Review: The happiest season of all

The Blue Strawberry Showroom and Lounge unwrapped an early Christmas present for St. Louis audiences last night (December 5) with a jazz-inflected holiday show by local singer/actress/educator Debby Lennon that definitely made the evening (in Irving Berlin's words) "merry and bright."

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

Debby Lennon at the Blue Strawberry

"My Favorite Christmas" combined two dozen seasonal songs from the Great American Songbook and Broadway with a sprinkling of traditional favorites to produce a tasty holiday treat that went down quite well with an enthusiastic audience.

Backed up by a combo of Nick Schlueter on piano, Jeremy Pfeffer on bass, and Joe Weber on drums, Ms. Lennon's flawless voice rang out loud and clear, while her ebullient stage persona (which bears a striking resemblance to her ebullient offstage persona) won the audience over from the very first notes of her opening medley of "The Most Wonderful Time of the Year," We Need a Little Christmas" (from "Mame"), and Irving Berlin's "Happy Holiday" (from "Holiday Inn," where it's actually performed on New Year's Eve).

When she enthusiastically told us a bit later that "Christmas songs make me high," she was just confirming what was surely obvious to everyone: that she was having a great time up there and wanted all of us to be a part of it. You could see that in her happy interactions with the band and in the polished assurance with which she delivered each number, be it comic novelties like "Never Fall in Love (With an Elf)" (a hilarious song from a forgettable musical) or the sentimental 1970 Carpenters classic "Merry Christmas, Darling," dedicated to her husband.

Stringing this all together were personal reflections on Ms. Lennon's own Ghosts of Christmases Past that went deep enough to provide context without ever descending into the "this is my life" school of cabaret that erroneously assumes everyone else finds the intimate details of your biography as interesting as you do.

So, for example, her comments about past dating failures were just detailed enough to provide background for the "Elf" song without slopping over into "too much information" territory, and her thoughts about spending the holidays without loved ones who have moved on to the Grey Havens told us just enough to set up the medley of what she called "sad Christmas ballads": "I'll Be Home for Christmas" and "Have Yourself a Merry Little Christmas."

Debby Lennon at the Blue Strawberry

True to the show's jazz roots, the band was featured prominently. That included a purely instrumental medley of "O Christmas Tree" and "God Rest Ye Merry, Gentlemen" during which Ms. Lennon retired to the sidelines and turned the stage over to them. The medley gave all three band members a chance to show off, with some smokin' solos, especially from Mr. Schlueter and Mr. Pfeffer, who also did the arrangements for the show. Not every performer is that generous with her time.

At just under 90 minutes, "My Favorite Christmas" was perhaps a bit on the long side, but there were so many entertaining moments that it hardly mattered. Some of my favorites included her take on the manic version of "Jingle Bells" Jack Gold and Marty Paich created for Barbara Streisand's 1967 "A Christmas Album" and her smoldering "Santa Baby," as well as a "White Christmas" that sounded a bit more provocative than Mr. Berlin might have had in mind.

Debby Lennon now moves on to her next theatrical project, Max and Louie Productions' local premiere of Joanna Murray-Smith's one-woman play "Songs for Nobodies" in January 2020. Meanwhile entertainment, seasonal and otherwise, continues at The Blue Strawberry pretty much every weekend; check out their calendar for details. St. Louis's newest cabaret space boasts clean sightlines, excellent sound, and a small but very well balanced food and drink menu. It's a welcome addition to the local scene, to say the least.

Concert Review: Dreamy Shakespearean music with Hans Graf and the St. Louis Symphony February 27 and 28, 2016

Hans Graf

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We call it a soundtrack now, but back before movies and recorded sound the music that accompanied a dramatic presentation was performed by live musicians and was known as "incidental music." This weekend, as part of its ongoing Shakespeare Festival, the St. Louis Symphony and guest conductor Hans Graf gave us sterling performances of a couple of excellent examples from the mid-nineteenth century.

[Find out more about the music with my Symphony Preview.]

The concerts opened with a brief (six-movement) suite from the score Gabriel Fauré wrote in 1889 for an Odéon Theatre production of "Shylock," a verse adaptation of Shakespeare's "The Merchant of Venice" by the playwright and poet Edmond Haraucourt. The play, which (its title notwithstanding) emphasized the romantic subplot over Shylock's tragedy, quickly dropped from sight. Fauré's music has fared little better and, in fact, this weekend marked its first appearance on the Powell Hall stage.

DeWayne Trainer

It's engaging music, though, painted with the sonic equivalent of pastels and shot through with some lovely instrumental details. Concertmaster David Halen, for example, had elegant solos in the second movement "Entr'acte" and the fifth movement "Nocturne," which accompanies a moonlit love scene in Portia's garden. The winds and brasses also acquitted themselves well in the "Entr'acte" with the noble music that accompanies the entrance of Portia's suitors, and harpists Allegra Lilly and Megan Stout helped set the dreamy atmosphere in the opening "Chanson".

That "Chanson" was the first of two languorous love songs Fauré wrote for the play, and tenor DeWayne Trainer delivered them with great feeling, along with a real sense of what program annotator Paul Schiavo calls Fauré's "quiet rapture." Mr. Graf conducted with a sure hand, bringing out all the delicate shades of this shimmering score.

Maureen Thomas

The main event this weekend, though, was the complete incidental music that Mendelssohn wrote for an 1843 production of Shakespeare's comedy "A Midsummer Night's Dream." The "Overture," "Scherzo," "Nocturne," and (especially) the "Wedding March" are well known, of course, but the rest of the hour or so of music Mendelssohn wrote is rarely heard, probably because it's so closely integrated with the text. Out of that context, some of the brief music cues can sound like disconnected snippets.

Maestro Graf's solution to that problem was to collaborate with playwright John Murrell and Canadian actress Maureen Thomas to create a kind of mini-version of the play in which Ms. Thomas plays all ten of the principal roles, skillfully switching between characters with small but clearly delineated changes in voice, body language, and even accent. Ms. Thomas appeared with the symphony this weekend, turning in a bravura performance that made for a very entertaining evening. The use of special blue lighting and a darkened stage for the "fairy land" sequences were also very effective.

Debby Lennon

Mendelssohn included music for two of the songs in Shakespeare's text: "You spotted snakes," which the fairies sing as a lullaby for their queen Titania in Act II, and "Through the house give gathering light," based on short speeches by Titania and Oberon in the final act. They're irresistibly melodic and were impeccably sung by the women of the St. Louis Symphony Chorus and soloists Laurel Dantas and Debby Lennon. Although both women are sopranos, Ms. Lennon's voice has a rich lower register, which made for a nice contrast with Ms. Dantas's lighter sound. The singers all skipped on and off the stage for their scenes just like the fairies they portrayed, producing some nice chuckles from the audience.

Mr. Graf found lots of interesting moments and elegantly shaped phrases in this music, especially in the coda of the "Overture," and his "Scherzo" was noticeably fleet-footed. He took it at a tempo that might have been risky with a less capable orchestra, but there were no such concerns here. This was, overall, a very coherent and dramatically effective reading.

Laurel Dantas

Mendelssohn's transparent orchestration gives individual members of the band many opportunities to take the spotlight. A couple that stood out for me were provided by Roger Kaza's horns in the "Nocturne" and the duo of Principal Clarinet Scott Andrews and Principal Bassoon Andrew Cuneo in the droll "Funeral March" that accompanies Bottom's absurdly overacted play-within-a-play death scene.

The St. Louis Symphony's Shakespeare-themed concerts continue next weekend as Gilbert Varga conducts the orchestra in selections from Prokofiev's ballet "Romeo and Juliet" and Tchaikovsky's rarely heard "Hamlet" overture. The program includes Shostakovich's "Piano Concerto No. 2 with Denis Kozhukhin as the soloist. Performances are Saturday at 8 p.m. and Sunday at 3 p.m., March 5 and 6; visit the SLSO web site for details.