Preview: Donna and Shirley invite you to "Say Yes."

L-R: Shirley Aschinger and Donna Weinsting

On Saturday June 15th at 8 pm, The Presenters Dolan offers "Say Yes," an unusual if not downright unique cabaret evening featuring actress Donna Weinsting and storyteller Shirley Aschinger. St. Louis cabaret luminary Ken Haller directs the show, with music direction by Webster University's Carol Schmidt. The performance takes place at the Kranzberg Arts Center in Grand Center. I talked with them about their upcoming cabaret adventure.

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Chuck Lavazzi (CL): You two have very different backgrounds as far as performing goes. Donna has a long career here as a stand-up comic and actress but Shirley just got the performing bug relatively recently. How did you meet?

Shirley Aschinger (SA): Chuck, I met you and Donna in the 2008 Cabaret Conference. You sang "The Vatican Rag" and Donna sang "The Way We Were". I sang "I Whistle A Happy Tune". It was my first time on stage since college. Like Donna, I had been singing, dancing and performing all of my life, but in my case it was to my overflowing imaginary audience. After I did the patter, and sang "Whistle", my friend of thirty years said, "I didn't know you did stand-up!" My answer, "I've been doing stand-up for years, but at four foot ten inches, who knew?"

CL: What made you decide to team up for a cabaret show?

Donna Weinsting (DW): When we met at the Cabaret Conference, I immediately felt Shirley was a kindred spirit and a fellow "golden oldie". I knew Shirley would like to break free and have her own cabaret and I thought doing it together would be a great way to break the ice and be a whole lot of fun for us both.

SA: The idea for this show began November 9, 2018. We were at the West End Grill having dinner, awaiting Katie Dunne McGrath's "Favorite Aunt of the Year" show at the Gaslight Theatre. Donna pulled up a chair next to me, sat down and said, "It's Hell to get old." I said, "I'm way older than you are and I feel fine." We talked a bit about getting older, and then she said, "We ought to do a show together!" I looked behind me to see who she was talking to. Oh, my goodness, Donna was talking to me. Even then, I thought that was just something to say pre-cabaret show, like "Let's do lunch", but a few weeks later I found out she was serious.

WOW! It has been a ball getting to know Donna better, and with Ken Haller, and Carol Schmidt, what could possibly go wrong?

CL: Yeah, Carol is a pretty amazing music director and arranger. I've known Ken for years as an actor and singer. What's he like as a director?

SA: This is my first experience with any show director, so I have no one to compare him to, other than the conference directors, - then again, as all of us know, Ken is beyond compare. Ken is organized, a quick problem solver, a pro on and off stage, and engaging with an eager smile, and facial expressions that would fill a phone book. He understands comedy, and how and why it works. Ken Haller and fun seem to go together nicely. I couldn't be happier working with Ken.

I can't remember when I started working with Carol - always a joy to have her get me ready for the Cabaret Conferences.

DW: Ken is a delight as a director. We have fun and he has great ideas that help make us better. He is a caring and excellent pediatrician and can use that bedside manner in handling a couple of women in their second childhoods. Lastly, as a seasoned and very talented cabaret performer he knows how to craft a show to showcase talent in the best possible way. Love our Ken!

CL: The title of the show is "Say Yes." Who picked that title and what does it mean for each of you?

DW: "Say Yes" is a song Shirley has In her repertoire and seemed perfect to us as life affirming and a battle cry as we enter the last leg of our journeys. We are saying yes to life, challenges and making dreams come true.

SA: Originally, I chose the song to sing as a solo. The lyrics spoke to me, because I was saying YES to so many things I never dreamed of even saying MAYBE to. I was saying yes to Cabaret, to Open Mike Night, to storytelling, to writing patter, to writing a story about my father that was published in Joe Holleman's book in 2009 called "Rollin' On The River - The Story Of The Admiral In St. Louis." By their actions on one evening cruise, in 1943, the Admiral saved my father's life.

In a similar way, I believe Cabaret saved mine, or certainly expanded it in a spectacular fashion. My surviving cancer gave me the courage to say YES to life in so many ways. I began at seventy-three, saying YES to the next song, the next Cabaret Conference, and knowing and partying with so many lovely people.

Most people my age are searching for a funeral director, so finding a show director named Ken, and playing with Carol, Donna and Ken in the Cabaret Sandbox, sounded much more exciting. Ken chose "Say Yes" as the show title, and thought it would be great as a duet. We agreed.

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For more information on "Say Yes," visit Metrotix.com.

Review: Lucky charms

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

Bob Wetzel and the band

Bob Wetzel has been a lucky guy, a fact that cropped up as a recurring theme in his solo cabaret debut "Facing the Music," which had its first public performance last Saturday (May 12, 2019) at the Kranzberg Center.

The "wild winds of fortune" blew him a prosperous career in banking and then, late in life, a chance to follow the dream of public performance that he had pursued in college but was obliged to abandon for more quotidian concerns. It led to a dissolved marriage, the sheer terror of dating late in life, and finally the emergence of his inner cabaret star.

All this was described not so much in Mr. Wetzel's patter, which was minimal, as in his set list. It was a smart choice. He and his director Tim Schall--a cabaret performer and teacher with an impressive resume of his own--put together a perfectly paced show that told Mr. Wetzel's story in song rather than words, with the patter providing just the bare minimum of background to link everything together.

The evening started out with a medley of two songs closely associated with Fred Astaire, "Let's Face the Music and Dance" and "Change Partners." It was the first of a series of jazzy arrangements by music director/pianist Carol Schmidt, impeccably played by Ms. Schmidt and her fellow musicians Ric Vice (bass), Kevin Gianino (drums), and Steve Schenkel (guitar).

Taken together, the lyrics reflected on the inevitability of change and the importance of taking joy in the here and now--an idea reinforced by the following medley of "Luck Be a Lady" (from "Guys and Dolls"), "It's Today" (from "Mame"), and the Cole Porter standard "Just One of Those Things." That last song changed meaning in this context, making it more of a reflection on life's randomness than a wistful rumination on lost love.

Carol Schmidt

And so it went for the next hour or so, with a succession of individual songs and insightfully arranged sets taking us through Mr. Wetzel's transformation from straight-laced banker to unbuttoned cabaret singer. Dave Frishberg's "I'm Hip," for example, got additional parody lyrics added at the beginning ("I'm stiff") to reflect the decision to take that leap of faith. The changes in Mr. Wetzel's romantic life were illustrated in a long set beginning with the 1960 Sinatra's "Nice and Easy" and ending with a lovely mix of Simon and Garfunkel's "For Emily" and "Like a Lover," the English-language version of "O Cantador," first recorded by Sergio Mendes in 1968.

Probably the most unexpected set was a combination of Johnny Mercer's "Something's Gotta Give" and James Taylor's "Steamroller Blues." Taylor wrote the song as a parody, and Mr. Wetzel gave it just the right touch of ironic detachment, balanced by Mr. Schenkel's solidly rock and roll guitar solo. It was a delightful surprise, and much appreciated by the packed house.

Mr. Wetzel sang all of this with that same combination of suave assurance and personal charm that he displayed in his first cabaret outing "A Fine Bromance," a duet show with his long-time friend Craig Becker. It's never too late to deal yourself into the cabaret game, and Mr. Wetzel is a welcome addition at the table.

I should note, for the record, that Mr. Wetzel and I both sit on the board of The Cabaret Project, a local non-profit. I know Carol Schmidt and Tim Schall professionally as well.

"Facing the Music" was presented by Robert Breig's Mariposa Artists. A solid singer in his own right, Mr. Breig has been instrumental in recent years in bringing many local and national singers to the St. Louis scene. Check out the Mariposa Facebook page for information on upcoming shows.

Review: Old friends, new cabaret

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

Bob Wetzel and Craig Becker

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"What do you say, old friend, are we or are we unique?" So runs the lyric of Sondheim's "Old Friend," the song that, in combination with Simon and Garfunkel's "Old Friends," served as the opening number in "A Fine Bromance," the new show by Bob Wetzel and Craig Becker presented by Mariposa Artists July 13th.

It was a perfect choice because, while their decades-long friendship may not be unique it is, at least, rare. And it informed every minute of this unfailingly charming evening.

That opening number was just a bit deceptive in that it began with the two singers seated with their backs to each other, dimly lit, as they wistfully sang Simon and Garfunkel's melancholy lines ("Old friends, winter companions, the old men / Lost in their overcoats, waiting for the sun"). But then they turned face to face, the lights brightened and the tempo quickened. They smiled as if reconnecting for the first time in years and launched into a breezy run through the Sondheim.

That set a celebratory tone the show maintained to the end, with just the right number of ballads for contrast.

Indeed, under the knowing direction of Lina Koutrakos, a cabaret legend in her own right, Mr. Wetzel and Mr. Becker assembled an exceptionally well-balanced mix of show tunes old and new, some Great American Songbook standards, and even pop classics like James Taylor's "The Secret of Life," a thoughtful performance of which brought the show to a close. Each selection was carefully tailored to the strengths of its respective performer by the evening's music director and pianist, the infallibly creative Rick Jensen. The result was an example of what a well-turned-out cabaret evening should be.

Messers Wetzel and Becker provided a nice balance of performing styles as well. Mr. Wetzel was the "old smoothie" of the duo, delivering standards like "Moonlight in Vermont" with suave assurance. Mr. Becker, in contrast, proved a dab hand at lyric-heavy comedy numbers like Kander and Ebb's "Coffee in a Cardboard Cup" and Maltby and Shire's trenchant commentary on breaking up, "You Want to be My Friend?" When they sang together, whether on self-deprecatingly funny numbers like Jerry Herman' s "Elegance" or on easy-going standards like Simon and Garfunkel's "59th Street Bridge Song," they had the cozy camaraderie that comes from long acquaintance.

L-R: Rick Jensen, Bob Wetzel, Craig Becker
Photo by Gerry Love

In fact that lifelong friendship, during which Mr. Wetzel and Mr. Becker have managed to combine successful careers in the business world with after-hours lives as actors and singers, was the main theme of "A Fine Bromance." The biographical details sprinkled throughout the show were just substantial enough to provide a narrative thread without ever deteriorating into the cabaret equivalent of home movies.

Their stories also allowed them to personalize their songs and make the lyrics their own. Mr. Becker preceded his high-wattage performance of Sondheim's "Everybody Says Don't," for example, by talking about how, as a young man, he decided to take a life path different than the one he was expected to follow. It turned a song about challenging authority into a kind of personal declaration of independence. In the same vein, Mr. Wetzel put a personal spin on his rendition of "Luck Be a Lady" by talking about how important luck has been in his life.

"A Fine Bromance" had only one performance at the Kranzberg Center here in St. Louis, but New York cabaret lovers will be able to see it at Don't Tell Mama on September 30th; visit their web site for more information. For upcoming Mariposa Artists shows, visit their Facebook page.

Chuck's Choices for the weekend of May 29, 2015

As always, the choices are purely my personal opinion. Take with a grain (or a shaker) of salt.

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New This Week:

Anthony and Cleopatra

Shakespeare Festival St. Louis presents Shakespeare's Anthony and Cleopatra nightly except for Tuesdays June 14. Performances take place in Shakespeare Glen next to the Art Museum in Forest Park. Curtain time is 8 PM. For more information, visit shakespearefestivalstlouis.org.

My take: As I write in my review for OnSTL.com, Shakespeare Festival St. Louis is producing a deftly edited and superbly acted production of this late Shakespeare tragedy/comedy/history. This isn't the easiest play to do, and other companies have stubbed their toes on it in the past, but under Mike Donahue's expert direction this fine cast does very well with material that is dramatically complex and open to a wide variety of interpretations. You can sit on the grass for free, but personally I recommend springing for one of the $20 reserved seats. That's still plenty cheap for theatre of this quality.

Emily Fons as Rosina and
Dale Travis as Dr. Bartolo
Photo: Ken Howard

Opera Theatre of St. Louis presents Rossini's comedy The Barber of Seville in rotating repertory with three other operas through June 27. "There's a good reason it's one of the world's most popular operas! Rossini's zany and sparkling score sets the gold standard for opera that is fresh, elegant, funny, and brimming with vocal fireworks. Delight as the young barber Figaro helps Count Almaviva steal the beautiful Rosina from under the nose of her doddering guardian." Performances take place at the Loretto-Hilton Center at 135 Edgar Road on the Webster University campus. All performances are sung in English with projected English text. For more information: experienceopera.org or call 314-961-0644.

My take: As I write in my review for KDHX, everyone connected with this production can congratulate themselves on a job well done. Taking as his point of departure the animated and colorful films of Spanish director Pedro Almodóvar, Mr. Shell has produced a loopy, slightly surreal, and highly engaging take this comic opera classic. The updated bits are always funny and sometimes inspired. And there aren't so many of them that they pull focus from the singers and the text and score of the opera. This is a production that respects the intelligence of its audience and doesn't assume that we need to be constantly distracted in order to be entertained.

Ben Watts

The Kranzberg Arts Center presents Wonderful Enough: Ben Watts Sings Cole Porter, Noel Coward, Jerry Herman, Peggy Lee, and More on Saturday, May 30, at 8 p.m. Carol Schmidt is music director and pianist for the program, which is directed by Tim Schall. The Kranzberg Center is at 501 North Grand in Grand Center. For more information: benwatts.brownpapertickets.com.

My take: As I say in my preview article, a well-constructed cabaret act is ultimately a kind of one-act play, which is why actors—who have the advantage of understanding dramatic form—often create some of the best cabaret. Mr. Watts has shown that he can do both comedy and drama, and his appearances at The Cabaret Project's open mic nights (which I host) have been very impressive. And, of course, Tim Schall and Carol Schmidt are cabaret pros of considerable standing themselves. This is likely to be an auspicious debut.

Held Over:

My Mother's Lesbian Jewish Wiccan Wedding
Photo: Eric Woolsey

New Jewish Theater presents the musical My Mother's Lesbian Jewish Wiccan Wedding May 7-31. "The surprise hit of both the Toronto Fringe Festival and New York Musical Theater Festival, My Mother's Lesbian Jewish Wiccan Wedding is the sweet, tuneful and true story of the journey of the playwright's mother as she discovered her true self. Despite its specific title, MMLJWW is a universal story about parents and children, falling in love, and finding out who you are. It has heart and soul and in today's political climate, it couldn't be more timely - plus, it's a TRUE STORY!" Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

My take: As I wrote in my review for KDHX, David Hein and Irene Sankoff's unapologetically autobiographical musical is a pleasant and pleasing little show. It's so light that a stiff breeze would blow it away, but its heart is in the right place, which counts for a great deal. Ed Coffield has assembled a great cast and directed them well. Sets and costumes are bright and colorful and the on-stage band is solid. When I saw it on its opening weekend it was sold out, so you might want to order tickets sooner rather than later.

Cabaret Preview: Ben Watts' "Wonderful Enough" at the Kranzberg, May 30, 2015

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Cabaret, according to local cabaret pro Ken Haller, is the art of telling stories through song—which means it's a form of theatre. A well-constructed cabaret act is ultimately a kind of one-act play, which is why actors—who have the advantage of understanding dramatic form—often create some of the best cabaret.

Which brings us to "Wonderful Enough," the cabaret debut by local actor Ben Watts this Saturday, May 30, at the Kranzberg.

I first became aware of Mr. Watts' talent back in July of 2009 when we both appeared in Stray Dog Theatre's "Rocky Horror Show" (him as Riff Raff, me as the Narrator). He had an obvious gift for comedy and a clear, high tenor voice that had what the late Anna Russell once referred to as "a good cutting edge"—very helpful given the then-primitive state of Stray Dog's sound system (it has since gotten a lot better). His performance as Prior Walter in Stray Dog's "Angels in America" in April of 2012 demonstrated that he could handle dramatic material as well.

Carol Schmidt

Over the last few months, Mr. Watts has been making regular appearances at The Cabaret Project's open mic night at the Tavern of Fine Arts (which I host), where he has demonstrated that he can sell a ballad as well as a novelty number. You'll find plenty of both in his show this weekend, and if the rehearsal I attended on Tuesday is any indication, his performances will be solid.

I came in towards the end of the run through, so I missed some (but by no means all) of the comedy numbers. The set of ballads I saw, though, was pretty impressive. It began with a blues-infused "St. James Infirmary" (complete with a bit of Leon Redbone vocalise) before moving on to Kurt Weill's world-weary "Barbara Song" (from "Threepenny Opera") and finally a beautifully operatic arrangement by music director and pianist Carol Schmidt of Jim Steinman's "Total Eclipse of the Heart."

Tim Schall

At that point, a break in the mood was required, and I got one in the form of Cole Porter's classic "Let's Do It"—introduced with a short and very funny monolog about the trials of gay dating in the 21st century.

I don't want to go into too much detail, since part of the fun of a cabaret show lies in the element of surprise. So I'll just say that if what I heard Tuesday is any indication, "Wonderful Enough" will be a welcome debut, and an important addition to the ever-expanding cabaret scene in St. Louis. Mr. Watts, Ms. Schmidt, and director (and local cabaret pro) Tim Schall appear to have put together a very solid evening with a well-balanced song list that cuts across multiple genres.

Ben Watts' "Wonderful Enough" is this Saturday, May 30, at 8 p.m. at the Kranzberg Center, 501 North Grand in Grand Center. For more information, visit the show web site.