St. Louis theatre calendar for the week of January 25, 2016

[Looking for auditions and other artistic opportunities? Check out the St. Louis Auditions site.]

For information on events beyond this week, check out the searchable database at the Regional Arts Commission's events web site.

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The Bissell Mansion Murder Mystery Dinner Theatre presents And Away You Go through March 27. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com.

The Looking Glass Playhouse presents the musical comedy Avenue Q Wednesdays through Sundays January 28 - February 7. "The laugh-out-loud musical tells the timeless story of a recent college grad named Princeton who moves into a shabby New York apartment all the way out on Avenue Q. He soon discovers that although the residents seem nice, it's clear that this is not your ordinary neighborhood. Together, Princeton and his new-found friends struggle to find jobs, dates, and their ever-elusive purpose in life." The show is recommended for mature audiences. Performances take place at 301 West St. Louis Street in Lebanon, Ill. For more information, visit www.lookingglassplayhouse.com.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Clueless through April 16. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com

Newsies
Photo: Deen van Meer

The Fox Theatre presents the musical Disney's Newsies running through January 31. " They delivered the papers, until they made the headlines. Direct from Broadway comes NEWSIES, the smash-hit, crowd-pleasing new musical from Disney. Based on true events, NEWSIES tells the captivating story of a band of underdogs who become unlikely heroes when they stand up to the most powerful men in New York. It's a rousing tale about fighting for what's right...and staying true to who you are." The Fox Theatre is at 517 North Grand in Grand Center. For more information, fabulousfox.com or call 314-534-1678. Read the 88.1 KDHX review!

Hard Road Theatre Productions presents Drinking Habits 2 running through January 30. "Set in the present day outside the small town of Shady Glenn, USA, Drinking Habits 2 follows the misadventures of the Sisters of Perpetual Sewing and their friends. An orphanage with a strong connection to the convent is in danger of closing unless $5,000 can be raised in four weeks. In order to raise the needed funds, the convent decides to perform a play written by Mother Superior. Meanwhile, the other nuns of the convent agree to make a secret batch of their award-winning wine to sell to supplement the play's proceeds. But when Mother Superior believes she's had a holy vision, the lead male actor can't remember his lines, and the woman playing the Blessed Mother can't stop her uncontrollable cravings because she's pregnant with twins, things are thrown into chaos and everything that can go wrong does just as the curtain rises." Performances will be held at Highland Elementary Auditorium, 1800 Lindenthal Ave., Highland, IL. For more information: www.hardroad.org.

Georama
Photo: Peter Wochniak

The Repertory Theatre of St. Louis presents the world premiere of the musical Georama through February 7. "In the mid 1800s, John Banvard created the first georama, a three-mile long scrolled painting celebrating the majesty of the Mighty Mississippi. Once a starving sketch artist, his creation catapulted him to a life of luxury and notoriety, but also brought competition and deception that threatened to push his passion to the wayside. Georama illustrates an artist's rise and fall, and the choice between the art he loves and the life he's always longed for." Performances take place in the studio theater at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Circus Harmony presents Giocoso Saturdays at 2 and 7 PM and Sundays at 2 PM, through January 31. Performances take place at City Museum, 701 N. 15th Street. Show admission is free with museum admission. For more information: circusharmony.org.

Alpha Players present the drama Good People January 29 - February 7 at The Florissant Civic Center Theater, Parker Rd. at Waterford Dr. in Florissant, MO. "In South Boston, this month's paycheck covers last month's bills, bingo is a night out on the town, and single-mom Margie Walsh has lost her job again and is a Bingo game away from homelessness. She reaches out to an old flame from her youth - now a successful doctor - Margie risks everything to find her fresh start in this humor - filled drama, from Pulitzer Prize winner David Lindsay-Abaire, about how the twists and turns of life are fated to determine our path." For more information: alphaplayers.org or call 314-921-5678.

The Improv Shop presents Heartbreak opening on Saturday, January 30, at 7 p.m. and running through March 19. "Heartbreak is an improvised serial show where we explore, in depth, the stages of doomed relationships. Watch characters go from strangers to friends, friends to lovers, and from lovers to heartbreakers. Heartbreak. It doesn't happen all at once." The Improv Shop is at 510 North Euclid in the Central West End. For more information on this and other Improv Shop shows: theimprovshop.com.

Angela Sapolis

The Emerald Room at the Monocle and The Presenters Dolan present Angela Sapolis in I Couldn't Have Said it Better on Thursday, January 28, at 7:30 p.m. "A native of St Louis, Angela Sapolis has made a name for herself on stages from coast to coast, and as far away as Tokyo. "I Couldn't Have Said It Better" is a potent marriage of words and music, taking us on a journey through the peak experiences of life, guided by the wit and wisdom of the world's great thinkers, writers, and musicians. Angela is sincerely grateful to her mentor, teacher, and friend, the legendary Andrea Marcovicci, for her invaluable support in creating this show." The performance takes place in the Emerald Room at The Monocle, 4510 Manchester in the Grove neighborhood. For more information: buzzonstage.com/st-louis

Alton Little Theater presents the Neil Simon comedy Last of the Red-Hot Lovers Thursdays through Sundays through January 31, at 2450 North Henry in Alton, IL. " here is a rumor going around that in the 1960s any reasonable adult in search of casual sex could find it in a New York minute. But Neil Simon's Last of the Red Hot Lovers proves that there were exceptions, and the play brings back those days with a clear eye and a warm heart. A middle aged restaurateur begins to feel the desire to roam and decides to use his mother's apartment for his attempts at seduction. Only he learns that it is much more complicated and difficult than he could have imagined, and the problems which result are hilarious - a search for sexual freedom gone awry." For more information, call 618.462.6562 or visit altonlittletheater.org.

The Lion in Winter
Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents James Goldman's The Lion in Winter through January 31. "During Christmas of 1183, King Henry II of England plans to announce his successor to the throne. But in this amusing and high-spirited romp, other members of the royal family have their own opinions of who should be crowned king. As he feuds with his estranged wife, Eleanor, and attempts to navigate the minefield of his bickering sons, all of whom have a stake in the game, it's open season on the English throne, bringing a whole new meaning to dysfunctional family drama." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

The Monocle Varieté presents Le Nouveau Cabaret Fridays and Saturdays at 7, 9 and 11 p.m., through January 30. "A Parisian-inspired evening of song, Le Nouveau Cabaret brings to life a European tradition of cabaret featuring a creative cast of characters sizzling with risque style. Featuring Kyle Hustedt as emcee, James Dunse both as himself and his alter ego Drag Icon Jessica Leigh Foster, and STL piano mainstay Ron Bryant. Burlesque courtesy of Lola Van Ella Studios." The performances take place in the Emerald Room at The Monocle, 4510 Manchester in the Grove neighborhood. For more information: buzzonstage.com/st-louis

Million Dollar Quartet

Peabody Opera House presents the musical Million Dollar Quartet on Saturday, January 30. “Million Dollar Quartet is the Tony® Award winning Broadway musical, inspired by the electrifying true story of the famed recording session that brought together rock 'n' roll icons Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for the first and only time.” The Peabody is at 14th and Market streets, downtown. For more information, visit peabodyoperahouse.com or call 314-622-5420.

Dance St. Louis presents the Momix company Friday at 8 p.m. and Saturday at 2 and 8 p.m., January 20 and 30. "The irrepressible Moses Pendleton presents Alchemia, his new work for the dazzling dancer-illusionists of MOMIX. Just as he led audiences on a surreal journey through the four seasons inBotanica, Pendleton manipulates the four classic elements - earth, air, fire and water - in Alchemia to produce a show about the art of alchemy, and the alchemy of art. A multimedia spectacle,Alchemia bursts with beauty, daredevil thrills and playful humor. It's MOMIX at its most magical." Performances take place at the Touhill Performing Arts Center on the UMSL campus. For more information: dancestlouis.org.

The Monocle presents an open mic night every Mondays from 9:00pm to midnight. "Musical Theater actor? Cabaret singer? Balladeer? Beleter? Coloratura soprano? Crooner? Student? Teacher? Performer? Fan? Come on down and sing. All are welcome. Ron Bryant is your accompanist. Bring your sheet music"." The monocle is at 4510 Manchester in The Grove neighborhood. For more information: themonoclestl.com.

Upstream Theater presents Shining City by Connor McPherson, with live music by Farshid Soltanshahi, January 29 - February 14. "In 2003 in a modest Dublin office, a young ex-priest-turned-therapist is consulted by a well-off businessman with a terrible secret. How these characters change, and how they change each other, is the story-a story that will grip you and move you and make you laugh and send shivers down your spine." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

Sunset Baby
Photo: Stewart Goldstein

The Black Rep presents the drama Sunset Baby through January 31. "Kenyatta Shakur is alone. His wife has died, and now this former Black Revolutionary and political prisoner is desperate to reconnect with his estranged daughter." Performances take place at the Edison Theatre on the Washington University campus. For more information: theblackrep.org Read the 88.1 KDHX review!

The St. Louis Art Museum presents a high-definition video broadcast of the Metropolitan Opera's production Puccini's Turandot on Saturday, January 30, at 11:55 a.m. "Nina Stemme takes on the title role of the proud princess of ancient China, whose riddles doom every suitor who seeks her hand, opposite Marco Berti as Calàf, the brave prince who sings “Nessun dorma” and wins her love. Anita Hartig and Leah Crocetto share the role of Liù, the faithful slave girl. Franco Zeffirelli's golden production is conducted by Paolo Carignani." The live digital HD video broadcast from New York takes place in The Farrell Auditorium at the Art Museum in Forest Park. For more information: slam.org.

Underneath the Lintel
Photo: Eric Woolsey

New Jewish Theater presents the one-character play Underneath the Lintel by Glenn Berger January 28 - February 13. “A haunting, beautifully constructed one-person meditation on time and devotion. A returned library book, 113 years overdue with a clue scribbled in the margin and an unclaimed dry-cleaning ticket take the Dutch librarian on a life-changing quest with an obsession to find its owner. Our protagonist follows multiple clues- tickets to the Peking Opera, a love letter written in Yiddish - on a world-wide search that ultimately decodes the meaning of life. A metaphysical detective story that is funny and fierce, quirky and smart.” 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.

Cocktails and Curtain Calls presents The Weir, the award-winning play by Irish playwright Conor McPherson, Monday through Thursday at 8:00pm, Jan 25 to February 11. It will be the first local production to utilize the new Members' Project Code, under the auspices of the Actors' Equity Association. All profits from ticket sales go directly to the artists. Performances will take place at McGurk's Irish Pub and Dressel's in the Central West End. For details on performance times and locatsions, visit CocktailsandCurtainCalls.com.

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.

Dance Review: Nasville Ballet's "Carmina Burana" is even better the second time around

Photo: Marianne Leach

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Although usually presented as a concert piece, Carl Orff's 1936 "Carmina Burana" was always intended to be theatrical, with some mimed action and "magic tableaux." The first performance in Frankfurt in 1937 was fully staged, in fact, with dancers, sets, and costumes.

Photo: Heather Thorne

Nashville Ballet's "Carmina Burana," originally presented at the Touhill back in 2013, made an encore appearance there this past weekend, once again under the aegis of Dance St. Louis. With 40 dancers, 120 singers, and 60 musicians, including The University of Missouri-St. Louis Orchestra and Singers, The Bach Society of Saint Louis, and The St. Louis Children's Choirs, it was, once again, a stunning work of dance theatre that succeeded both as Spectacle and as Art.

The first (and least sexually explicit) of Orff's "Trionfi" trilogy of choral theatre works, "Carmina Burana" derives its title from an 1847 collection of secular poetry by anonymous authors from the 12th and 13th centuries that turned up in 1803 in the Benedictine monastery in Beuren, Germany. As befits their "vulgar" status, the poems celebrate not the theoretical joys of heaven but rather the practical ones of earth: spring, sex, food, sex, drink, gambling, and sex. They also recognize something that we moderns have lost track of, to our detriment: the heavy influence of blind chance on our lives. The setting of "Fortuna Imperatrix Mundi" ("Fortune, Empress of the World"), which opens and closes the work, reminds us that the wheel of fortune is always turning and that none of us should get too cocky, as the universe has a tendency to dope-slap the excessively smug.

Photo: Heather Thorne

Nashville Ballet Artistic Director and choreographer Paul Vasterling and visual designer Eric Harris emphasize that centrality of Lady Fortuna by making her a key character in the ballet. Fortuna begins and ends the evening surrounded by a massive, stage-filling "wheel of fortune" skirt that neatly establishes her dominance, but she also interacts with individual dancers to emphasize fate's capricious influence. Kayla Rowser was Fortuna in this revival, and she alternated beautifully between the faux-mechanical precision of the impersonal wheel and the seduction of Lady Luck.

This realization of "Carmina Burana" was, in fact, filled with striking images that beautifully complement the lyrics. Let me cite a few that will, I hope, give you a feel for the remarkable quality of what Mr. Vasterling, Mr. Harris, and the dancers accomplished.

Photo: Heather Thorne

For "In Taberna quando sumus" (labeled "The Drinking Song" here) the stage was filled with dancers in wine-red outfits reeling about in drunken but very precise abandon while the lyrics reeled off a list of the many types who come to the tavern to imbibe. The bird being roasted for dinner in "Olim lacus coleuram" (The Roasted Swan") was costumed all in white and danced entirely en pointe, as though trying to escape the flames. She was eventually surrounded in fiery red-on-white banners and carried off the stage by dancers in red. Katie Vasilopoulos danced the role this time with a sense of heart-rending distress.

The "Spring" section underscored the lyrical parallels between the awakening of the earth and the awakening of human desire with a succession of colorful and flirtatious dances. In "Floret silva nobilis" ("The Maypole"), for example, the dancers were costumed in spring-like pastels and, at one point, danced around a human Maypole. "Chramer, gib de varwe mir" ("More Joys of Spring") made the sex/spring parallel even more obvious with poses of adolescent sexual braggadocio and cheerful coupling.

Photo: Heather Thorne

I could go on, but you get the idea. The Nashville Ballet's "Carmina Burana" was a visual treat of the highest order.

Musically, "Carmina Burana" was noticeably more polished this time around than it was in 2013. Perhaps the best work came from the combined voices of the Bach Society and UMSL University Singers. Deployed on risers behind and to the sides of the dancers, they were powerful, to say the least. Elocution was quite impressive, given how widely separated the singers were, although I suspect audience members who were not familiar with the music might have benefited from projected text.

Soprano Stella Markou and tenor Tim Waurick repeated their roles from 2013. Ms. Markou had a bit of difficulty with that absurdly difficult coloratura moment in "Dulcissime" ("Sweetest One" in the program) but sounded great otherwise. And Mr. Waurick's roasting swan was, once again, one of the most dramatic I've heard. Baritone Adam Stefo turned in compelling performances of some very difficult music ("Dies, nox et omnia," with its rapid switch between falsetto and chest voice, is a real killer). His solo in "Ego sum abbas" ("The Bad Abbott") was a wonderful combination of skillful musicianship and theatricality, complete with drunken hiccups.

The St. Louis Children's Choir, deployed in box seats house right and left, were also most impressive, holding their own even through the tricky tempo changes towards the end of "Tempus est iocundum."

Photo: Heather Thorne

The UMSL University Orchestra, conducted by James Richards, sounded more robust and cohesive than they did back in 2013, a few minor brass intonation problems not withstanding. Orff's big brass and percussion sections had the proper impact, and more intimate moments like the "Round Dance" had just the right delicacy. Congratulations to them and Mr. Richards for a job well done.

The evening opened with "La Fontana," a new work choreographed by Dance St. Louis Artistic and Executive Director Michael Utoff to Bach's "Concerto for Violin and Oboe in C minor," BWV 1060, and performed by Saint Louis Ballet. As a choreographer, Mr. Utoff seems to have a remarkable affinity for Bach and an excellent eye for movement that creates visual analogs to the composer's musical structures. Four women costumed as classical Greek statues (ivory togas and coronets) suggested the fountain of the title, an image enhanced by their fluid movement. They were soon joined by three more colorfully costumed couples: the men in red-orange classical outfits and the women in flowing pastel gowns and long gloves. As the work progressed, the two groups began to interact, until, at the end, the couples became the fountain and the four women struck statuesque poses on the outside.

The movement enhanced and complemented Bach's music, in short, without trying to impose a story thread on it. It was a nice contrasting choice to the more literally narrative choreography of "Carmina Burana," just as Bach's chamber music was a well-chosen contrast to Orff's far more massive work.

Oboist Ann Homan and violinist Julia Sakharova were flawless in the solo roles, intertwining beautifully in Bach's elaborate counterpoint.

Dance St. Louis's Bach/Orff double bill will be over by the time you read this, of course, but I still want to congratulate them on bringing this crowd pleaser back for another appearance. Fully staged productions of "Carmina Burana" are rare, so the chance to see one of this quality was most welcome. The Dance St. Louis season continues with MOMIX in "Alchemia" at the Touhill January 29 and

Chuck's Choices for the weekend of February 27, 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:

Aspen Santa Fe Ballet
"Stamping Ground"

Dance St. Louis presents the Aspen Santa Fe Ballet Friday at 8 p.m. and Saturday at 7 p.m., February 27 and 28. "Considered one of the most cutting-edge, pioneering ballet companies in the country, Aspen Santa Fe Ballet has been dubbed "the classically trained company of the future." Composed of 11 young, talented top-flight dancers, Aspen Santa Fe Ballet is known as a gifted, sophisticated, versatile and technique-conscious company that pushes the boundaries by performing a diverse and engaging repertoire and by commissioning new works from some of the world's foremost established and emerging choreographers." Performances take place at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus. For more information: dancestlouis.org.

My take: Dance St. Louis has an impressive track record when it comes to attracting high-end companies to the Touhill. The Aspen Santa Fe troupe comes to town with plenty of rave reviews. Last October, the Pittsburgh Tribune called their show "intellectually stimulating, distinctively stylized and brilliantly performed" while the Cleveland Plain Dealer praised the company's "deft and inspired dancing." "It’s a company to savor," wrote the Boston Globe's Janine Parker of their appearance at the Jacob's Pillow festival lat August, "and I want to savor these dances, too."

Blues for Mr. Charlie
Photo: Whitney Curtis

The Performing Arts Department at Washington University presents Blues for Mr. Charlie, directed by Ron Himes, through March 1. "In this searing drama by James Baldwin, sex and racism explode in a small Southern town when a bigoted store owner kills a young black man and dumps his body on the side of the road. " The performances take place in the Edison Theater in the Mallinckrodt Student Center on the Washington University campus. For more information, call 314-935-6543 or visit pad.artsci.wustl.edu.

My take: Baldwin's surreal and Brechtian drama was written in 1964 but, as recent events have proved all too clearly, the ways in which black men are demonized as an excuse for racially motivated violence have not changed nearly enough to make this play a historical curiosity. Running nearly four hours and filled with polemics, this is not an easy play to watch, but it the issues it raises remain vital. "Not a perfect play but a powerful one," writes Bob Wilcox at KDHX, “Blues for Mr. Charlie is an important American drama." The production is directed by Black Rep artistic director Ron Himes.

Mariposa Artists presents In Concert: Classic Rock Reimagined and Unpluged on Saturday, February 28, at 8 p.m. "Featuring eleven very talented singers from the midwest and across the country, "IN CONCERT St. Louis" is a hot fusion of classic rock tunes and cabaret that brings past to present on the St. Louis stage for one night only." The show is features 11 local singers and directed by Lina Koutrakos with Rick Jensen on piano. The performance takes place at the Kranzberg Center, 501 North Grand in Grand Center. For more information: inconcertstl.brownpapertickets.com

My take: Lina Koutrakos is a cabaret star whose roots like in rock and blues and Rick Jensen is powerfully talented pianist and songwriter. I'm very familiar with ten of the eleven singers from my work on local cabaret stages and I'll guarantee that they're solid performers. Many of them have already developed their own shows and all have participated in showcases and in the Cabaret Project's open mic nights at the Tavern of Fine Arts. You can't go wrong here.

Or
Photo: Joey Rumpell, RumZoo Photography

Slightly Askew Theatre Ensemble presents Or by Liz Duffy Adams Wednesdays through Sundays at 8 p.m., through February 27. "Or, takes place (mostly) during one night in the life of Aphra Behn: poet, spy, and soon to be first professional female playwright. Aphra is desperate to get out of the spy trade. She has a shot at a production at one of only two London companies, if she can only finish her play by morning despite interruptions from sudden new love, actress Nell Gwynne, complicated royal love, King Charles II, and very dodgy ex-love, double-agent William Scot-who may be in on a plot to murder the king in the morning. Can Aphra save Charles' life, win William a pardon, resist Nell's charms, and launch her career, all in one night? " Performances take place at The Chapel Venue, 6238 Alexander Drive. For more information: slightlyoff.org.

My take: How can you resist a plot summary like that one? Stage Door St. Louis' Steve Allen calls it "a charming romp." "With an inventive style you might call Restoration Steampunk," says Judy Newmark at stltoday.com, "the Slightly Askew Theatre Ensemble has a lot of fun with its smart, sexy production of “Or,” a quasi-historical comedy by Liz Duffy Adams." The show has gotten some knocks for being an extended one-act, but it still sounds like fun to me.

Held Over:

Who's Afraid of Virginia Woolf?

St. Louis Actors' Studio presents Edward Albee's dark comedy Who's Afraid of Virginia Woolf? through March 1 at the Gaslight Theatre, 358 North Boyle. "George, a professor at a small college, and his wife, Martha, have just returned home, drunk from a Saturday night party. Martha announces, amidst general profanity, that she has invited a young couple-an opportunistic new professor at the college and his shatteringly naïve new bride-to stop by for a nightcap. When they arrive the charade begins. The drinks flow and suddenly inhibitions melt. It becomes clear that Martha is determined to seduce the young professor, and George couldn't care less. But underneath the edgy banter, which is crossfired between both couples, lurks an undercurrent of tragedy and despair. George and Martha's inhuman bitterness toward one another is provoked by the enormous personal sadness that they have pledged to keep to themselves: a secret that has seemingly been the foundation for their relationship. In the end, the mystery in which the distressed George and Martha have taken refuge is exposed, once and for all revealing the degrading mess they have made of their lives." For more information, call 314-458-2978 or visit stlas.org.

My take: This is a script that surely needs little introduction from me. Albee's play has become a modern classic and a corrosive commentary on the dark side of American life. "Over the course of a long, alcohol-fueled night, the script expertly cuts, saws and chews its way through secrets, insecurities, accusations and infidelities until, worn out by the explosive force of its final battle, the show finds a comfortable, if not necessarily stable, resting place," writes Tina Farmer at KDHX. "Director John Contini clearly understands the nuances and shades in the script and leads the actors at a relentless pace. The dialogue is sharply crafted and expertly delivered by the cast – the tension never ceases and the stakes are never high enough until they come crashing down."

Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Terrence Rattigan's The Winslow Boy through March 8. "When young Ronnie Winslow is expelled from military school for stealing a five-shilling postal order, his father wages an exhaustive fight to clear his son's name. What begins as a private matter quickly becomes a larger question of the rights of the individual against the power of the state. Though the legal battle jeopardizes his health and the reputation of the entire family, Arthur Winslow is determined that right will prevail, no matter what the sacrifice." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: Terrence Rattigan's work seems to have fallen into obscurity in the decades since his death in 1977. Which is a pity, as his better-known plays are very well-constructed pieces, filled with subtle touches and well-rounded characters. Appearing in Separate Tables several years ago at Act Inc reminded me of what great dialog and situations he wrote. We saw the show last weekend and I must say that director Steve Woolf and his forces are doing this play up proud. "A splendid cast and keenly sharpened direction," writes Chris Gibson at broadwayworld.com, "combine to provide a very compelling piece of theatre." "The show is thoughtfully directed by Steven Woolf," says Tina Farmer at KDHX, "and features fully engaged, well-developed performances by a strong ensemble."

Dance Review: Dance St. Louis brings sensual athleticism of Tango Buenos Aires at the Touhill

Photo: Lucrecia Laurel
dancestlouis.org

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Who: Tango Buenos Aires
What: Song of Eva Perón
When: January 30 and 31, 2015
Where: Dance St. Louis at the Touhill Center, St. Louis

"O the tango is done with a thin black moustache a wide scarlet sash, black boots and a whip."   When Jerry Leiber wrote those lyrics for "The Tango" (recorded in 1975 by Peggy Lee), he was reflecting the darkly sensual reputation this dance, with its historically murky origins, has had for over a century. 

Hector Falcón's choreography for the Tango Buenos Aires production of "Song of Eva Perón," which Dance St. Louis brought to the Touhill this past weekend, certainly pays homage to that sensuality, but expands on it with sequences of fluid virtuosity and breathtaking athleticism.

The latter is mostly on display in the Act I closer, in which the five male company members put on an astonishing display of synchronized percussive dancing using pairs of boleadoras—essentially cords with hard weights at the ends, based on the throwing weapon used by Argentine gauchos.  The increasingly complex visual and sonic patterns they produce must be seen live to be believed.  And even then, the extended solo by one member of the company (who is not, alas, indentified in the program) still seemed nearly supernatural. 

Photo: Lucrecia Laurel
dancestlouis.org

Not surprisingly, that number was interrupted frequently for applause.  But then, so were most of the others by this astonishingly talented ten-dancer ensemble.  The many tango sequences drew their share of "oohs" and "aahs" as the performers glided through elaborate variations on the dance's basic moves—all those stomps, cross steps, and lower body pivots—with that apparent ease that comes only with rigorous discipline and talent. 

The female dancers, in particular, reminded me of the old line about how Ginger Rogers was at least as good as Fred Astaire because she had do to everything he did, but backwards and in heels.  In many of the tango sequences, the women were often in more frequent and complicated motion than the men, sweeping around and entwining themselves with their partners.

There is, as you might gather from the title, a thin thread of a story in "Song of Eva Perón" about the late Argentine first lady's rise from the sticks, but for the most part it's just a framework on which to hang the show's colorful and consistently entertaining collection of dances.

An on-stage five-piece band adds to the appeal, performing music composed for the show by pianist and music director Fernando Mazán along with classics by (among others) Jacob Gade ("Celos," known as "Jealousy" in the English-speaking world) and Astor Piazzolla. There were some Argentine folk tunes in the mix as well.  Violinist Mayumi Urgino and Mr. Mazán both got impressive solo numbers while Marco Antonio Fernandez and Emiliano Guererro provided the rock-solid musical foundation on bandoneons, the wide lap-held concertinas that provide the essence of the tango sound.

Photo: Lucrecia Laruel
dancestlouis.org

Vocalist Lucia Alonso performed a pair of songs written for the show by Mr. Mazán.  She was a stunning embodiment of Evita in an elaborate cream-colored evening gown and cape, but her accent and the sound system conspired to make the lyrics incomprehensible, at least from where we sat.

Speaking of costumes, there's no designer listed for the show, so I don't know whom to congratulate for the colorful and intelligently assembled look of "Song of Eva Perón."  As Eva moves from the provinces to the big city, the looks change from simple peasant designs with earthly colors to vivid evening gowns and tuxedo jackets, culminating in a beautifully elegant finale. 

Tango Buenos Aires has already left town and they don't appear to have a web site, so I can't tell you where they'll be appearing next. As for Dance St. Louis, their season continues with the Aspen Santa Fe Ballet February 27 and 28 at the Touhill.  For more information, including details on their upcoming 50th season, see dancestlouis.org.

They fly through the air with the greatest of ease

Transit Space

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"Diavolo," writes the company's Artistic Director Jacques Heim in his program notes, "is a fusion of many different movement vocabularies such as everyday movement, ballet, contemporary, acrobatics, gymnastics, martial arts, and hip-hop." On stage, that translates into genre-bending theatre pieces that are a mashup of dance, Olympic-class athletics, and circus arts that are sometimes thrilling and always mesmerizing.

The Diavolo difference is readily apparent in a skim through the biographies of the company members. Pretty much everyone has the usual training and professional experience in traditional dance, but many do, indeed, have backgrounds in acrobatics, gymnastics, martial arts, and hip-hop—not to competitive cheerleading and circus arts as well. Diavolo company members are clearly skilled multi-disciplinary athletes as well as artists.

Transit Space

The program Diavolo brought to St. Louis this past weekend consisted of two works: "Transit Space" (2012) and "Trajectorie" (1999). Each ran around 40 minutes and while the two were very different in overall tone, they both touched, to varying degrees, on what Mr. Heim describes as Diavolo's primary themes: "human struggle, fear, danger, survival, chaos, order, deconstruction, destiny, destination, faith, and love." That's a tall order but then, this is an ambitious company.

"Transit Space," writes Mr. Heim, "explores themes of feeling lost, finding a sense of purpose, and coming together." As the piece opens, the company members walk onstage in urban street clothes to the sounds of city traffic. Several are carrying what would be skateboards if they had wheels. The sound changes to hip-hop music with voice-overs speaking of urban loneliness. On the words "I want to move," the dancers carrying the skateboards slap them down and use them as platforms for athletic and break dance moves. Then the dancers move upstage, the lights come up all the way, and we see four convex wood and metal constructs that are basically simplified versions of the ramps used by skateboarders and urban stunt bikers.

The metal ramps are detachable, creating eight separate pieces that (as shown in the video accompanying this review) are rapidly recombined into a number of playing spaces. Dancers leap, slide, tumble, and do just about anything you can think of on them in a dazzling display of athleticism. Throughout it all, actors on the soundtrack give voice to the many moods of urban life. The piece hits an emotional peak when all of the dancers join hands in the center of the stage on the words "as long as I have you, I don't have fear" and the stage goes black. Point made, and very effectively.

Trajectorie

The big set piece for "Trajectorie" is a half moon-shaped, rocking wooden stage with a scrim on the front. As the work opens, a lone female dancer does a lyrical "shadow game" routine with another dancer seen only in silhouette. As more dancers enter the action becomes more animated, and before long the hemispherical stage is rocking and rotating while dancers slide on and off, dash back and forth, and even leap into space, propelled by the stage. Those leaps produced some audible gasps from the audience as the dancers flew through the air and were caught expertly by their teammates.

There was a bit more classical ballet in "Trajectorie" (although not very much) and more moves that were reminiscent of martial arts (tai chi in particular) but otherwise it shared with "Transit Space" an emphasis on virtuoso movement of all kinds. Unlike the newer work, though, "Trajectorie" ends not with a crescendo and climax so much as a slow diminuendo. Towards the end of the piece the other dancers disappear, one by one, behind the rocking centerpiece until, at last, we're back to the solo female dancer of the beginning. Then she, too, slowly disappears behind the construct.

Mr. Heim says that the work "shows the transcendence of the human soul against all odds", but to me there was something of an elegiac feel to those final moments that was more surrender than transcendence. But maybe I'm over-analyzing it. Or, perhaps, there's less difference between transcendence and surrender than I think. Either way, "Trajectorie" is a reminder that art lives, for the most part, in ambiguity.

If what we saw this weekend at the Touhill is any indication, Diavolo is an innovative, hard to classify, and possibly even unique dance company. It is, in short, the kind of thing Dance St. Louis has been bringing us for many years now. May they continue for many more.

The Dance St. Louis season continues with the Alvin Ailey American Dance Theatre at the Fox April 25 and 26 and concludes Memorial Day weekend with the 7th Annual Emerson Spring to Dance® Festival at the Touhill Center. For more information: dancestlouis.org.

Chuck's Choices for the weekend of February 28, 2014

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:

Dance St. Louis presents the acrobatic dance troupe Diavolo Friday and 8 and Saturday at 2 and 8 PM. "Diavolo—one of the West Coast’s most prominent dance companies and a designated cultural treasure of the City of Los Angeles—makes its way to St. Louis for a thrilling, playful and gravity-defying performance. Composed of modern dancers, athletes, gymnasts, ballet dancers, martial artists, actors and stunt performers, Diavolo pushes the boundaries of dance through its dynamic movement and signature use of colossal set pieces, including skateboard ramps, a 15-foot staircase, an 18-foot aluminum and steel spinning wheel and a giant cube that turns into a pyramid. Created in 1992 in Los Angeles by Artistic Director Jacques Heim, the Parisian innovator who choreographed Cirque du Soleil’s Las Vegas show KÀ, Diavolo cleverly mixes together dance, acrobatics and architectural engineering into a powerful, awesome and thought-provoking production." The performance takes place at the Touhill Performing Arts Center on the UMSL campus. For more information: dancestlouis.org.

My take: I've never seen the group before, but the promotional videos look pretty exciting—something of a mashup of dance, athletics, and circus. And the Touhill is a comfortable and well-appointed venue.

Photo: Joan Marcus

The Fox Theatre presents the musical Jersey Boys through March 2. The musical is based on the careers of Rock and Roll Hall of Famers The Four Seasons: Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi. "This is the story of how four blue-collar kids became one of the greatest successes in pop music history. They wrote their own songs, invented their own sounds and sold 175 million records worldwide - all before they were thirty!" The Fox Theatre is at 517 North Grand in Grand Center. For more information, call 314-534-1678.

My take: "There's a contemporary swagger present in the Fox Theatre's current production of 'Jersey Boys'," writes Tina Farmer in her KDHX review, "that slides smoothly into the history of Frankie Valli and the Four Seasons. The combination works well, resulting in a smart, snappy production that thoroughly entertains. Openly addressing the influence of perspective and self-interest, the show also avoids self-reverence, even as it keeps the conflict light." Note that this is not a musical revue but rather a legit book musical about the group's rise to fame and subsequent breakup, so you get some substance with the musical nostalgia.

The Presenters Dolan present Marissa Mulder: The Songs Of Tom Waits Thursday through Saturday, February February 27 - March 1, at 8 PM as part of the Gaslight Cabaret Festival. " Marissa Mulder kicks off our Cabaret in a New Key shows, featuring performers who are pressing the edges of the form. With MD Jon Weber and her entire New York-based band, Marissa encounters the songs of Tom Waits, in a beautiful, crystalline distillation of their power and beauty. Will Friedwald of The Wall Street Journal says that Mulder projects and amplifies her soul through these songs, virtually defining what cabaret is supposed to be. Each of the souls lucky enough to hear the unmissable Ms. Mulder reaches the same end." The performances take place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Both Ms. Mulder and her show—which premiered last March at New York's Metropolitan Room—come highly recommended. "Far and away the season's best cabaret show," wrote Stephen Holden in the New York Times, "it is everything the genre can be but almost never is." "Mulder's voice has a retro 1930s and '40s quality, but it al ranges from ethereal to unselfconsciously coquettish," wrote Stephen Hanks in Cabaret Scenes. "Her unaffected mezzo soprano sound is like sweet Tupelo honey dripping slowly off a spoon into a hot cup of tea." Note that the Gaslight Theatre does not have a parking lot, so showing up early is advised if you want to have a chance of finding a spot on Boyle near the theatre. You can always stop by the adjoining West End Grill for a drink or dinner before the show, after all. That's what I usually do.

The Performing Arts Department at Washington University presents the classic comedy You Can't Take it With You Friday and Saturday at 8 PM and Sunday at 2 PM through March 1. Performances take place in the Edison Theatre in the Mallinckrodt Student Center on the Washington University campus. For more information: pad.artsci.wustl.edu or call 314-935-6543.

My take: "The show breezes along, and right past, the bleak realities of the period with a joyful self-indulgence," writes Tina Farmer in her review for KDHX. "And, as pithy as the title may seem, there is, after all, a genuine truth hiding underneath the straightforward statement...The youthful and enthusiastic cast does a splendid job referencing the style and patter of the period, at least if the movies I've seen are any indication. They move confidently, with faced paced, clipped dialogue and an abundance of sight gags that kept the audience chuckling along." The script is one of Kaufman and Hart's best, an unabashedly sentimental hymn to all non-conformity. Few things are more fun than a good production of it, and this one sounds like a winner.

Held Over:

Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Other Desert Cities through March 9. “Things get bumpy when promising young novelist Brooke Wyeth returns home to Palm Springs to get her family's approval of her newest work - a tell-all memoir dredging up long-kept family secrets. Daring her conservative parents to oppose her, Brooke draws a line in the sand, and when it is crossed, the result threatens to undo them all. Politics, lies and regrets collide in this biting, sharp and fiercely funny Pulitzer Prize finalist.” Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: This production has gotten very good press so far. In her review for 88.1 KDHX, for example, Tina Farmer says it's "an intense and deeply personal examination of love and family loyalty that twists audience expectations and still manages to deliver a surprisingly satisfying resolution."

Off to see the wizard

Photo: Andrea Zucker

Who: Ballet Memphis
What: The Wizard of Oz
Where: The Touhill Performing Arts Center, presented by Dance St. Louis
When: January 24 and 25, 2014

When you think of the music for the 1939 film "The Wizard of Oz," the first names that probably come to mind are Harold Arlen and E. Y. "Yip" Harburg. Their songs "Somewhere Over the Rainbow" and "If I Only Had a Brain" have been firmly ensconced in the Great American Songbook for decades. If you're a film music fan, you might also think of composer/arranger (and Broadway veteran) Herbert Stothart, who combined Arlen's tunes with original material into a seamless, Oscar-winning score.

Names that would probably not leap to the forefront of your cranium would be Benjamin Britten, Ralph Vaughan Williams, Gustav Holst, and Zoltán Kodály. And yet the recordings of music by those 20th century masters that serve as the accompaniment for Ballet Memphis's dance version of the classic film are so well chosen that you'd think they were composed exactly for the purpose.

That canny choice of music isn't the only reason this ballet version of "The Wizard of Oz" was so entertaining, of course. Steven McMahon's eclectic and character-driven choreography, Bruce Bui's colorful costumes, Andrew Kovach's simple but effective sets, and Andrew Meyers' minimalist yet dramatic lighting all combined to make this a genuine "all ages" show. We saw it at the Saturday matinee, and the parents were clearly enjoying it as much as their Munchkin offspring.

Photo: Andrea Zucker

The scenario follows the film closely and, rather like Beijing opera, clearly assumes that the audience is familiar enough with the source material to fill in the details. When we saw the oversize, distorted shadow of Rafael Ferreras, Jr., (slyly fraudulent as the Wizard) flamboyantly gesticulating at Dorothy and her three companions, for example, it was easy to recall the oversize, distorted projection of Frank Morgan's face from the movie. Likewise, Travis Bradley's loose-limbed, acrobatic clumsiness as the Scarecrow immediately called to mind Ray Bolger's equally magical dancing in the original.

Ballet Memphis's "Wizard of Oz" is not, in short, for those who have somehow never seen the film. But then, given how popular the film has been over the decades, that's pretty small potatoes as criticism goes.

The company has assembled a wonderful cast of dancers for this tour. Julie Niekrasz (Glinda in the evening performances) was a wistful and charming Dorothy, Dylan G-Bowley an amusingly robotic as the Tin Man, and Kendall G. Britt Jr. the very essence of comic feline bravado as Lion. Crystal Brothers (Aunt Em in the evenings) was a wonderfully sinuous and gravity defying Wicked Witch while Virginia Pilgrim (Dorothy in the evenings) was cheerfully sugary as Glinda. Daniel Russell Cooke was a sympathetic Uncle Henry, and Bryn Gilbert made a strong impression in the small but vital role of the awful Miss Gulch.

Photo: Andrea Zucker

The corps de ballet (which included dancers from some of the smaller roles) filled in as poppies, snowflakes, flying monkeys (with some very evocative Fosse-esque choreography), and citizens of the Emerald City. Students from COCA's dance program portrayed the Munchkins and children of Oz. It's a nifty local tie-in and, again, a sign of the intelligence behind this production in that it saves the company the hassles of travelling with child performers.

It is, I suppose, possible that hard-core dance lovers might dismiss overtly commercial efforts like "Wizard of Oz" (although Ballet-Dance Magazine certainly seemed to like the 2007 premiere), but the fact is that very few performing arts organizations can survive these days without the occasional crowd pleaser. You can't champion newer and more innovative work (as Ballet Memphis clearly does; their motto is "reach further") without something guaranteed to pay the bills. If the size of the house this past Saturday afternoon was any indication, "The Wizard of Oz" is does that, and delivers a satisfying piece of dance theatre in the process. I'd call that a win-win.

The Ballet Memphis production of "The Wizard of Oz" played the Touhill Performing Arts Center January 24 and 25, produced by Dance St. Louis. The Dance St. Louis season continues February 28 and March 1 at the Touhill with Diavolo, a company of modern dancers athletes, gymnasts, ballet dancers, martial artists, actors, and stunt performers, the blurs the boundary between dance and circus arts. For more information: dancestlouis.org.

Chuck's Choices for the weekend of January 24, 2014

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:

St. Louis Actors' Studio continues its seventh season, themed Sins of the Father, with Arthur Miller's The Ride Down Mount Morgan through February 2. Performances take place at the Gaslight Theatre, 358 North Boyle. For more information, call 314-458-2978 or visit stlas.org.

My take: Fans of Arthur Miller have a rare chance to see two of his less-famous plays on stage this weekend: Kirkwood Theatre Guild's All My Sons and the Actors' Studio production of The Ride Down Mount Morgan. "The tightly wound, well acted production," writes Tina Farmer in her review for 88.1 KDHX, "envelopes the audience in the small theater, delivering a memorable version of a beautifully crafted drama. ..Arthur Miller's The Ride Down Mount Morgan is a wise choice for theatergoers interested in seeing an excellent performance of a seldom seen play by an icon of American theater. "

New Line Theatre Offline presents What The Hell Are We Doing Here? An Adult Cabaret on Saturday, January 25, at 8 PM. “New Line Theatre Off Line presents a quirky, decidedly adult evening of cabaret, featuring the New Generation of New Liners, Marcy Wiegert (Hair, Cry-Baby, Bukowsical, Night of the Living Dead) and Ryan Foizey (Cry-Baby, High Fidelity, Next to Normal, Bukowsical), with music direction by Justin Smolik and direction by Mike Dowdy.” Performances take place at the Kranzberg Center, 501 North Grand in Grand Center. For more information, call 314-534-1111.

My take: It looks like New Line's left-of-center approach to musical theatre and dedication to bringing non-mainstream shows to the local scene will be reflected in this cabaret evening, which can only be a good thing in my view.

Photo: Andrea Zucker

Dance St. Louis presents the Ballet Memphis production of The Wizard of Oz Friday at 8 PM and Saturday at 2 and 8 PM, January 24 and 25. Based on the popular book and movie, the ballet features choreography by one of Ballet Memphis’ own members, Scotland native and choreographic associate Steven McMahon, as well as music by Gustav Holst, Benjamin Britten and Ralph Vaughn Williams. Ballet-Dance Magazine describes Wizard of Oz as “an entertaining adaptation of this popular American Tale...a new classic.” Performances take place at the Touhill Peforming Arts Center on the UMSL campus. For more information: dancestlouis.org.

My take: Ballet Memphis, according to their web site, "annually produces more original work than any other company our size and continues to breathe new life into the classical ballets we’ve long enjoyed." Their motto, "reach further," can be seen in their season, which includes programs like World Wonders ("cultural fusion of some of the world's most creative music, art and dance in four dazzling works"), Peter Pan, River Project 2 (three ballets that "reflect the wonder of our famous natural and cultural resource," the Mississippi River) and En Pointe/En Vogue, about the "marriage of all things dance to the world of fashion, design and beauty." It'll be intriguing to see what they do with this bit of iconic Americana.

Held Over:

Photo: Stewart Goldstein

The Black Rep presents Jeff Stetson's The Meeting, based on a supposed meeting between Malcom X and Dr. Martin Luther King Jr., through January 26. Performances take place at the Emerson Performance Center on the campus of Harris-Stowe State University. For more information: theblackrep.org.

My take: In her review for 88.1 KDHX, Tina Farmer calls this an "effective, thought-provoking drama" that offers "a well-directed, well-performed look under the public veneer" of these important historical figures. "The new space at the Emerson Performance Center on the Harris-Stowe State University campus suits the company well," she writes, "and the technical aspects were to their usual high standards."

Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Michael Hollinger's Opus through February 2. "With only four days to rehearse for their most important performance ever, a world-class string quartet takes a chance by hiring a gifted but inexperienced young woman. Onstage the Lazara Quartet is pitch perfect but behind the scenes they're coming unstrung as the four artists battle the sweat, tears and pain that go into making extraordinary music seem effortless. This fascinating play is a passionate look at the delicate and complex relationships between artists' lives and their art." Performances take place at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: I'm on the board of West End Players Guild, the group that did the St. Louis premiere of this play last April. I was a big backer of Opus in the WEPG play reading committee and remain a fan of this funny, literate, dramatic, and informed look at the often less than beautiful reality behind the performance of so much beautiful music. It's easy to be transported by (say) a late Beethoven quartet and lose sight of the fact that the performers are doing their jobs as well as creating art. Opus explores what happens when the worlds of commerce and art collide. "Here is a lovely play," writes Andrea Braun in her review for 88.1 KDHX, "well performed by a talented cast and it deserves an audience".

Circus Harmony presents Verismo, described as “the four seasons, circus style,” on Saturday at 2 and 7 PM and Sunday at 2 PM. Performances take place at City Museum, 701 N. 15th Street. Museum admission is free with your ticket purchase. For more information: circusharmony.org.

My take: The kids at Circus Harmony are always a highlight of Circus Flora's annual performances in Grand Center. Expect a fun, family friendly show in the small rign at City Museum. And don't forget to check out the museum's unique interactive attractions while you're at it; the place is truly a one-of-a-kind experience and a tribute the the remarkable imagination of its founder, the late Robert Cassily.

Chuck's Choices for the weekend of November 8, 2013

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:

Mustard Seed Theatre presents the a capella musical All is Calm: The Christmas Truce of 1914 Thursdays through Saturdays at 8 PM and Sundays at 2 PM, November 8-24. “Join us in celebrating the power of peace in this a capella musical based on the true story of soldiers during World War I who for one night, put down their arms and played soccer instead of exchanging bullets.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: The play is based on a remarkable true story of a spontaneous truce between Allied and German forces in No Man's Land during Christmas of 1914. In some areas it lasted only one night while elsewhere it lasted until New Year's Day. While it was in effect, soldiers laid down their arms, shared Christmas carols (as well as food and drink), buried each others' dead, and even played soccer. Playwright Peter Rothstein, artistic director of Theater Latté Da where the play was developed, wanted to tell the story in the words of the real soldiers who experienced it. "I created the drama," he relates, "primarily through found text including letters, official war documents, autobiographies, World War I poetry, grave stone inscriptions and even an old radio broadcast." Reviewing the world premiere production in Minneapolis in 2010 for Minneapolis St. Paul Magazine, Lani Willis called it a "dramatic, real-life musing about the power this season has to make us stop, reflect, and decide to operate in a mode of peace."

Dance St. Louis presents the Shanghai Ballet production The Butterfly Lovers Friday at 8 PM and Saturday at 2 and 8 PM, November 8 and 9. “The elegant, folk-infused ballet, where Western ballet meets Chinese dancing, follows the fairytale story of the blossoming yet ill-fated romance of a young couple. It is often considered the Chinese version of Romeo and Juliet. The four-act production showcases stunning and ornate costumes; elaborate set designs reflecting the changing seasons; and breathtaking choreography that highlights Shanghai Ballet's striking classical technique.” Performances take place at the Touhill Center on the University of Missouri-St. Louis campus. For more information: dancestlouis.org.

My take: Most classical music lovers will know the classic Chinese folk tale as the basis for The Butterfly Lovers' Violin Concerto (the Lian Zhu Violin Concerto in Chinese), a 25-minute work written in 1958 by Chen Gang and He Zhanhao. The Shanghai Ballet's production has music by Xu Jianqiang and story by Luo Huaizhen. If the images and excerpts on YouTube are any indication, this should be a pretty impressive show.

The Hawthorne Playerspresent Paul Osborn's comedy Morning's at Seven November 8-17. The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.com.

My take: I've always had a soft spot for this funny and touching tale of four aging sisters in a small Midwestern town in 1938 and their eccentric families—even more so since I played the role of the sarcastic David in the Stray Dog Theatre production a few years ago. Originally produced on Broadway by Joshua Logan in 1939 (with a cast that included Dorothy Gish and Jean Adair), the play got a new lease on life after a 1980 Broadway revival sparked productions all over the country, including one locally by Act Inc in 1982. This is family friendly fare in the very best sense of the term.

Held Over:

©Photo by Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents drama Fly through November 10. “Based on the experiences of the Tuskegee Airmen, this inspiring story follows four courageous young African-American pilots as they train to fly combat aircraft during World War II. Facing powerful conflict both on and off the battlefield, the men form a lasting brotherhood, paving the way for the desegregation of the military and giving hope to a changing America on the horizon. Soaring and inventive, Fly combines live action, video and the compelling “Tap Griot,” an innovative dancing storyteller who expresses the anger, fear and triumph that the officers cannot.” Performances take place at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: As I wrote in my OnSTL.com blog, the world premiere of Trey Ellis and Ricardo Khan's drama Fly at the Repertory Theatre of St. Louis is the most inspiring, enraging, and sad thing you can see in a theatre this week. Inspiring because this story of the legendary Tuskegee Airman—an all-black fighter pilot unit who escorted an unprecedented 200 of 205 bomber missions without losing an aircraft and earned a raft of medals in the process. Enraging because the white Americans whose lives and freedom they were protecting treated them as subhuman. Sad because we seem to have learned so little in the intervening seven decades." Other critics have been equally effusive. This is definitely a "must see."

Zach Wachter as Mr. Gibbs, Roger Erb as Lush
Photo: John Lamb

The West End Players Guild continues their 103rd season with Pinter's The Hothouse by Fridays and Saturdays at 8 PM and Sundays at 2 PM, November 1-10. There will also be a show on Thursday, November 7, at 8 PM. “Enjoy an evening of Pinter's wicked humor at its darkest. Set in a government-run mental institution on Christmas day, The Hothouse is wild, impudent and blisteringly funny. When one patient dies mysteriously and another turns up pregnant, director Roote seems to be losing control - or is he merely losing his mind?” Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org.

My take: I'm on the board of West End Players Guild and was the one who first proposed that the group take on this rarely-seen (the last local performance was over 30 years ago; I was in it) Pinter.  Now, as then, I was amazed at how much like a Monty Python sketch (albeit a very dark and odd one) this play is.  I don't know whether Pinter was influenced by the Pythons at all, but it's hard to read this and not visualize specific Python actors in the roles.  Graham Chapman, for example, would have been an ideal Roote, the asylum director.  But what the heck—go and see for yourself.

OnSite Theatre Company presents the world premiere of The Trivia Job by St. Louis native and San Francisco playwright Dan Rubin Fridays and Saturdays at 8 PM, through November 9. “When the women of the St. Francis Knitting Ministry learn that their beloved church is on the brink of financial ruin, they do exactly what anyone else would do: they plan an elaborate bank heist, using a special trivia night fundraiser as their cover. But will the replacement emcee, a young priest from their church, screw up all of their plans? With a complete evening of trivia interwoven into a thrilling comedy set in a site-specific location, The Trivia Job promises to be a night of theater like none you've ever before experienced. Get ready to be accessories to fun!” Performances take place at Metropolitan Community Church of Greater St. Louis, 1919 S Broadway in Soulard. For more information: www.OnSiteTheatre.org.

My take: For many local theatre companies, not having a fixed abode is a problem. For OnSite, it's a mission. Their site-specific productions have taken them to bars, restaurants, a bowling alley, and a laundromat, among other non-traditional locations.  In her review for 88.1 KDHX, Andrea Braun says The Trivia Job "is clever, fun and surprisingly moving. Anna Pileggi had her hands full directing this complex operation, and she pulls it off with apparent ease."

Slightly Askew Theatre Ensemble presents the thriller The Woman in Black Wednesdays through Saturdays at 8 and Fridays and Saturdays at 10 through November 9. Performances take place at The Chapel Venue, 6238 Alexander Drive. For more information: slightlyoff.org.

My take: if your only exposure to this creepy little masterpiece is the recent film version with Daniel Radcliffe, you're in for a bit of a surprise.  Stephen Mallatratt's stage adaptation of the original Susan Hill novel—still running after 25 years in London's West End—is a tour de force for two actors. "The Woman in Black," says the London production's web site, "combines the power and intensity of live theatre with a cinematic quality inspired by the world of film noir. It gives audiences an evening of unremitting drama as they are transported into a terrifying and ghostly world."  Yep.  And as a neat bit of chamber theatre, this should play to SATEs strengths.