemporary events is, I think, readily apparent.  As Ma wrote in 2018, “music, like all of culture, helps us to understand our environment, each other, and ourselves. Culture helps us to imagine a better future. Culture helps turn 'them' into 'us.' And these things have never been more important.”

The current SLSO season is officially over but post-season events continue through June, beginning Saturday, May 11 at 7:00 pm, as George Daugherty conducts the orchestra for “Bugs Bunny at the Symphony.”

I last saw this program back in 2011 and found it to be great fun. It has since been updated to include five new ’toons. The important thing is that it still includes “What’s Opera, Doc?,” “The Rabbit of Seville,” “Corny Concerto,” “Baton Bunny,” and “Long-Haired Hare.” That, all by itself, is enough to recommend it.

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 May 6, 2024

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

John Lloyd Young
Photo: Ramona Rosales

The Blue Strawberry presents John Lloyd Young: Broadway's Jersey Boy on Wednesday and Thursday, May 8 and 9, at 7:30 pm. “Tony and Grammy Award winner John Lloyd Young burst onto the scene as the charismatic original star of Jersey Boys on stage and on screen. His unique musical point of view has made him a hit with audiences across the globe. Young's thrilling interpretations of classic favorites and unexpected, genre-bending knockouts range from nostalgic pop to R&B, from jazz to Broadway, and beyond.”    The Blue Strawberry is at 364 N. Boyle. Check out my interview with John on Chuck's Culture Channel. For more information: bluestrawberrystl.com

The Blue Strawberry presents Sargent Conservatory of Theatre Arts at Webster University Senior Cabarets on Friday, May 10, at 7:30 pm.  The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com

Moulin Rouge
Photo by Matt Murphy for MurphyMade

KTK Productions presents the musical The Drunkard with music and lyrics by Barry Manilow Fridays and Saturdays at 8 pm and Sundays at 2 pm, May 10 through 19. “Mary Wilson and her widowed mother are in dire straights. When it comes to their attention that the cottage they are renting is to be sold, Mary appears before the handsome new owner, Edward, hoping to request his mercy. Edward had already been informed of the debacle by the villainous lawyer, Cribbs, who has set about to destroy the Wilson family. Edward had already determined that the Wilson family was not to be forced from their home. After laying eyes on Mary, Edward is immediately in love, and the wedding is set; Cribbs' plan has been thwarted. He'll have to implement a new plan just as devious, involving the wicked devil's beverage... alcohol!” Performances take place at the Saint John the Baptist Gymnasium, 4200 Delor Street in south St. Louis. For more information: kurtainkall.org

The Midnight Company will present Mickle Maher’s Spirits to Enforce Thursdays through Saturdays at 8 pm through May 18. “They’ve finally imprisoned their arch nemesis, Professor Cannibal, and are keeping the City safe from fanged, venomous, ambulatory whales.  And now the Fathom City Enforcers have taken residence in a secret submarine, and are undertaking the most critical work of their crimefighting mission - fundraising.  Their Plan?  They’re getting ready to present a Superheroic benefit performance of THE TEMPEST.  Infused with comic book lore, chorale arrangements and text from Shakespeare’s masterpiece, SPIRITS TO ENFORCE is an utterly unique theatrical trip.” Performances take place at The Kranzberg Black Box theatre in Grand Center.   Ticket information is available at www.metrotix.com

The Theatre Guild of Webster Groves presents the drama On Golden Pond Friday and Saturday at 7:30 pm and Sunday at 2 pm, May 10 through 12.  “Ethel and Norman Thayer, spend each summer at lake Golden Pond. They are visited by daughter Chelsea with her fiancé Billy Ray and his son Billy Ray Jr. The play explores the relationship the young woman shared with her father growing up, and the difficulties faced by a couple in the twilight years of a long marriage.” Performances take place at the Guild theatre at 517 Theatre Lane, at the corner of Newport and Summit in Webster Groves. For more information: www.webstergrovestheatreguild.com.

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.

Symphony Review: A robustly operatic Verdi Requiem concludes the SLSO season

The performance of Verdi’s Messa da Requiem (a.k.a. the “Manzoni Requiem”) this past Sunday (April 28) by Stéphane Denève and the St. Louis Symphony Orchestra (SLSO) and Chorus reminded me of why I have always loved this remarkable work. While superficially a setting of the Latin mass for the dead, it is fundamentally a grand operatic tragedy, stuffed full of the combination of irresistible melodies and high drama that Verdi did so well. This was a Requiem of power, passion, and sensitivity—a fitting finale to a fine season.

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

Soprano Hulkar Sabirova
Photo courtesy of the SLSO

Denève, as many of you probably know, got his start conducting opera and continues to make it a part of his career. No surprise, then, that his Requiem honored the work’s operatic roots and punched up its theatricality without ever compromising its musical integrity. The sonic balance among the chorus, soloists, and orchestra could not have been better and the symphony musicians were at the top of their game. It has been over a decade since the SLSO took on this challenging work, but the wait was worth it.

A major indicator of the Requiem’s operatic character is the prominence given to the vocal quartet. Most musical settings of the Latin text relay heavily on the chorus with soloists taking on secondary roles. Verdi flipped that, making the soloists the focus of the work and structuring the entire piece as an opera with the trappings of a mass.

When the critic Hans von Bülow described the Requiem as Verdi's "latest opera, though in ecclesiastical vestments," he meant it as a criticism. In fact, he unintentionally put his finger on what made the work an immediate and long-lasting hit. Verdi, the religious skeptic, had turned a ceremony of belief into an opera about facing the inevitability of death and (as Shakespeare’s Hamlet muses in his famous soliloquy) the uncertainty of what comes after.

Mezzo Judit Kutasi
Photo courtesy of the SLSO

Denève cast the roles of the quartet well. Soprano Hulkar Sabirova, mezzo-soprano Judit Kutasi, tenor Russell Tomas, and bass Adam Palka were all strong singers with solid operatic backgrounds that enabled them to communicate the emotional truth of the lyrics. Kutasi and soprano Sabirova were the most consistent in maintaining that link with the audience, but all four were quite solid. And Verdi, to be fair, gave the women some of the best material.

Kutasi’s “Liber scriptus” conveyed the sense of dread of divine judgement powerfully, communicating directly with the audience with only brief glances at the score. Palka relied more on the text for his “Mors stupebit” but was equally persuasive in describing the desolation of judgement day. Verdi combined these two solos into a single dramatic scene, using the same music for both, and ending each one with the quiet repetition of a single word: “mors” (“death”) for the bass and “nil” (“nothing”) for the mezzo. Kutasi and Plaka played it well.

Thomas brought out the pleading of “Ingemisco” beautifully, putting his expressive tenor to excellent use both here and in the “Offertorio,” where his voice floats in on the work “hostias” (“we offer you”) as though descending from heaven.

Sabirova sounded heaven sent, as well, on “sed signifier” just a few lines earlier. Her star turn, however, came in the concluding “Libera me,” a long dramatic aria that pleads for divine deliverance while expressing doubt that it will come. The genuine sense of dread in “Tremens factus sum ego” (“I am in fear and trembling”) was chilling. In most requiem masses, the last words sung are comforting. In Verdi’s requiem, the last words are “libera me”, followed by solemn chords in the brasses.

Tenor Russell Thomas
Photo courtesy of the SLSO

All this talk of the soloists should not take anything away from the heroic work of the SLSO Chorus. Verdi gave them their fair share of the spotlight—some of it extremely challenging.

The massive eight-part fugue of double chorus in the “Sanctus” comes immediately to mind in this regard. This was sung with impressive lucidity and in perfect dynamic balance with the orchestra, where little details like the passages for flutes and piccolo were clearly delineated. Overall, the chorus was as fine as I have ever heard it. Congratulations to the singers and to guest chorus director Benjamin Rivera.

And what a tremendous job by the orchestra! The score runs the gamut from the intimate to the overwhelming and demands a high level of playing throughout. The famous "Dies Irae" was a prime example of the latter Sunday, with the orchestra and chorus raising fortissimo musical hell (a friend in the chorus later remarked that it was the loudest he had ever sung). Add in the great whacks on dual bass drums, and the expanded brass section, complete with extra trumpets on the mezzanine level, and the result was music that really did sound like the end of the world. The brass and percussion section delivered the goods here, with precise performances that had a visceral impact.

Bass Adam Palka
Photo courtesy of the SLSO

At the other end of the spectrum were (to pick just two examples) Principal Bassoon Andrew Cuneo’s plaintive rising sixteenth notes accompanying the soprano, mezzo-soprano, and tenor in “Quid sum miser” and the shimmering violins under the mezzo-soprano in “Lux aeterna.” Wonderful stuff all around, with Denève keeping everything perfectly balanced.

Denève’s interpretation also showed his customary understanding of the value of silence as a musical element. At the very beginning of the performance he patiently held the downbeat until he got absolute quiet, giving the pianissimo opening, with the chorus singing sotto voce and the violins playing con sordino (muted), an impact it might not have otherwise. I think he also would have held for a longer silence at the end if the audience had let him, but after a performance like that I imagine one can only hold the applause for just so long.

The SLSO traditionally closes the season with something special and usually something big for the chorus and orchestra. Verdi’s Requiem, with its mix of hope and doubt, is an ideal choice for that slot, especially in times when the former seems in short supply and the latter much too abundant. A work in which the final words are a wistful “libera me” (“deliver me”) could hardly be more appropriate.

While last weekend’s concerts closed the official season, the music continues this weekend as Stéphane Denève conducts the SLSO and famed cellist Yo-Yo Ma in Elgar’s Cello Concerto along with Debussy’s “La Mer” on Friday, May 3, at 7:30 pm at Stifel Theatre. Tickets are available for the concert by itself or as part of a gala fund raiser that includes cocktails, dinner, and post-show dancing. Sunday, May 5, at 7 pm Kevin McBeth conducts the IN UNISON Chorus in a concert at Shalom City of Peace Church in Spanish Lake. Admission is free but RSVPs are requested. The orchestra wraps up May with "Bugs Bunny at the Symphony" on Saturday, May 11, at 7 pm at Stifel Theatre.

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