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.

Minterview: Emily Bergl

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[Minterview = mini-interview]

The Presenters Dolan present "Emily Bergl: Until The Real Thing Comes Along" Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. Most widely known for her roles on television and in film—as Rachel in "The Rage: Carrie 2," Beth on "Desperate Housewives" and now on "Shameless—as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves.

She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's. I ran a few questions by her about her eclectic approach to the genre.

Q: It has been said that cabaret, as an intimate art form, is closer to film than theatre. You've had lots of film and TV experience. How do you think this informs your cabaret work?
A: I consider myself a character actor, so no matter what I'm working on I try to transform into a different person each time. Cabaret gives me the opportunity to bring all those characters together in one show. You never know who might show up, from a country girl to a Russian aristocrat.

Q: In September of 2011, The New York Times called your 2010 show "Kidding on the Square" "a gust of fresh air that could knock you off your feet." What is it about your approach to cabaret that sets it apart from more traditional shows?
A: What sets apart my cabaret show is that I'm presenting a complete evening of entertainment with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!

Q: You already had a pretty busy stage and screen career before you started doing cabaret. What got you started down that path?
A: I was inspired to create my own show because it seems like a lot of people don't even know what cabaret is anymore. I want to reintroduce this wonderful art form with music that's relevant while still honoring the classics. Modern day life can be very isolating; I think we're all craving the kind of intimate experience you get in an evening of cabaret.

Emily Bergl with Jet Li for Habitat for Humanity
Chiang Mai, Thailland

Q: I see you're heavily involved with Habitat for Humanity. How did that happen?
A: I became involved with Habitat for Humanity because I've been a huge Jimmy Carter fan ever since I was fifteen years old. I've built houses in Borneo, Thailand, DC, NYC, Pascagoula, Charlotte, Los Angeles, you name it. Last year I even got to sing “Aint' Misbehavin'” for President Carter himself

Q: Is there anything you think the audience needs to know about your show before they come to see it?
A: All the audience needs to know is that they're going to have a fabulous time! You don't have to know anything about my show to enjoy it, but you will definitely recognize some of the songs no matter where your musical taste lies. We do everything from Billie Holiday to Blondie. And if possible it's best enjoyed with a cocktail or two.

For more information on Emily Bergl's appearance at the Gaslight Cabaret Festival: gaslightcabaretfestival.com.