St. Louis theatre calendar for the week of September 30, 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 the musical She Loves Me Fridays and Saturdays at 7:30 pm and Sunday (October 13 only) at 2 pm, October 4 through 13. “In a charming 1930’s perfume shop, two salesclerks spar endlessly, saving their sweetest words for an anonymous pen pal. Unbeknownst to them, their “dear friend” happens to be each other! Featuring the joyful title song and other melt-your-heart songs, you can leave your worries behind with this romantic, effervescent & witty musical.” Performances take place in the James J. Eagen Center in Florissant. For more information: www.alphaplayers.org

The Black Rep presents its newest Phoenix Rising Initiative, One Vote Won, an opera composed by Dave Ragland, on Friday, October 4, at 6 pm. "Commissioned in 2020 by Nashville Opera, One Vote Won centers around an African American woman in her 20s who is convinced that she does not need to vote - then she is visited by two hidden figures highlighting the stories of a suffragist and a Civil Rights activist. The evening will also feature a post-show conversation from the League of Women Voters." The free performance takes place at The Sun Theatre in Grand Center. For more information: www.theblackrep.org.

Journee Carter

The Blue Strawberry presents What a Journee with singer Journee Carter and pianist/music director Carol Schmidt on Saturday, October 5, at 7:30 pm.  “Join Journee Carter as she makes her cabaret debut in “What a Journee!” Using an eclectic mix of music from Freddie Mercury to Stephen Sondheim, and Andrew Lloyd Webber to Miley Cyrus, Carter takes us on an adventure of self discovery, finding your passion and making a family. A classically trained singer, who shifts seamlessly through musical genres, Journee will have you thinking, laughing, and dancing in your chairs!”The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

The Blue Strawberry presents 7 Amazing Things with magician James Higround on Sunday, October 6, at 7:00 pm.  “Join James and your closest friends for a riveting journey through hilarious and inspiring magical feats. Seemingly ordinary people and objects will transform into the unexpected, on stage and in the audience's hands in this series of 7 amazing themes, each with a deep and motivating meaning.” The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Bread & Roses Missouri presents Workers' Opera 2024: Raise the Hope, Get Out and Vote at 7 pm Thursday and Friday, October 3 and 4. The work was created in collaboration with workers and activists. Performances take place at LiUNA Event Center on Thursday and at Metro Theater Company on Friday. The production is supported by Laborers 110. For more information: cur8.com/projects/breadandrosesmo

Back to the Future
Photo by Matthew Murphy and Even Zimmerman

The Fabulous Fox presents the Back to the Future: The Musical through October 6. "When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself... back to the future. When Back to the Future hits 88mph, it’ll change musical theatre history forever.”   The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

The Gaslight Theater and Michael Madden Productions present the St. Louis premiere of “Red Jasper,” an original play by St. Louis playwright Michael Madden and directed by Suki Peters, running October 4-13 at The Gaslight Theater in the Central West End. “How come people don’t know the right thing to do or say when someone has Cancer? Isadora is an indelicate, sarcastic survivor with a hidden vulnerability whose breast cancer has returned and who doesn't hesitate to educate people on how to act around her. During her treatment, she meets Tom, an affable, attractive man who regularly manages to disappoint, anger and intrigue her.” Proceeds from ticket sales will benefit Siteman Cancer Center and the Alzheimer’s Association Greater Missouri Chapter. For tickets and information, visit gaslighttheater.net.

The Midnight Company presents Now Playing Third Base for The St. Louis Cardinals…Bond, James Bond, written and performed by Joe Hanrahan, Friday and Saturday at 7:30 pm and Sunday at 2 pm, October 4 – 6. “The play has been seen twice in St. Louis, but this year marks the 60th Anniversary of when the show takes place, 1964.  In it Hanrahan tells of that momentous year, when we were still reeling from the Kennedy assassination, but then The Beatles came along and some hope entered our lives. with more hope arriving with one of the most sensational movies of all time, and then the St. Louis Cardinals started catching our eye and then…There’s more and it’s all wrapped up in a script that insists that the play is not really about any of the aforementioned, it’s about the theatre.  And specifically, one man theatre.” Performances take place at The Greenfinch Theater, 2525 S. Jefferson. For more information: www.midnightcompany.com

American Idiot
Photo: Jill Ritter Lindbergh

New Line Theatre presents the rock musical American Idiot, based on the album by Green Day, through October 5. “Lost and disconnected in a post-9/11 America, three friends, Johnny, Tunny and Will, struggle to find meaning in their lives. The three men flee the constraints of their hometown for the thrills of city life, but their paths quickly diverge as Tunny enters the armed forces, Will is called back home to attend to a pregnant girlfriend, and Johnny descends into an urban underworld, following a seductive love interest and a deadly new friendship. As each of the three learns to navigate his "alienation," we see in them America's struggle to find a new path in this new millennium, after a long period of darkness.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

Dial M for Murder
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents the thriller Dial M for Murder through October 13. “Step into the shadows of a meticulously planned murder. In the elegant home of Tony and Margot Wendice, a sinister game of cat and mouse unfolds. Tony, a calculating mastermind, plots to kill his wife for her inheritance, fueled by revenge and greed. When his perfect plan spirals into chaos, a web of lies and deceit is spun, threatening to ensnare the innocent. Join the relentless Inspector Hubbard as he unravels the twisted truth. Will Tony’s trap hold, or will justice be served? Experience the suspense and intrigue of Dial “M” for Murder, a play that will leave you breathless until the final curtain falls.” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

Ragtime
Photo: Phillip Hamer

Stages St. Louis presents the musical Ragtime through October 20. “At the dawn of a new century, everything is changing and anything is possible. A sweeping musical portrait of early twentieth-century America, RAGTIME, tells the story of three families united by courage, compassion, and a belief in not only the American dream, but the promise of tomorrow. Told through a dazzling array of musical styles from the era, this Tony Award-Winning musical is bursting with emotion and hope as the surprising interconnections of the heart are discovered and history’s timeless contradictions of wealth and poverty, freedom and prejudice, and hope and despair are confronted.” Performances take place at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: stagesstlouis.org.

The St. Louis Writers Group presents the second of final round of its annual Playwright Slam Event on Monday, September 30, at 6:30 pm. “Get ready for a night of fun impromptu theater. The order of scripts to be read will be chosen at random. Each script will be given a ten minute read, and rated by a panel of judges based upon audience reaction.”  The reading takes place at Square One Brewery and Distillery in Lafayette Square.  More information is available at the St. Louis Writers Group Facebook page.

Take Two Productions presents the Stephen Sondheim musical Merrily We Roll Along through October 5.  “The authors of the landmark Company reunite to turn the traditional showbiz musical on its head in this thrilling and compelling Broadway fable about friendship, compromise and the high price of success. Stephen Sondheim and George Furth expertly blend the excitement and energy of a backstage musical with a poignant and emotional contemporary story about the importance of staying true to one's ideals.” Performances take place in Johnson Hall at Third Baptist Church, 620 N. Grand in Grand Center. For more information: https://www.taketwoproductions.org.

West End Players Guild presents The Turn of the Screw by Jeffrey Hatcher, based on the novel by Henry James, October 4 - 13. “A young governess has one rule in caring for her charges -- do not contact their guardian. No matter what she sees, no matter what they do.” Performances take place at the Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org

The World Chess Hall of Fame presents Broadway Favorites by Winter Opera St. Lous on Thursday, October 3, at 7 pm. “Winter Opera general director Gina Galati, tenor Taylor Comstock, mezzo-soprano Courtney Fletcher, and pianist Sandra Geary perform some of the greatest hits from the operatic and Broadway repertoire.” The World Chess Hall of Fame is at 4652 Maryland Avenue in the Central West End. For more information: worldchesshof.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: Lyric Opera of Chicago finds an extra layer of story in Verdi's "Rigoletto"

Re-interpreting or updating a 19th-century opera in a way that speaks to a 21st-century audience without ignoring or (worse yet) contradicting the intentions of the work’s original creators is a dicey business. Now imagine upping the risk ante by using the existing design elements of a 19-year-old production.

L-R: Igor Golovatenko, Mané Galoyan
Photo: Todd Rosenberg

That was the challenge director Mary Birnbaum faced in her Lyric Opera of Chicago debut, Giuseppe Verdi’s 1851 tragedy “Rigoletto,” which runs through October 1st. You know the story: The Duke of Mantua amuses himself by seducing and abandoning any woman who takes his fancy. His jester Rigoletto finds the Duke contemptable but mocks his victims (it’s his job, after all) while trying to hide the existence of his daughter Gilda from the Duke’s libido. When that fails, he hires the assassin Sparafucile to eliminate the Duke, with tragic consequences.

As Birnbaum writes in the program, this is a tale set in “a world where women were completely absent.”

[T]he out-of-court Duchess of Mantua (in a striking parallel with the Last Duchess in the poem of Robert Browning, Verdi’s contemporary) is present only in a fresco on the wall. Rigoletto’s wife is an angel (but she is dead)…Even when women are dressed as men—like the Page, or Gilda in the final act—they are always lacking some critical piece of information, and, as a result, are disenfranchised.

They’re also treated as objects, even by the men who claim to love them. Rigoletto treats Gilda like a china doll, telling her nothing about her late mother and refusing to even reveal their family name. She exists only to give him comfort in his self-loathing and despair. No wonder she is such easy prey for the Duke when, disguised as a poor student, he sends smoldering looks her way during church services.

L-R:  Igor Golovatenko Soloman Howard
Photo: Todd Rosenberg

On paper, then, Gilda looks like the classic Innocent Victim and is usually presented as such. But could there be a more rounded character lurking the subtext? “What if,” Birnbaum asks, “Gilda was a partial agent rather than a victim? What if she has been thinking of other ways to escape the perpetual and suffocating nameless present that her father has trapped her in?”

What if, in short, she wants “a life with a name of her own” even if the price is surrendering to the Duke’s advances and choosing to die in his place at the hands of Sparafucile?

Impressively, Birnbuam manages to suggest all of this without significantly changing the staging or introducing heavy-handed visual gimmicks—almost. In the first two acts we see Gilda searching a hidden cache of family documents during orchestral interludes. In her scenes with Rigoletto the blocking suggests her ambivalence about her situation.

I bought it all until the very end, when her decision to let Sparafucile kill her inexplicably turned into a swordfight (where, exactly, did she pick up that skill?). And I was ready to demand a refund when Gilda’s dying vision of her late mother as an angel welcoming her to heaven becomes an actual actress in an angel costume, neatly stealing focus from Rigoletto’s final tragic despair.

L-R:  Javier Camarena ,Zoie Reams
Mané Galoyan, Igor Golovatenko
Photo: Todd Rosenberg

Oh, well. Up to that point this is a powerful, dark, and often horrifying “Rigoletto.” Verdi described the jester as a character “worthy of Shakespeare,” and baritone Igor Golovatenko’s powerful voice and riveting stage presence fully live up to that description. His snarling sarcasm in Act I is as compelling as his tearful attempts to appeal to the courtiers for help in finding Gilda ("Cortigiani, vil razza dannata"). And there is real tenderness in his scenes with Gilda.

Speaking of whom, soprano Mané Galoyan finds the kind of self-assertion in Gilda that director Birnbaum sees in the character. Verdi has given Gilda a musical arc, moving from the juvenile infatuation of the coloratura classic “Caro nome” to the fierce determination of the trio in which she resolves to sacrifice herself for the Duke (“Se pria ch'abbia il mezzo la notte toccato"). Galoyan brings an enchanting naivete to the former and puts steel in her voice for the latter.

Verdi illustrates the Duke’s charm by giving him some of the best tunes in the opera, including the excessively famous “Donne a’ mobile.” Attractive but superficial, they perfectly fit the Duke’s shallow personality. A bel canto specialist, tenor Javier Camarena is possibly the perfect fit for the role, with a light, flexible voice and character that is credibly charismatic.

Javier Camarena and the Company
Photo: Todd Rosenberg

Bass Soloman Howard’s bold voice rumbles with menace as the selectively honorable assassin Sparafucile and mezzo Zoie Reams is Sparafucile’s sister Maddelena, easily seduced by the Duke despite her worldly wisdom. Baritone Andrew Manea makes a fine Lyric debut as an imposing Monterone, whose curse is the musical and dramatic backbone of the opera.

Sets and costumes by, respectively, Robert Innes Hopkins and Jane Greenwood are perfect matches for the dark, violent, and morally rotten world of the Court of Mantua. The contrast between the colorful vulgarity of the court scenes and the drab look of everything else works quite well. Duane Schuler’s lighting is dark as well—possibly more than it needs to be.

Andrew Manea and the Company
Photo: Todd Rosenberg

Lyric Opera’s Music Director Enrique Mazzola leads the orchestra in a dramatic and gripping reading of Verdi’s score, from the thundering brass statements of the “curse” motif at the beginning right through to Rigoletto's final despairing howl of "La maledizione" ("the curse") at the end. The first act’s court scenes with the stage band and the pit orchestra were well coordinated.

If you’re willing to forgive a bit of directorial overkill at the very end (which, upon reflection, I am), this is a very persuasive and original take on an operatic favorite. In the final analysis, it’s good to see Gilda given more agency and depth than she has on the printed page.

Lyric Opera of Chicago’s “Rigoletto” runs through October 1st, alternating with the company’s new production of Beethoven’s “Fidelio.” Ticket information on this and other operas in the company’s current season is available at their web site.

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

Symphony Preview: Mix and match

Back in the days when I was still doing a weekly show at KDHX, I loved to put together different and often seemingly unrelated songs into sets designed to highlight the relationships among them.  St. Louis Symphony Orchestra Music Director Stéphane Denève often takes a similar approach to his programming, zooming in on connections that aren’t obvious at first glance. Or at first hearing, as the case may be.

[Preview the music with my Spotify playlist.]

Berlioz in 1832
Painting by Émile Signol

You’ll witness and exceptionally fine example of this in concerts that open the new SLSO season this weekend (Friday and Sunday, September 27 and 29). The first half opens with the “Marche hongroise” (“Hungarian March”) from Part I of  the 1846 opera/oratorio hybrid “La damnation de Faust” (“The Damnation of Faust”) by Hector Berlioz (1803–1869). In the context of the full work (performed so splendidly by the SLSO in 2023), the sound of the Hungarian army tramping off to war gives Faust the opportunity to compare the enthusiasm of the soldiers with his own indifference to worldly joys. “Et quel feu dans leurs yeux,” he muses. “Tout cœur frémit à leur chant de victoire ; Le mien seul reste froid, insensible à la gloire.” (“And what fire burns in their eyes! Every heart throbs to their song of victory; Only mine remains cold, insensitive to glory.”)

Played more often as an instrumental excerpt, as it will be this weekend, it’s a rousing piece that shows off the composer’s flair for colorful orchestration. It doesn’t sound particularly Hungarian, but it’s so much fun that it hardly matters. And Berlioz wasn’t really interested in cultural fidelity anyway.

Brahms c. 1872
Photographer unknown
Public Domain

More authentically Hungarian are the 21 “Hungarian Dances” by Johannes Brahms. Based mostly on Hungarian folk tunes, the dances were originally composed for piano duet and published in four sets between 1869 and 1880. They were then orchestrated by various composers, including Brahms. This weekend we’ll hear the only ones orchestrated by the composer himself: No. 1 in G minor, No. 3 in F major, and No. 10 F major (E major in the original piano version).

As George S. Bozarth and Walter Frisch write in Grove Online, Brahms was first “exposed to the style hongrois, a blending of Hungarian musical gestures and gypsy performing style…when Hungarian political refugees on their way to the USA passed through Hamburg after the suppression of the revolutions of 1848.” Which makes the local premiere of the “Nomad Concerto” by Mason Bates a logical way to conclude the first half of the program.

Composed for and premiered in January 2024 by this weekend’s soloist, violinist Gil Shaham (brother-in-law of former SLSO Music Director David Robertson), this four-movement work, as the composer writes at his web site, “explores the mysterious and soulful music of the wanderer”:

Envisioned to showcase the legendary Old World sound of Gil Shaham, the concerto is informed by a diverse range of traveling cultures from Eastern Europe to the Middle East.  In the same way that nomadic musics have continually reimagined themselves, the many styles informing the concerto are swirled together into a unique soundworld.

The ”Nomad Concerto” is too new to be available on the usual streaming sources, including YouTube, so I’m unable to offer my own impressions of the work. That said, Peter Dobrin, reviewing the world premiere for The Philadelphia Inquirer, wrote that “Bates in this new piece once again proves a composer unusually commanding of atmosphere and emotion.” So you now know as much about it as I do.

This won’t be the first appearance of a Mason Bates work on an SLSO program, though. His 2015 “Anthology of Fantastic Zoology” got its impressive local debut by the band under the baton of Leonard Slatkin in 2023. As I wrote back then “his is an eclectic and inventive voice that is very much welcome these days. I hope to see and hear more of his work here in the future.” It looks like I got my wish.

Mason Bates
Photo: Ryan Schude, courtesy of the SLSO

After intermission it’s back to Berlioz with his splendiferous 1830 “Symphonie Fantastique.” I have always loved it to pieces, despite the rather unsavory story of its origins (tl;dr: it’s the result of the composer’s amatory pursuit of the Irish Shakespearean actress Harriet Smithson in a manner that would get him a restraining order these days, if not an actual prosecution). Maestro Denève conducted a bang-up reading of this work in May 2019 so I admit to looking forward to his latest thoughts on the matter.

The Essentials: Stéphane Denève conducts the St. Louis Symphony Orchestra and violinist Gil Shaham in the St. Louis premiere of the “Nomad Concerto” by Mason Bates. The concert includes Berlioz’s “Hungarian Marche” from “The Damnation of Faust” and the “Symphonie Fantastique, as well as three “Hungarian Dances by Brahms. Performances are Friday at 7:30 pm and Sunday at 3 pm, September 25 and 27, at the Stifel Theatre downtown.

On Saturday, September 26, at 8 pm Mason Bates, in his alter ego of DJ Masonic, joins St. Louis DJ Alexis Tucci for “Symphonie Electronique.” Described as “a genre-defying electronic dance music party with SLSO musicians and the audience,” “Symphonie Electronique” takes place at The Hawthorn nightclub on Washington Avenue downtown.

St. Louis theatre calendar for the week of September 23, 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

Aquarian Rising Productions presents Top Dog/Under Dog by Suzan Lori-Parka Fridays and Saturdays at 7 pm and Sundays at 4 pm, through September 29.  “A darkly comic fable of brotherly love and family identity, Topdog/Underdog tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretell a lifetime of sibling rivalry and resentment. Haunted by their past, the brothers are forced to confront the shattering reality of their future. This piece features mature content. “ Performances take place at the Jefferson Avenue Mission, 2241 Jefferson Avenue. For more information: www.ticketleap.events.

Blues in the Night
Photo: Keshon Campbell

The Black Rep presents the musical Blues in the Night through September 29. “This dynamite, dramatic revue thrills us with the universal language of the blues. The soul of the blues wails out full and strong in Blues in the Night, a scorching, Tony-nominated musical! The 26 hot and torchy numbers that tell of the sweet, sexy, and sorrowful experiences that three women have with the lying, cheating snake of a man who does them wrong will leave you energized, inspired, and ready to wail.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

The Blue Strawberry presents Seeking My Fred Astaire with singer Hannah Bagnall and pianist/music Joe Dreyer on Thursday, September 26, at 7:30 pm.  “Looking for love in the modern world is tricky, but looking for love when you were raised on an exclusive diet of Old Hollywood dreamboats like Gene Kelly, William Powell, and Fred Astaire? That's a whole other problem! With a delightful mix of songs from musical theatre, jazz standards, and a few you might not have heard, Hannah Bagnall will make you laugh and sigh as she dreams of finding her very own Fred Astaire!” The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com.

Ann Hampton Callaway

The Blue Strawberry presents Finding Beauty: Inspired Classics and Originals with singer, songwriter, and pianist Ann Hampton Callaway on Friday and Saturday, September 2y and 28, at 7:30 pm.  “Ann’s show is comprised of classics from her songwriting inspirations- Carole King, Joni Mitchell, James Taylor, Paul Simon, and many more. Also, the recent inductee into The Women Songwriters Hall of Fame shares songs from her new CD “Finding Beauty: Originals Vol. 1.” Expect AHC hits like Streisand's “At the Same Time” as well as new songs she's co-written with Oscar winner Alan Bergman, Grammy winner Melissa Manchester, and Grammy nominee, Amanda McBroom. Spoil yourself with a spellbinding show of rousing showstoppers and exquisite ballads, as we follow the arc of Ann’s musical inspiration!” The Blue Strawberry is at 364 N. Boyle. For more information: bluestrawberrystl.com. [Read my interview at KDHX.]

The Fabulous Fox presents the Back to the Future: The Musical September 24 – October 6. "When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself... back to the future. When Back to the Future hits 88mph, it’ll change musical theatre history forever.”   The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

Trayf
Photo: Jon Gitchoff

New Jewish Theatre presents Trayf Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm through September 29. “Zalmy lives a double life. By day, he drives a Chabad “Mitzvah Tank” through 1990s New York City, performing good deeds with his best friend Shmuel. By night, he sneaks out of his orthodox community to roller-skate and listen to rock and roll. But when a curious outsider offers him unfettered access to the secular world, is it worth jeopardizing everything he’s ever known? This road-trip bromance is a funny and heartwarming ode to the turbulence of youth, the universal suspicion that we don’t quite fit in, and the faith and friends that see us through.”  Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

American Idiot
Photo: Jill Ritter Lindbergh

New Line Theatre presents the rock musical American Idiot, based on the album by Green Day, through October 5. “Lost and disconnected in a post-9/11 America, three friends, Johnny, Tunny and Will, struggle to find meaning in their lives. The three men flee the constraints of their hometown for the thrills of city life, but their paths quickly diverge as Tunny enters the armed forces, Will is called back home to attend to a pregnant girlfriend, and Johnny descends into an urban underworld, following a seductive love interest and a deadly new friendship. As each of the three learns to navigate his "alienation," we see in them America's struggle to find a new path in this new millennium, after a long period of darkness.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

Dial M for Murder
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents the thriller Dial M for Murder through October 13. “Step into the shadows of a meticulously planned murder. In the elegant home of Tony and Margot Wendice, a sinister game of cat and mouse unfolds. Tony, a calculating mastermind, plots to kill his wife for her inheritance, fueled by revenge and greed. When his perfect plan spirals into chaos, a web of lies and deceit is spun, threatening to ensnare the innocent. Join the relentless Inspector Hubbard as he unravels the twisted truth. Will Tony’s trap hold, or will justice be served? Experience the suspense and intrigue of Dial “M” for Murder, a play that will leave you breathless until the final curtain falls.” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

Tempest in a Teapot
Photo: Joey Rumpell

SATE presents the world premiere of Tempest in a Teapot by Shualee Cook Wednesdays through Saturdays at 8 pm, through September 28. “At age 10, Alice Liddell inspired Lewis Carroll to write Alice’s Adventures in Wonderland. But at age 21, she finds herself trapped between the fantasy world created for her, and the restrictive Victorian world of Oxford, England – each with a very specific role she is expected to play. Then a chance meeting with Carroll after years of silence leads her down the rabbit hole again to the Mad Tea Party, where a seemingly casual suggestion by Carroll that she read Shakespeare’s The Tempest turns into a philosophical treasure hunt. With help from the Mad Hatter, March Hare, Dormouse and Cheshire Cat, Alice proceeds to act out the classic play in hope that it holds the key to her crisis of identity, and offers a way of dealing with her magical but complicated past.,Performances are at The Chapel, 6238 Alexander Drive. For more information: www.eventbrite.com.

Stages St. Louis presents the musical Ragtime through October 20. “At the dawn of a new century, everything is changing and anything is possible. A sweeping musical portrait of early twentieth-century America, RAGTIME, tells the story of three families united by courage, compassion, and a belief in not only the American dream, but the promise of tomorrow. Told through a dazzling array of musical styles from the era, this Tony Award-Winning musical is bursting with emotion and hope as the surprising interconnections of the heart are discovered and history’s timeless contradictions of wealth and poverty, freedom and prejudice, and hope and despair are confronted.” Performances take place at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: stagesstlouis.org.

The St. Louis Writers Group presents the second of three rounds of its annual Playwright Slam Event on Monday, September 23, at 6:30 pm. “Get ready for a night of fun impromptu theater. The order of scripts to be read will be chosen at random. Each script will be given a five minute read, and rated by a panel of judges based upon audience reaction. The judges will select several plays to move on to round two which will be ten minutes of the same script, from which a winner will be chosen.”  The reading takes place at Square One Brewery and Distillery in Lafayette Square.  More information is available at the St. Louis Writers Group Facebook page.

Take Two Productions presents the Stephen Sondheim musical Merrily We Roll Along September 27 through October 5.  “The authors of the landmark Company reunite to turn the traditional showbiz musical on its head in this thrilling and compelling Broadway fable about friendship, compromise and the high price of success. Stephen Sondheim and George Furth expertly blend the excitement and energy of a backstage musical with a poignant and emotional contemporary story about the importance of staying true to one's ideals.” Performances take place in Johnson Hall at Third Baptist Church, 620 N. Grand in Grand Center. For more information: https://www.taketwoproductions.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.

Interview: Being courageous with Ann Hampton Callaway

Friday and Saturday, September 27 and 28, Tony nominated singer/songwriter/pianist and all-around Incredibly Talented Person Ann Hampton Callaway returns to St. Louis with her new show “Finding Beauty, Inspired Classics and Originals.” We talked about that and about her long lover affair with music in a Zoom interview on September 9th. Here’s the interview, with edits for clarity and length.

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Ann Hampton Callaway

Ann Hampton Callaway (AHC): The show is called “Finding Beauty, Inspired Classics and Originals.” It has songs from my latest CD of all originals but what I'm also doing in the show is honoring the singer-songwriters who inspired me to become a singer-songwriter: Carole King, Joni Mitchell, James Taylor, Lennon, Billy Joel, etc.

It’s the most personal, I've ever performed, sort of “chicken soup for the soul.” It's a warm musical hug of moving and exciting storytelling. There's a lot of gorgeous ballads, some fun stuff and it covers a lot of bases; not just my songwriting and my inspiration but also the things that matter to me and the time we're living in. People seem to really resonate with the show and say they feel inspired after seeing it. So I'm very excited to share this with my beautiful St. Louis following.

Chuck Lavazzi (CL): You've been here in St. Louis quite number of times,  I think most recently last spring.

AHC: Yeah. I have sung with the symphony there. I've done Jazz at the Bistro back in the day and all the wonderful cabaret shows. There are so many different venues I've played there, but I like The Blue Strawberry. It's a nice warm, intimate place and it should be fun to share these particular songs with everybody.

CL: And you also taught at the St. Louis Cabaret Conference.

AHC: I did, yes. In fact, I keep running into students at my performances and they seem to be doing very well. I forget where I was—I think it was in Chicago—and a few of the students that I taught there were just saying how much they love that experience. And I love teaching with all the great wonderful people like Faith Prince and Peisha McPhee and a bunch of wonderful singers.

CL: I am trying to remember when you last did the cabaret conference because of I've done it several times but I cannot remember whether I was taking it one of the years when you were teaching it because I'm old and I forget.

AHC: I called that “jazzheimer's,” Chuck. As long as you have a cute name for it, it's okay. I don't believe that I had the pleasure of teaching you. So you're a singer as well?

CL: Yeah, over the years I've been an actor and a singer. I've done a little bit musical theater and a fair amount of cabaret. Now I'm mostly retired. I mean, the last show I did was “Ragtime” last year

AHC: Well, that's not very retired if you did a wonderful show like that last year.

As long as I can sing, I'm going to sing to the last day of my life. I love what I do. I really don't believe in retirement. I believe in pacing better. I think we've improved with age. If you lie down like wine, then hopefully you do improve with age.

The more you live, the more you learn, the more you experience, the more your art is infused with that. And so I find I love performing even more now. There’s so much more to say and share and I feel so much more passionate about it. I've always loved what I've done, but now I feel even more honored to be an artist at a time when people really need beauty and inspiration and reassurance and some kind of sense of direction and connection.

CL: That is an excellent point because cabaret is one of these artistic areas in which your life experience would just continue to enrich it. I mean, yes, it's about the songs but it's also about the songs as filtered through your personal experience and that's one of the things that makes it different if not unique as an art form.

AHC: Yes, one of the things I love about cabaret is the intimacy. I think people suffer these days from a lack of intimacy. We're so addicted to our screens and we have virtual realities every day, we multitask, etc.  So when we sit in a room with people who love music, and someone tells their stories and sings their stories it's a very powerful experience.

What music does is sort of recalibrate us and retune us as human instruments. There have been times when I'm exhausted and I don't feel well I start singing and I start to feel better. I think music is a very healing powerful tool whether you're a listener or an artist.

CL: Yes, I'm reminded of that Judy Garland hit “I Could Go on Singing,” right?

AHC: Yes, and I'm proud to say that I practice Judyism, worship of Judy Garland and other great women named Judy.

CL: So let's go back and talk about some of the people who were your inspirations for the show and what you liked or loved about them.

Ann Hampton Callaway at 54/Below
Photo: Alix Cohen

AHC: The first singer-songwriter who really woke up my sense of purpose of what I want to do with my life was Carole King. When her album “Tapestry” came out, it just totally knocked me over.

I had grown up with a musical family. My dad was a jazz lover, and I grew up with the great jazz singers, Ella Fitzgerald, Sarah Vaughan, Billy Holiday, Peggy Lee, etc. and my mother loved musicals and classical music. But suddenly when the 70s happened these new artists were coming out writing these very personal songs, singing them as if they were my friends. These were people telling very personal stories in beautiful musical ways and I just thought, “this feels like me. This is what I want to do.”

And so, I honor that. I bought Joni Mitchell’s album “Blue” at the same record store where I got “Tapestry,” on Johnson Avenue in the Bronx. I didn't even know who these people were and suddenly my life is changing record by record.

Then I got a crush on James Taylor. I'm just like, “what is it about this man?” I didn’t know you could write music like that. I learned a lot about storytelling, about poetry, about lyrics, about how to make music that's warm, and exciting, and truthful.

The moment I heard “Tapestry,” I started teaching myself chords, and I studied her. I wasn't a great sight reader, but I started studying her songwriting, and I started studying all these great singers, including Melissa Manchester, who's now a friend and a co-author.

I wrote a song with the wonderful Carole King for my album “Slow,” and the day of the recording she stayed and sang backup vocals for me. That was just one of the most thrilling moments of my life because here is the woman I idolized.  She stayed to listen to me sing her song “Will You Love Me Tomorrow” and it was it was like the perfect day of my life with that emotional connection and the follow through of a dream of a mentor who became a friend.

It the same thing with Barbara Streisand. Getting to write songs for Barbara really just completely blew my mind and to have the kind of friendship that I have with Barbara has been another amazing experience in my life. Working with her on seven of her CDs as a songwriter was really a tremendous honor. I don't know that I would have gotten to be inducted into the Women's Songwriter Hall of Fame last year it hadn't been for these wonderful people and how they inspire me so much. So I always like to say “thank you” in my shows.

CL: Yeah, I can hear that those are wonderful memories—as they would be for anyone. You've really been associated with some of the greats in this field. And you still are. One of your co-authors on this album was Alan Bergman.

AHC: Yes, it was his 99th birthday yesterday. He had a number of songs this year with Pat Matheny, and I hope to be doing some more songwriting with him. I got to perform with him when I premiered my “Streisand Songbook” concert with the Boston Pops and Keith Lockhart, and I got to sing with him and get to know Marilyn and Alan through many, many visits to their home.

It's a rich life when you finally get to be courageous, though. You have to get over your intimidation, and you have to just realize these are people, too, and just be yourself. I've been fortunate to get over my shyness occasionally, and really form very meaningful relationships with people I admire.

CL: I'm glad you said “courageous,” because that is something that's also kind of essential to do this art form that you and many of us do. You have to be willing to really put yourself out there, because it's not like being in a play where you have someone else's words and someone else's story. Everything that's on the stage is ultimately your responsibility.

AHC: Well, I'm happiest when I'm using all of my talents at the same time. So when I do a one-woman show, I'm playing the piano, I'm singing songs, I've arranged the songs, I've written many of the songs, I've decided what kind of stories I want to tell in between the songs and I'm relating to my audience in a very moment-to-moment way and allowing whatever is happening that day to infuse the music with freshness and new energy.

Sometimes I've created the flyers and I've done the lighting cues and I just I feel like it's so purely who I am. Liza Minnelli told me when I met her in 1991 “stand naked in the light.” Just do it and that's who you are, and you just hope that that it's good.

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For more information about Ann Hampton Callaway’s show at The Blue Strawberry, visit their web site. Check out Callaway’s web site for the latest news, reviews, and music.

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 September 16, 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

Aquarian Rising Productions presents Top Dog/Under Dog by Suzan Lori-Parka Fridays and Saturdays at 7 pm and Sundays at 4 pm, September  20 through 29.  “A darkly comic fable of brotherly love and family identity, Topdog/Underdog tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretell a lifetime of sibling rivalry and resentment. Haunted by their past, the brothers are forced to confront the shattering reality of their future. This piece features mature content. “ Performances take place at the Jefferson Avenue Mission, 2241 Jefferson Avenue. For more information: www.ticketleap.events.

Blues in the Night
Photo: Keshon Campbell

The Black Rep presents the musical Blues in the Night through September 29. “This dynamite, dramatic revue thrills us with the universal language of the blues. The soul of the blues wails out full and strong in Blues in the Night, a scorching, Tony-nominated musical! The 26 hot and torchy numbers that tell of the sweet, sexy, and sorrowful experiences that three women have with the lying, cheating snake of a man who does them wrong will leave you energized, inspired, and ready to wail.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

Trayf
Photo: Jon Gitchoff

New Jewish Theatre presents Trayf Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm through September 29. “Zalmy lives a double life. By day, he drives a Chabad “Mitzvah Tank” through 1990s New York City, performing good deeds with his best friend Shmuel. By night, he sneaks out of his orthodox community to roller-skate and listen to rock and roll. But when a curious outsider offers him unfettered access to the secular world, is it worth jeopardizing everything he’s ever known? This road-trip bromance is a funny and heartwarming ode to the turbulence of youth, the universal suspicion that we don’t quite fit in, and the faith and friends that see us through.”  Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

New Line Theatre presents the rock musical American Idiot, based on the album by Green Day, through October 5. “Lost and disconnected in a post-9/11 America, three friends, Johnny, Tunny and Will, struggle to find meaning in their lives. The three men flee the constraints of their hometown for the thrills of city life, but their paths quickly diverge as Tunny enters the armed forces, Will is called back home to attend to a pregnant girlfriend, and Johnny descends into an urban underworld, following a seductive love interest and a deadly new friendship. As each of the three learns to navigate his "alienation," we see in them America's struggle to find a new path in this new millennium, after a long period of darkness.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

The Repertory Theatre of St. Louis presents the thriller Dial M for Murder, September 18 through October 13. “Step into the shadows of a meticulously planned murder. In the elegant home of Tony and Margot Wendice, a sinister game of cat and mouse unfolds. Tony, a calculating mastermind, plots to kill his wife for her inheritance, fueled by revenge and greed. When his perfect plan spirals into chaos, a web of lies and deceit is spun, threatening to ensnare the innocent. Join the relentless Inspector Hubbard as he unravels the twisted truth. Will Tony’s trap hold, or will justice be served? Experience the suspense and intrigue of Dial “M” for Murder, a play that will leave you breathless until the final curtain falls.” Performances take on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

SATE presents the world premiere of Tempest in a Teapot by Shualee Cook Wednesdays through Saturdays at 8 pm, September 18 – 28. “At age 10, Alice Liddell inspired Lewis Carroll to write Alice’s Adventures in Wonderland. But at age 21, she finds herself trapped between the fantasy world created for her, and the restrictive Victorian world of Oxford, England – each with a very specific role she is expected to play. Then a chance meeting with Carroll after years of silence leads her down the rabbit hole again to the Mad Tea Party, where a seemingly casual suggestion by Carroll that she read Shakespeare’s The Tempest turns into a philosophical treasure hunt. With help from the Mad Hatter, March Hare, Dormouse and Cheshire Cat, Alice proceeds to act out the classic play in hope that it holds the key to her crisis of identity, and offers a way of dealing with her magical but complicated past.,Performances are at The Chapel, 6238 Alexander Drive. For more information: www.eventbrite.com.

Stages St. Louis presents the musical Ragtime September 20 – October 20. “At the dawn of a new century, everything is changing and anything is possible. A sweeping musical portrait of early twentieth-century America, RAGTIME, tells the story of three families united by courage, compassion, and a belief in not only the American dream, but the promise of tomorrow. Told through a dazzling array of musical styles from the era, this Tony Award-Winning musical is bursting with emotion and hope as the surprising interconnections of the heart are discovered and history’s timeless contradictions of wealth and poverty, freedom and prejudice, and hope and despair are confronted.” 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.

St. Louis theatre calendar for the week of September 9, 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

Blues in the Night
Photo: Keshon Campbell

The Black Rep presents the musical Blues in the Night through September 22. “This dynamite, dramatic revue thrills us with the universal language of the blues. The soul of the blues wails out full and strong in Blues in the Night, a scorching, Tony-nominated musical! The 26 hot and torchy numbers that tell of the sweet, sexy, and sorrowful experiences that three women have with the lying, cheating snake of a man who does them wrong will leave you energized, inspired, and ready to wail.” Performances take place at the Edison Theatre on the Washington University campus. For more information: www.theblackrep.org.

The Greenfinch Theatre and Dive presents the regional premiere of Toothpaste and Cigars by TJ Dawe and Mike Rinaldi Friday and Saturday at 7:30 pm and Sunday at 2 pm. “Starring Jozette Spaid and Greenfinch's own Colin Healy, TOOTHPASTE AND CIGARS, the play that inspired the 2013 Daniel Radcliffe rom-com "What If?", follows two friends and the movies about running through airports, refrigerator magnets, fried peanut butter sandwiches that might possibly turn them into lovers. Elisabeth Wurm (former founder of Silhouettes Production Company) produces & directs the heartwarming show.” The Greenfinch Theatre and Dive is at 2525 South Jefferson. For more information: www.purplepass.com.

Trayf
Photo: Sarah Rodgers

New Jewish Theatre presents Trayf Thursdays at 7:30 pm, Saturdays at 4 and 8 pm and Sundays at 2 pm, September 12 - 29. “Zalmy lives a double life. By day, he drives a Chabad “Mitzvah Tank” through 1990s New York City, performing good deeds with his best friend Shmuel. By night, he sneaks out of his orthodox community to roller-skate and listen to rock and roll. But when a curious outsider offers him unfettered access to the secular world, is it worth jeopardizing everything he’s ever known? This road-trip bromance is a funny and heartwarming ode to the turbulence of youth, the universal suspicion that we don’t quite fit in, and the faith and friends that see us through.”  Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

New Line Theatre presents the rock musical American Idiot, based on the album by Green Day, September 12 through October 5. “Lost and disconnected in a post-9/11 America, three friends, Johnny, Tunny and Will, struggle to find meaning in their lives. The three men flee the constraints of their hometown for the thrills of city life, but their paths quickly diverge as Tunny enters the armed forces, Will is called back home to attend to a pregnant girlfriend, and Johnny descends into an urban underworld, following a seductive love interest and a deadly new friendship. As each of the three learns to navigate his "alienation," we see in them America's struggle to find a new path in this new millennium, after a long period of darkness.” Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com.

The St. Louis Writers Group presents the first of three rounds of its annual Playwright Slam Event on Monday, September 9, at 6:30 pm. “Get ready for a night of fun impromptu theater. The order of scripts to be read will be chosen at random. Each script will be given a five minute read, and rated by a panel of judges based upon audience reaction. The judges will select several plays to move on to round two which will be ten minutes of the same script, from which a winner will be chosen.”  The reading takes place at Square One Brewery and Distillery in Lafayette Square.  More information is available at the St. Louis Writers Group Facebook page.

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.