Chuck's Choices for the weekend of June 30, 2017

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:

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St. Louis Public Radio presents the Grand Center Theatre Crawl on Friday at 6:30 p.m. and Saturday at 1 p.m, June 30 and July 1, at various locations in the Grand Center Arts District. Join St. Louis Public Radio for the finest offerings of the bustling St. Louis theatre scene at the Grand Center Theatre Crawl. Rotate through venues in Grand Center to get free access to 24 local theatre groups in short performances." Featured theatre companies include Gateway Opera, Slightly Askew Theatre Ensemble, R-S Theatrics, The Midnight Company, and West End Players Guild. For more information: www.stlpublicradio.org

My take: Here's a chance to get sneak previews of some of what's coming up on local stages. Think of it as a kind of theatrical tasting menu. And for free, no less.

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Joseph and the Amazing Technicolor Dreamcoat
Photo: Peter Wochniak

Stages St. Louis presents the musical Joseph and the Amazing Technicolor Dreamcoat through July 2. "One of the most enduring shows of all time, Tim Rice and Andrew Lloyd Webber's Joseph and the Amazing Technicolor Dreamcoat is the irresistible family musical about the trials and triumphs of Joseph, Israel's favorite son." Performances take place in the Robert G. Reim Theatre at the Kirkwood Community Center, 111 South Geyer Road in Kirkwood. For more information: stagesstlouis.com

My take: This is one of two Stages shows that has been getting good press lately (see below for the other). Writing for Ladue News, Mark Bretz says that director/choreographer Stephen Bourneuf "leads an effervescent Stages troupe that keeps the fun times rolling in a high-stepping, fast-moving rendition filled with infectious rhythm and an abundance of good cheer to rousingly kick off Stages’ 31st season." Tina Farmer at KDHX says "Stages St. Louis opens their season with an energetic production of the popular show that dances and dazzles its way to success."

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Seussical the Musical

Stages St. Louis Theatre for Young Audiences presents Seussical the Musical through July 2nd. "Let your imagination run wild in this magical, musical extravaganza as you join the Cat in the Hat and enter the fantastical world of Doctor Seuss. SEUSSICAL lovingly brings to life your favorite Seussian characters including Horton the Elephant, Gertrude McFuzz, lazy Maizie La Bird, and the little boy with a big imagination - Jojo, who whisk you away from the Jungle of Nool to the Circus McGurkus to the invisible world of the Whos. Based on the internationally beloved children's books "Horton Hears A Who" and "Horton Hatches An Egg", SEUSSICAL boasts a triumphant score from Tony-winners Lynn Ahrens and Stephen Flaherty of ONCE ON THIS ISLAND and RAGTIME fame. Celebrate the powers of friendship, loyalty, family, and community in this not-to-be-missed musical treat for the young and young of heart!" Performances take place at the Playhouse at Westport Plaza. For more information: stagesstlouis.org.

My take: Suessical isn't a children's show as such, but this production is explicitly aimed at the small fry. It's a 75-minute, one-act version of the original with a small ensemble cast and modest technical requirements. "Kids will have a good time, for sure" says Mark Bretz at Ladue News, but [Director Michael] Hamilton’s smooth guidance makes Seussical entertaining for all ages." Chris Gibson at Broadway World agrees, calling it "a complete delight, filled with good humor and charm to spare." Looks like your weekend ticket for family fun.

Chuck's Choices for the weekend of September 14, 2016

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

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That Uppity Theatre Company presents Every 28 Hours, and evening of one-act plays inspired by the Black Lives Matter movement, on Saturday, October 15, at 8 p.m. "The One-Minute Play Festival (Dominic D'Andrea, Producing Artistic Director), and Oregon Shakespeare Festival (Claudia Alick, Producer) collaborated to create a collection of 71 one-minute plays from across the country called “Every 28 Hours”. This national partnership focuses on the widely shared statistic that every 28 hours in America, a black person is the victim of systemic violence and is killed by the police, vigilante, or security guard. The performance takes place at COCA, 524 Trinity in University City. For more information: uppityco.com.

My take: I think the importance of the issues dealt with here pretty much speaks for itself.  If you miss this performance, it will be repeated on Monday the 24th at the Repertory Theatre of St. Louis stage at the Loretto-Hilton Center on the Webster University campus.

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Golda's Balcony
Photo: Eric Woolsey

New Jewish Theater presents Golda's Balcony through October 30 "This is a strong show about a strong woman, Israel's fourth Prime Minister, Golda Meir. We meet her as she struggles with what became known as the Yom Kippur War in 1973 and which was very nearly a disaster for the State of Israel. The play asks us to consider what happens when idealism becomes power." 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: Lavonne Byers, who has so many impressive roles to her credit on St. Louis stages, appears to have another hit on her hands with this one-woman show. In her upcoming review for KDHX, Tina Farmer says Ms. Byers "goes both broad and deep when capturing the life and motivation of one of the twentieth century's most popular and divisive female leaders" and that the show "gives us a terrifyingly real and decidedly unromantic view of those who seek to balance power and idealism. The one-woman biography is a stunning success and fitting tribute."

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Marilyn Maye

The Presenters Dolan presents Marilyn Maye on Friday at 8 p.m. and Saturday at 2 and 8 p.m., October 14 and 15, as part of the Gaslight Cabaret Festival. "The queen of nightclub and cabaret singers, Marilyn Maye brings you a Best Of retrospective of the last 60 years. At 88, Marilyn Maye is an electrifying performer, a singer's singer and an artist for connoisseurs." Tedd Firth is pianist and music director for the show. The performances take place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: A cabaret legend who appeared a record number of 76 times on The Tonight Show with Johnny Carson, Maye has been packing them in at Carnegie Hall, New York’s 54 Below, Feinstein’s, Birdland, and in clubs and concert venues throughout the country. Reviewing her appearance here in 2007, I praised her "immediate and honest communication with the audience." "Maye’s boundless energy and obvious delight in her material," I wrote, "in combination with her cheerful, off-the-cuff repartee, establish an immediate bond with those of us on the other side of the spotlight." If you missed her appearance with Ann Hampton Callaway this past summer, here's a chance to see a real pro at work doing what she does best.

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Suspended
Photo: ProPhotoSTL

Upstream Theater presents the world premiere of Suspended by Israeli playwright Maya Arad Yasur, through October 23. "The play shows two refugees who have fled their war-torn country and have landed in a wealthy city where they work as window washers. As their day progresses we learn how deeply they are connected, and why they are suspended between a world they can see but cannot join, between a past scarred by violence and an uncertain future." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

My take: Upstream has presented some pretty inventive and daring theatre over the years, and their current production appears to be solidly in that same line. "As usual," writes Steve Allen at Stage Door St. Louis, "Upstream Theater brings us provocative and thoughtful theatre. “Suspended” is a story that unfolds slowly but gets to the heart of the matter. Thanks to two outstanding performances and excellent direction, “Suspended” becomes a show that you shouldn’t miss." At the Belleville News-Democrat, Lynn Venhaus says the show is "an absorbing character study with more layers than even the premise implies." Other critics have had good words for it as well.

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Held Over:

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Celebration
Photo: Jill Ritter Lindberg

New Line Theatre presents the musical Celebration Thursdays through Saturdays at 8 PM through October 22. "With words by Tom Jones and music by Harvey Schmidt (The Fantasticks, I Do! I Do!, 110 in the Shade), CELEBRATION tells a wild, adult fable set on New Year's Eve, centered on Orphan, an idealistic and cheerfully optimistic young man, who reminds the wealthy and jaded old man William Rosebud Rich of his younger self; Angel, a sweet but not so angelic erotic dancer who longs to be Somebody; and the cynical Potemkin, who serves as narrator, commentator, and instigator. At the story's core is the primal, often comic struggle between youth and old age, innocence and corruption, love and ambition, poverty and wealth, as Angel tries to decide if she would be better served by her feelings for Orphan or Rich's willingness to fulfill all her material dreams." Performances take place at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in Grand Center. For more information, visit newlinetheatre.com or call 314-534-1111.

My take: Everybody knows Fantasticks, but other Jones/Schmidt shows like I Do, I Do and 110 in the Shade get less attention than they deserve, so it's good to see New Line take on this adventurous 1960s period piece. "Part fable, part love triangle, and part 1960s hippie/Brechtian/Fantasticks-style love-in," writes Richard Green at Talking Broadway, "this seldom-seen show succeeds brilliantly thanks to its post-Vietnam urgency, its post-Civil Rights egalitarianism, and perhaps even a soupçon of pre-Watergate naiveté—along with excellent leads and the sheer wit and exuberance of the whole ensemble."

Chuck's Choices for the weekend of September 14, 2016

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:

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That Uppity Theatre Company presents Every 28 Hours, and evening of one-act plays inspired by the Black Lives Matter movement, on Saturday, October 15, at 8 p.m. "The One-Minute Play Festival (Dominic D'Andrea, Producing Artistic Director), and Oregon Shakespeare Festival (Claudia Alick, Producer) collaborated to create a collection of 71 one-minute plays from across the country called “Every 28 Hours”. This national partnership focuses on the widely shared statistic that every 28 hours in America, a black person is the victim of systemic violence and is killed by the police, vigilante, or security guard. The performance takes place at COCA, 524 Trinity in University City. For more information: uppityco.com.

My take: I think the importance of the issues dealt with here pretty much speaks for itself.  If you miss this performance, it will be repeated on Monday the 24th at the Repertory Theatre of St. Louis stage at the Loretto-Hilton Center on the Webster University campus.

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Golda's Balcony
Photo: Eric Woolsey

New Jewish Theater presents Golda's Balcony through October 30 "This is a strong show about a strong woman, Israel's fourth Prime Minister, Golda Meir. We meet her as she struggles with what became known as the Yom Kippur War in 1973 and which was very nearly a disaster for the State of Israel. The play asks us to consider what happens when idealism becomes power." 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: Lavonne Byers, who has so many impressive roles to her credit on St. Louis stages, appears to have another hit on her hands with this one-woman show. In her upcoming review for KDHX, Tina Farmer says Ms. Byers "goes both broad and deep when capturing the life and motivation of one of the twentieth century's most popular and divisive female leaders" and that the show "gives us a terrifyingly real and decidedly unromantic view of those who seek to balance power and idealism. The one-woman biography is a stunning success and fitting tribute."

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Marilyn Maye

The Presenters Dolan presents Marilyn Maye on Friday at 8 p.m. and Saturday at 2 and 8 p.m., October 14 and 15, as part of the Gaslight Cabaret Festival. "The queen of nightclub and cabaret singers, Marilyn Maye brings you a Best Of retrospective of the last 60 years. At 88, Marilyn Maye is an electrifying performer, a singer's singer and an artist for connoisseurs." Tedd Firth is pianist and music director for the show. The performances take place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: A cabaret legend who appeared a record number of 76 times on The Tonight Show with Johnny Carson, Maye has been packing them in at Carnegie Hall, New York’s 54 Below, Feinstein’s, Birdland, and in clubs and concert venues throughout the country. Reviewing her appearance here in 2007, I praised her "immediate and honest communication with the audience." "Maye’s boundless energy and obvious delight in her material," I wrote, "in combination with her cheerful, off-the-cuff repartee, establish an immediate bond with those of us on the other side of the spotlight." If you missed her appearance with Ann Hampton Callaway this past summer, here's a chance to see a real pro at work doing what she does best.

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Suspended
Photo: ProPhotoSTL

Upstream Theater presents the world premiere of Suspended by Israeli playwright Maya Arad Yasur, through October 23. "The play shows two refugees who have fled their war-torn country and have landed in a wealthy city where they work as window washers. As their day progresses we learn how deeply they are connected, and why they are suspended between a world they can see but cannot join, between a past scarred by violence and an uncertain future." Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, including show times: upstreamtheater.org.

My take: Upstream has presented some pretty inventive and daring theatre over the years, and their current production appears to be solidly in that same line. "As usual," writes Steve Allen at Stage Door St. Louis, "Upstream Theater brings us provocative and thoughtful theatre. “Suspended” is a story that unfolds slowly but gets to the heart of the matter. Thanks to two outstanding performances and excellent direction, “Suspended” becomes a show that you shouldn’t miss." At the Belleville News-Democrat, Lynn Venhaus says the show is "an absorbing character study with more layers than even the premise implies." Other critics have had good words for it as well.

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Held Over:

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Celebration
Photo: Jill Ritter Lindberg

New Line Theatre presents the musical Celebration Thursdays through Saturdays at 8 PM through October 22. "With words by Tom Jones and music by Harvey Schmidt (The Fantasticks, I Do! I Do!, 110 in the Shade), CELEBRATION tells a wild, adult fable set on New Year's Eve, centered on Orphan, an idealistic and cheerfully optimistic young man, who reminds the wealthy and jaded old man William Rosebud Rich of his younger self; Angel, a sweet but not so angelic erotic dancer who longs to be Somebody; and the cynical Potemkin, who serves as narrator, commentator, and instigator. At the story's core is the primal, often comic struggle between youth and old age, innocence and corruption, love and ambition, poverty and wealth, as Angel tries to decide if she would be better served by her feelings for Orphan or Rich's willingness to fulfill all her material dreams." Performances take place at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in Grand Center. For more information, visit newlinetheatre.com or call 314-534-1111.

My take: Everybody knows Fantasticks, but other Jones/Schmidt shows like I Do, I Do and 110 in the Shade get less attention than they deserve, so it's good to see New Line take on this adventurous 1960s period piece. "Part fable, part love triangle, and part 1960s hippie/Brechtian/Fantasticks-style love-in," writes Richard Green at Talking Broadway, "this seldom-seen show succeeds brilliantly thanks to its post-Vietnam urgency, its post-Civil Rights egalitarianism, and perhaps even a soupçon of pre-Watergate naiveté—along with excellent leads and the sheer wit and exuberance of the whole ensemble."

This week, life is a cabaret

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Lovers of the art of cabaret will find a lot to like in Grand Center this week as The Cabaret Project of St. Louis (of which I am a board member) presents the annual St. Louis Cabaret Festival. Held in conjunction with the St. Louis Cabaret Conference, a nine-day professional training seminar for cabaret singers from St. Louis and around the country, the festival features six nights of widely varied performances by local and national artists. Both the conference and festival are spearheaded by St. Louis cabaret entrepreneur Tim Schall.

Faith Prince

It all starts on Tuesday, July 19, at 8 p.m. with First Stage: The St. Louis Cabaret Conference High School Showcase. The evening features young performers from the High School track of the St. Louis cabaret conference. As with the adult tracks, these performers first had to audition for slots. Those who made the cut then got intensive training in the art of song performance from Broadway's Karen Mason and American Idol's Peisha McPhee along with Tim Schall and Webster University's Carol Schmidt. I've seen the High School showcase in the past and it's wonderful to witness how talented these kids are so early in their careers. The performance takes place at The Stage @ KDHX, just east of Jazz at the Bistro in Grand Center.

Jason Graae

Wednesday, July 20, at 8 p.m. brings a double bill of two powerhouse performers: Tony Award winner Faith Prince and her long time friend and L.A. Drama Critics Circle winner Jason Graae. Titled The Prince and the Showboy (a joking reference to the 1957 Marilyn Monroe/Laurence Olivier comedy The Prince and the Showgirl), the evening promises to be one of belly laughs and great music. Having seen both Ms. Prince and Mr. Graae on stage in the past (and having been coached by both of them at previous St. Louis Cabaret Conferences), I can guarantee you that they are tremendously talented actors, singers, and comics. Expect an evening of high-powered entertainment that will keep you smiling long after you leave. The performance takes place at the Sheldon Concert Hall in Grand Center.

Marilyn Maye

Thursday, July 21, at 8 p.m. it's a return engagement by the astonishing Marilyn Maye with pianists and long-time collaborators Billy Stritch and Tedd Firth and (as if there weren't already enough talent on stage) a guest appearance by jazz diva Ann Hampton Callaway. A cabaret legend who appeared a record number of 76 times on The Tonight Show with Johnny Carson, Maye has been packing them in at Carnegie Hall, New York's 54 Below, Feinstein's, Birdland, and in clubs and concert venues throughout the country. Reviewing her appearance here in 2007, I praised her "immediate and honest communication with the audience." "Maye's boundless energy and obvious delight in her material," I wrote, "in combination with her cheerful, off-the-cuff repartee, establish an immediate bond with those of us on the other side of the spotlight."

Both Stritch and Firth are strong solo performers as well, by the way, and for local jazz lovers Ms. Callaway surely needs no introduction. It will be a joyous, jazzy, spectacular cabaret event created specifically for St. Louis Cabaret Festival audiences, and you can see it at the Sheldon Concert Hall.

Tony DeSare

Friday, July 22, at 8 p.m., the Sheldon will play host to Tony DeSare and his Trio in a wide-ranging evening that runs the gamut from Sinatra classics to Prince, and includes some of Mr. DeSare's own tunes. Named a Rising Star Male Vocalist in Downbeat magazine, DeSare has three top ten Billboard jazz albums under his belt and has headlined in prestigious venues such as New York's 54 Below and Carnegie Hall, along with major performing arts centers and numerous symphony orchestras throughout North America and abroad. This is Mr. DeSare's first appearance here in St. Louis, so this is a great chance to catch a rising star.

Saturday, July 23, at 8 p.m. it's back to The Stage @ KDHX for The St. Louis Cabaret Conference Professional Track Showcase. Mentored by Marilyn Maye, Faith Prince, Tedd Firth and Billy Stritch, as well as other members of the Cabaret Conference faculty, these are singers from the most advanced of the Cabaret Conference's three tracks. They're established cabaret pros from around the country, often with many shows to their credit, who are polishing their craft here in St. Louis. The showcase presents each of them in short, carefully tailored sets that display their range and talent. The first pro track showcase was last year, and it was impressive.

Ann Hampton Callaway

The St. Louis Cabaret Festival concludes on Sunday, July 24, with the St. Louis Cabaret Conference Closing Night Showcase and Celebration at the newly remodeled Jazz at the Bistro in Grand Center. After five days of working on their craft, its time for the core group of talented singers of the St. Louis Cabaret Conference to show audiences why they've come from all over the country to be mentored by the Conference's notable faculty. As someone who has seen and/or performed in most of the closing showcases over the years, I can attest to the wonderful variety and skill of the performers who take the stage in this big, two-act show. Seating for pre-show dinner or drinks begins at 6 p.m. and the show starts at 7. This year, your admission also includes a post show party complete with free munchies that starts up as soon as the last bow is taken.

For more information, visit The Cabaret Project web site. Tickets for all events are available via MetroTix. You can also hear interviews with Tim Schall and Marilyn Maye on St. Louis Public Radio and Faith Prince on KDHX, and watch Tony DeSare's preview video on YouTube.

The St. Louis Cabaret Conference and Festival are just two reasons why St. Louis is now regarded as a serious cabaret city. Come one down to Grand Center this week and find out why.

Beyond the Fringe

Tapman

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Monday night's special press preview of the third annual St. Lou Fringe Festival was everything I have come to expect from the Fringe. Which is to say that it was filled with the unexpected.

In a fast and furious hour and a half, we were treated to nearly two dozen short (2-3 minutes) previews—some on video, most live—of some of the 35 acts that will be appearing on the Fringe stages this year. Highlights included:

- St. Louis actor Chris Limber riffing a bit of '50s-style "beat" poetry accompanied by Michelle Isam's sax, as a preview of Chris's cabaret show "Riffs in a Set of Ten"
- An unbearably sad little vignette with a broken puppet by First Time Puppet Theater and The Helix Effect; the full show is titled "Landslide"
- Some funny improv comedy by The Creepy Basement Players and Not Quite Right
- A fun duet for didgeridoo and oboe by Michael Hagmeier and a member of the Illumine Ensemble, from their "Terra Camera" show
- A sparkly Jamie McKittrick of Salt House Collective in an oddly endearing promo for her act, "Sparkle-Ta Daaa!!!"
- St. Louis's own burlesque comedy troupe The Randy Dandies in an (ahem) unbuttoned rendition of John Prine's rudely hilarious "Let's Talk Dirty in Hawaiian" (from their production, "A Pastie Home Companion")

Landslide

There were also some impressive-looking videos from comic magician Christopher Bange's "More Bange for Your Buck," Tapman Productions' "The Adventures of Tapman" (the tap-dancing superhero), "In Full Swing" (virtuoso swing dancing) by The Four Fronts and, of course, a teeth-rattling live opener from St. Louis Osuwa Taiko.

From its humble beginnings as a loosely organized experiment back in 2012, the St. Lou Fringe has come a long way, baby. It's now a five-day extravaganza (June 18-22) that includes ten national performers along with the many local individuals and groups who, as always, make up the backbone of the festival. There are now six indoor performance venues in the midtown/Grand Center area (including The Stage @KDHX) plus "Street Fringe," a collection of free family-friendly outdoor performances at Strauss Park.

The Fringe has garnered national media attention and has also formed partnerships with many local arts and education organizations. No wonder festival founder Em Piro got a special award from the St. Louis Theater Circle back in March for the Fringe's contribution to the local performing arts scene.

Tina Farmer and I will be covering the Fringe for KDHX this year, but don't wait to hear what we have to say before jumping in yourself; you might miss the fun. Some of the shows only have two performances and none has more than four. The indoor shows all run no more than 45 minutes or thereabouts, so you can get a lot of entertainment in a short period of time. You can find a complete Fringe schedule and ticket information at stlfringe.com.

Chess master

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Who: Circus Flora
What: The Pawn
When: May 31 – June 22, 2014
Where: Grand Center

Circus Flora's "The Pawn" is the strongest show they've done in years. The unifying concept—a chess game—provides a simple, easily understood thread to link the various acts and doesn't require a lot of narration.

That's a good thing, given the how hard it has often been to hear that narration in the circus tent's unforgiving acoustics. The streamlined structure also moves the show along more quickly and provides a nice local tie-in with the World Chess Hall of Fame just a few minutes east of Grand Center in the Central West End.

The balance of performers is excellent this year, and while I miss Giovanni Zoppé's Nino the Clown—he seems to be concentrating on his own troupe, Zoppé an Italian Family Circus—Adam Kuchler (the titular pawn) is a worthy replacement. He's a brilliant physical comic with a charming stage presence and impressive juggling skills, as he demonstrates to great applause in the second act with an elaborate box juggling routine.

Adam Kuchler

This year's show features the usual mix of returning favorites and debuts. In addition to Mr. Kuchler, new acts include Andriy Bilobrov's irresistibly cute Jack Russell Terriers jumping through hoops, rolling barrels, and dancing with their trainer, and the Henning Camels, six "beautiful and rare Pied camels" who dash and dance around the ring on command. Watching them go through their paces up close in Circus Flora's intimate one-ring tent was clearly a highlight of the show for the 10-year-old in our party.

Also new this year is the acrobatic duo of Kate and Pasi, who combine adagio (an elegant form of stationary balancing), hand stands, and foot juggling in a clever and humorous act that begins with Kate apparently picking Pasi out as a volunteer from the audience. Long after it's obvious that Pasi is part of the act, he continues to play the befuddled bystander brilliantly, with smartly staged faux clumsiness that is. Pasi comes back in the second half of the show with an interesting variation on the classic strongman act, juggling heavy weights with apparent ease.

Trick rider S. Caleb Carinci-Asch isn't new to Circus Flora, but as his last appearance here was a decade ago I'm sure many in the audience had not seen him before; I know I hadn't. His act includes not only the usual stunt riding—leaps in the air, jumping on and off his galloping mount, and so on—but also a bit of club juggling, which drew much deserved applause.

Also returning this year is St. Louis Arches alumna Claire Kuciejczyk-Kernan with a graceful and athletic solo trapeze specialty. Her resume is impressive, including gigs with the Ianna Spirit Riders and the Flying Wallendas, one of whom (Alex) will become her husband later this summer. It's a reminder that the circus is the ultimate family business.

Claire Kuciejczyk-Kernan and
Alex Wallenda

Speaking of the Wallendas, they're back once again, closing the first half of the show with their trademark high wire act performed, as usual, without a net. That includes the always-impressive pyramid, this time consisting of two Wallendas on bicycles supporting a third on a chair. I'll never entirely wrap my head around the physics of keeping a stationary bicycle balanced on the high wire; it always looks impossible.

Another favorite flying family, the Cortes, is last on the bill with their remarkable trapeze act. Their graceful leaps and turns took place directly over our heads this year, making me more than usually thankful that they use a net. Their trademark triple somersault was as impeccable as always.

Some of the biggest applause went (as it often does) to our own home grown youth circus troupe, the St. Louis Arches. Selected from participants in Circus Harmony, our city's only comprehensive circus school, the Arches range in age from 9 to 19 and invariably bring down the house with their fast-paced juggling, tumbling, and acrobatics. If you need an Arches fix more than once a year, note that they can be seen year round at City Museum—a fun family destination all on its own.

David Ivor Balding

The ever-reliable Cecil MacKinnon, Circus Flora's Theater Director, keeps the chess game narrative moving along and has some nice byplay with Mr. Kuchler. Janine Del'Arte and the Circus Flora band provide the lively non-stop music and Nina Reed's colorful chess piece–inspired costumes are a delight to the eye. The only regular member of the company missing this year is, sadly, Artistic Director Ivor David Balding, who died on May 9th at the age of 75. Although in poor health for the last several years, Mr. Balding could always be counted upon to put in an appearance at each show; he will be very much missed.

In parting, let me note that the Circus Flora experience is by no means limited to the air-conditioned big top. Members of the Arches provide pre-show entertainment in the refreshment tent and there's even a wonderful classic band organ churning out waltzes and marches between the refreshment tent and the big top. There aren't that many of those fascinating antiques left outside of private collections—the only other one I know of locally is out at the Faust Park carousel—so it's always fun to see one in action.

Although I was born and have spent most of my life in St. Louis, there are some local traditions and institutions that I never have and probably never will understand. White Castle, for example, or the business about asking where you went to high school. What's THAT all about, anyway? Circus Flora, though, is a St. Louis tradition that anyone can embrace. They're presenting "The Pawn" nightly except for Mondays under the big red tent on the parking lot south of Powell Hall in Grand Center. There's also a special one-hour show for kids or “Kids-at-Heart” Wednesdays at 10 AM. For more information: circusflora.org.

Last and First Songs

Larry J. Weir

Yesterday, I gave you all a sneak peek at KDHX's new home in the Larry J. Weir Center for Independent Media on Washington in Grand Center, just east of The Bistro. At the time, I wasn't able to announce the date and time when the station would start broadcasting from the new facility because it hadn't been formally announced to the volunteers yet. Now I can.

In an email to KDHX volunteers yesterday, the station's Chief Content Officer, Chris Bay, announced that broadcasting would begin at the Weir Center at noon on Sunday, December 15th. "The last show to broadcast from the Magnolia Avenue building," wrote Bay, "will be Songwriters Showcase, and the last song to be played will be Emmylou Harris, 'Till I Gain Control Again,' which was Larry Weir’s sign-off song. This song was suggested far and above any other by all of you, and is certainly befitting of the occasion.

An artist that was also widely suggested was Bob Reuter, so Ed Becker will play one of Bob’s songs at the end of his show as well, to mark Bob’s significance to the station and his recent passing.

When we switch over, Bev will introduce the first broadcast from the new facility, along with the first song, which will be chosen by our listeners."

As I wrote in my previous blog post, the first song to be broadcast at the new location has yet to be chosen. That's because KDHX is conducting a listener poll to determine what it will be. They'll be collecting nominations until Friday, December 6 at the following link: http://go.kdhx.org/first-song-at-ljw-center Voting will take place Monday, December 9, through Friday, December 13 at that same link.

There are more details on the new location, along with additional pictures, in an article in yesterday's Riverfront Times.

88.1 KDHX: none of the hits all of the time.

Movin' on up

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As you must undoubtedly know by now, 88.1 KDHX is moving to its new home in the Larry J. Weir Center for Independent Media at 3524 Washington (just east of The Bistro in Grand Center) later this month.  I can't tell you the exact date yet as I am sworn to secrecy (although it's coming Real Soon Now), but I can tell you the last song that will be played at the station's current Magnolia Avenue HQ.

The song, as voted by KDHX vounteer DJs, is the 1975 Emmylou Harris recording of Rodney Crowell's "Till I Gain Control Again."  It was the last song the station's late Operations Manager Larry Weir played on his "Songwriters Showcase" show before his untimely death in January of 2010—which seems only fitting.

[My own nomination—"Goodbye Magnolia" by Jimmy and the Coconuts—was greeted with a wave of indifference.  But I digress.]

The first song to be played at the new location, on the other hand, has yet to be chosen.  That's because KDHX is conducting a listener poll to determine what it will be.  They'll be collecting nominations until Friday, December 6, and voting will take place Monday, December 9, through Friday, December 13.  Surf on over to the poll page to nominate your song!

Meanwhile, take a look at a few pictures of the new digs from the volunteer training/orientation session I attended yesterday.

As you can see, KDHX now has actual offices with actual conference rooms and all the other features of a local independent business. The new building is fully networked, so that all of the broadcast and production studios and communicate with each other and exchange programming.

The third-floor conference room

The Stage @ KDHX is the station's new live performance space. It can seat up to 138 and can be used for film/video events, interactive/educational functions, music, and even small theatre performances. It's equipped with state of the art lights and sound, and all performances can be recorded on audio and well as multiple-camera video.

The Stage @ KDHX as seen from the control pod at the rear

 A closer look at the stage of The Stage @ KDHX
The room can also be set up with cabaret seating;
the movie screen is optional

In front of the live performance space and accessible from the street is The Magnolia Cafe, run by the fine folks at Triumph Grill.  It will be open from 7 AM to 7 PM week nights and 7 AM to 3 PM weekends (later when there's an event at The Stage).  Based on what I saw on the menu board yesterday, they'll be offering soups, salads, sandwiches, pastries and drinks both alcoholic and non.

The counter at the Magnolia Cafe

The decor is funky and inventive.  The chandelier pictured below, for example, is constructed of jars hung from an old manual bowling alley pin setter.  One of the tables is built on a metal fire door from an movie theatre.  Very cool.

There's more to KDHX's new home, of course, including the ability to produce lots of original audio and video performances by St. Louis artists.  For more information, check out the FAQ list.  And stay tuned.  To quote Don Great's theme song for The Jeffersons, we're movin' on up.

Minterview: Liz Murphy

Minterview = Mini interview

This Friday and Saturday (November 22 and 23) at 8 PM, Mariposa Artists presents The Best is Yet to Come, the first solo cabaret show by St. Louis singer and actress Liz Murphy, at the Kranzberg Center in Grand Center.  The show is directed by cabaret luminary Lina Koutrakos, with music direction by MAC Award-winning singer, songwriter, arranger Rick Jensen.  I asked her a few questions about the show and how her life experiences had influenced its development.

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Q: I think of a cabaret show as a plant that grows from a small seed.  What was the seed that started The Best Is Yet to Come?  What inspired this show?

A: We have such a wonderful cabaret community here in St. Louis, and my friends actually encouraged me to plan a show.  I always thought I could do it but that personal enthusiasm for the project really began when I started making new and healthier life-style choices.  I suddenly has the enthusiasm and energy to want to try new things and gained that new "the best is yet to come" attitude!

Lina Koutrakos

Q: How do feel your experience as a middle school teacher has influenced your cabaret and musical theatre work, and vice-versa?

A: My classroom experience has helped immensely.  I entertain a captive audience every day!  My students are also very curious about the projects I work on and encourage me as well.  They even frequently ask me to sing. (...of course that may be to get out of doing work but I appreciate their vote of confidence!)

Q: Your music director Rick Jensen and your director Lina Koutrakos are both New York-based.  How did the three of you manage to get together for rehearsals?

A: I was so lucky to be able to work out a plan to have Lina and Rick as my directors!  I was able to have time with them here in St. Louis when they were in town doing other shows.  I also was fortunate enough to go to NYC last Easter and had a couple of great and very intense sessions with both of them. I also participated in the Chicago Conference in June and had time with them there as well.  In addition to that, I had phone meetings and music tracks from Rick so that I could practice my songs with his amazing arrangements.

Q: You've been performing with the Community Gospel Choir in St. Louis for the past seven years.  How do you feel that background influences what you do on stage?

A: My gospel choir experience has had a HUGE impact on my stage work.  I am a rehearsed singer and rely on the music to "read" my part. In gospel choir I was asked to begin to improvise and do solos where I had to put my music down and "let the spirit move me."  It was terrifying!  But through the support and encouragement of my fabulous director/vocal coach, Cecelia Stearman, and the members of the amazing choir, I found the ability to take chances and gain confidence.  I think that confidence is the key!

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Mariposa Artists is an independent cabaret production company founded by St. Louis cabaret singer Robert Breig.  For ticket information on Mariposa's The Best is Yet to Come, visit http://www.brownpapertickets.com/event/470878

Radio, radio

Production manager Andy Coco demonstrates
the new air board

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Grand Center is rapidly turning into the arts hub of the St. Louis area.  Long-time residents like the Fox Theatre, The St. Louis Symphony, and the Sheldon Concert Hall have been joined recently by media organizations like St. Louis Public Radio, Channel 9, and HEC-TV. In November the newest kid on the block moves in: 88.1 KDHX.  Yesterday a bunch of us volunteers got a sneak peek at our new digs, the Larry J. Weir Center for Independent Media on Washington right next to The Bistro, across from the Fox.  Very cool.

The Weir Center isn't just going to be the new home of KDHX's analog broadcast operations. It will also enable the station to put up a second HD channel with completely independent programming as well as enhanced audio and video production facilities.  There’s also a café (run by the folks at Triumph) and The Stage at KDHX, a 125-seat performance space.

Broadcast studio B.  Beam us up!

Construction on the offices, café, and The Stage is still in its final stages, but the broadcast and production rooms are already up and ready to go, as you can see in the iPhone snaps I took last night.  Programming will move to the new space in mid-November and the new HD 2 channel is expected to be available early next year. 

But wait—there’s more!  With the move to the newer, bigger, state of the art space, KDHX will be providing even more exposure for local performing artists via live on-air broadcasts and performances at The Stage.  Concert audio and video will be available at the KDHX web site.  The goal is to make KDHX a performance and production hub that will provide national exposure for St. Louis performers.

Today, Grand Center.  Tomorrow….well, “Mound City Limits,” anyone?  Stay tuned.

The Dispossessed

grandcenter.org

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My friend the playwright/producer Joan Lipkin (of That Uppity Theatre Company fame) once remarked that theatre in St. Louis was mostly about real estate. What she meant was that there are far more theatre companies in town than there are spaces in which they can perform.

Companies with dedicated spaces are becoming rare, and many of those have to share with other groups. Some are even homeless, migrating from stage to stage like the Wandering Jew of medieval legend. Sadly, one of our more prestigious professional companies has just joined the ranks of the homeless.

The company in question is the The Black Rep. For 36 seasons now they've been staging shows, including many local premieres, informed by the African-American experience—everything from the dramas of August Wilson and Athol Fugard to musicals like "Five Guys Named Moe" and "The Wiz." They presented the local premiere of Tony Kushner and Jeanine Tesori's genre-bending musical "Caroline, or Change," staged a production of "Porgy and Bess" in conjunction with Union Avenue Opera, and gave us the first local performance of Samm-Art Williams's comedy "The Waiting Room" (in which I appeared) in partnership with the St. Louis Actors' Studio.

Since 1992 The Black Rep has called The Grandel Theater in Grand Center home. The 437-seat space was pretty much the ideal size for the Black Rep as well as for other groups (such as St. Louis Shakespeare) that shared it with them. As reported by Judy Newmark in the stltoday.com Culture Club blog on August 4th, however, the Black Rep will start its 37th season as one of the theatrically homeless. Grand Center has sold the theater. A liquidator will empty the building by the end of August.

Ominously, the name of the buyer and its plans for the building "are not available due to a confidentially provision in the sale agreement," according to the West End Word, which suggests that Grand Center might be losing a theatre space. Meanwhile, regardless of those plans, The Black Rep is out in the cold (or rather the heat, given the current weather).

That hasn't stopped the group from announcing it's 37th season, though. "Though recent events could have put other theatre companies down for the count," notes company Education and Community Programs manager Linda Kennedy in a recent press release, "The Black Rep is coming out swinging with a new season of theatre." It starts with of Daniel Beaty’s one-man show Emergency, running September 5 – September 15 at Washington University’s A.E. Hotchner Theatre. Performed by Ron Conner, who played a number of leading roles in The Black Rep's last season, Emergency "tells the fantastical tale of a slave ship that emerges in front of the Statue of Liberty in present day New York City, releasing a whirlwind of emotion and exploration." Mr. Conner will play 40 different characters, from an 11-year-old boy to a Republican business executive, in what should be a virtuoso display of acting. For ticket information, visit the Black Rep web site or call 314-534-3807

Other shows in the 37th season have yet to be named but, according to an August 16th story in stltoday.com, company founder and producing director Ron Himes expects to announce both a new home and a full season by the time Emergency is on the boards. “The good news is, there is good news on the horizon, I think,” is quoted as saying in that article. “I am looking at venues and I hope that soon I will be able to make an announcement.”

That might mean presenting at multiple venues, as many other local companies without permanent homes have done. What it doesn't mean is going out of business. "What I want people to know more than anything," said Mr. Himes in a balanced and informative St. Louis American article, "is that we will have a 37th season. Losing that space is not the end of The Black Rep."

Suddenly losing a home can be as devastating to a theatre company as it is for individuals. Indeed, in some ways it's worse, given the severe housing shortage for theatre groups. It's not like The Black Rep can crash on a friend's couch for a while. More than one well-established company has winked out of existence locally for lack of a reliable performance space. It's hard to believe that could happen to a organization with The Black Rep's artistic pedigree, though, and the last act of the group's migratory drama has yet to be written. We'll all just have to watch, wait, and hope.