Opera Review: A Frenetic "Fledermaus" Opens Opera Theatre's Season

Season 50 opens fast and furious

Deanna Breiwick in “Adele’s Laughing Song.”
 Photo: Eric Woolsey

Opera Theatre of St. Louis (OTSL) has opened its 50th anniversary season with Johann Strauss the Second’s 1874 comic operetta Die Fledermaus. Previously presented by the company in 1983 as an off-season show at the late, lamented American Theatre and then as a touring production in 1989, Die Fledermaus is now getting its first regular season production. With its mix of both visual and verbal comedy and unabashed affirmation of champagne-fueled frivolity, the quintessential Viennese operetta should have been an ideal choice to kick off this celebratory season.

Unfortunately, director Shawna Lucey has elected to move the action from late 19th-century Vienna to New York City circa 1959 and to spike the champagne with a massive dose of Red Bull. The result is a frenetic barrage of sight gags, shouting, and general excess that renders most of the lyrics and spoken dialog incomprehensible and makes the projected English text indispensable. It also seems designed to draw as much attention away from the score as possible.

L-R: Jonathan McCullough,
Sara Gartland, Edward Nelson.
Photo: Eric Woolsey

That starts with the overture, which winds up being background music for an elaborate and noisy sequence in which Eisenstein and his friend Dr. Falke, returning in a state of advanced inebriation from a costume party in superhero outfits, cause a bit of a scene on the subway. It ends with Falke, in his Batman costume, barfing into a woman’s purse before passing out and Eisenstein making a hasty exit. Falke gains the unwelcome nickname of “the Bat” and plots revenge.

Now, I have nothing against a good sight gag. I still think the early Three Stooges shorts with the original Curley are a hoot and I’m a sucker for a pre-1960s Warner Brothers cartoon. It’s just that when you turn up the schtick control to 11, it tends to drown out everything else. The opening night audience seemed to love it. I didn’t.

Sara Gartland in the “Czardas”
Photo: Eric Woolsey

Anyway, flash forward a few years and Eisenstein, now a respectably boring advertising executive living in the ‘burbs with his wife Rosalinde, gets an invitation from Falke to join him at a costume party thrown by the notoriously Bohemian Prince Orlofsky at his Greenwich Village nightclub. Eisenstein jumps at the chance for a last fling before reporting to the city jail for an eight-day disorderly conduct sentence.

Unknown to Eisenstein, Falke plans to use the party as cover for a bit of revenge for the preshow incident on the subway. Unknown to both of them Rosalinde and her maid Adele, bored with suburban life, plan to be there as well. Everyone is disguised and mistaken identities abound, but it all ends happily with a rousing paean to champagne.

Kelsey Lauritano. Photo: Eric Woolsey

>My complaints about the high level of audiovisual noise aside, this Fledermaus is exceptionally well sung, given the non-stop movement the director has given the singers. Soprano Deanna Breiwick scintillates as Adele, the chambermaid who dreams of an acting career and disguises herself as one in the Act II costume ball. Her flawless delivery of “My Lord Marquis” (a.k.a. “Adele’s Laughing Song”) and her Act III “Ever since I was a baby,” in which she touts her abilities as an actress, are reminders of why the New York Times once dubbed her a “vocal trapeze artist.”

Soprano Sara Gartland makes a striking OTSL debut as Rosalinde, still carrying a torch for her former lover and singing teacher Alfred (tenor Joshua Blue, in a fine comic cameo). Disguised as a Hungarian in Act II she delivers a striking and sinuous “Voice of my homeland” (a.k.a the "Czardas"). It’s staged as a striptease number here which, while appropriately lubricious, can be a bit distracting.

L-R: Sara Gartland, Joshua Blue,
Robert Mellon. Photo: Eric Woolsey

Mezzo Kelsey Lauritano is a wonderfully excessive Count Orlofsky, knocking back vodka shots and exquisitely bored by everything. One of the great operatic “pants” roles, Orlofsky is a comic license to kill, and Lauritano makes the most of it.

Baritone Edward Nelson, another Opera Theatre first-timer, brings a strong, flexible voice and fine comic sense to the role of Eisenstein. Baritone Jonathan McCullough romps through the role of Falke, vocally commanding and gleefully weaving his web of comic revenge. Baritone Robert Mellon, a familiar figure on local opera stages, proves once again that he is a dab hand at comedy as the befuddled Frank, who comes to arrest Eisenstein and winds up with a disguised Alfred instead.

Rounding out this fine cast are mezzo Sophia Baete as Adele’s sister Sally, tenor Gregory V. Sliskovich as Eisenstein’s inept lawyer Dr. Blind, and actor Oscar Olivo in the non-singing roles of Orlofsky’s valet Ivan and the inebriated jailer Frosch. Olivo is a gifted physical comic but has apparently been directed to deliver all his lines at maximum volume and speed. That makes his long Act III monolog about using disapproving grandmothers as a crime-fighting tool (a substitution for a much shorter bit in the original libretto) a fairly tedious business.

Photo: Eric Woolsey

Conductor George Manahan conducts a lively rendition of the score. Seán Curran’s choreography was nicely tailored to the abilities of the performers. Sets and costumes by Robert Innes Hopkins were appropriately cartoonish, including an Act I kitchen that looks like The Jetsons viewed through a migraine aura and a Las Vegas–cheesy Act II nightclub.

Ultimately, my real issue with this Fledermaus is not so much the concept itself as the execution (I use the word advisedly) of that concept. The parallels between fin de siècle Vienna and 1950s New York are shaky but properly done this could have been fun—which it apparently was for most of the opening night audience. For me, though, it came across as a loud, incoherent assault. If you like your comedy “fast and furious” you might appreciate this Fledermaus. Personally, I plan to go back and watch the rest of the Vienna State Opera version on YouTube.

Die Fledermaus runs through June 28^th in rotating repertory with the other three operas on the Browning Mainstage at the Loretto-Hilton Center on the Webster University campus. Visit the OTSL web site for details.

This article originally appeared at St. Louis Arts Scene, where Chuck Lavazzi is the founder and principal critic.

St. Louis theatre calendar for the week of November 4th, 2024

What's on St. Louis theater and cabaret stages this coming week. Please leave a comment if anything was wrong or got left out

Act Two Theatre presents the musical Once Upon a Mattress Thursdays through Saturdays at 7:30 pm and Sundays at 2 pm through November 10. “Once Upon A Mattress is a hilarious and heartwarming musical based on the classic fairy tale The Princess and the Pea. This famous Broadway show, which launched Carol Burnett to stardom, promises an evening of laughter, romance, and unforgettable characters. Step into a whimsical kingdom where a talkative queen, a mute king, and a spirited princess create delightful chaos. Follow the adventures of Princess Winnifred, who swims moats and steals hearts, as she vies for the love of Prince Dauntless. Will she pass the Queen’s impossible test and break the curse that silences the King?” Performances take place at the St. Peters Cultural Center in St. Peters, MO. For more information: www.acttwotheatre.com.

Critique Theatre Company presents Slasher by Alison Moore Thursday through Saturday at 8 pm and Sunday at 2 pm, November 7 through 10. “This hilarious hit of 2009's Humana Festival of New American Plays at the Actors Theater of Louisville combines the camp of a horror flick with the tension of a family drama. When she's cast as the "last girl" in a low-budget slasher flick, Sheena thinks it's the ticket to financial freedom she's been waiting for. But news of the movie unleashes her housebound mother's thwarted feminist rage, and Mom is prepared to do anything to stop filming...no matter who gets hurt.” Performances take place at the Greenfinch Theater and Dive, 2525 S. Jefferson in Benton Park. For more information: www.greenfinchstl.com.

A Beautiful Noise
Photo: Jeremy Daniel

The Fabulous Fox presents A Beautiful Noise, The Neil Diamond Musical through November 10. “Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like "America," "Forever in Blue Jeans," and "Sweet Caroline," an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond's story was made to shine on Broadway-and head out on the road across America.” The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

The Hawthorne Players present Arthur Miller’s All My Sons through November 10. “During the war Joe Keller and Steve Deever ran a machine shop which made airplane parts. Deever was sent to prison because the firm turned out defective parts, causing the deaths of many men. Keller went free and made a lot of money. The twin shadows of this catastrophe and the fact that the young Keller son was reported missing during the war dominate the action. The love affair of Chris Keller and Ann Deever, the bitterness of George Deever returned from the war to find his father in prison and his father’s partner free, are all set in a structure of almost unbearable power. An electrifying play.” Performances take place in the Florissant Civic Center Theatre in Florissant, MO. For more information: www.hawthorneplayers.info.

The Roommate
Photo: Jon Gitchoff

The Repertory Theatre of St. Louis presents the dark comedy The Roommate through November 27. “In the quietest corner of the Midwest, middle-aged Sharon, recently divorced and seeking a sensible roommate, opens her home to Robyn, a mysterious woman with a murky past. Entwining this unlikely duo's lives in shared dish-duty and shady business, Jen Silverman takes us on an uproarious journey of self-discovery, secrets and revelations. Challenge societal norms, embrace the unexpected, and revel in the reinvention that only true friendship can spark in this dark comedy that proves coming of age can happen anytime, anywhere- even your own kitchen table!” Performances take place in the Emerson Studio Theatre of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

Webster Conservatory presents Thornton Wilder’s Our Town Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 3 pm, November 8 through 20. “Described by Edward Albee as “the greatest American play ever written,” Our Town presents the small town of Grover’s Corners in three acts: “Daily Life,” “Love and Marriage” and “Death and Eternity.” Thornton Wilder beautifully takes us from the everyday to the cosmic, asking us to consider our very humanity.” Performances take place on the Browning Main Stage at the Loretto-Hilton Center on the Webster University campus. For more information: www.webster.edu/conservatory.

Winter Opera presents Gilbert and Sullivan’s HMS Pinafore Friday at 7:30 pm and Saturday at 2 pm, November 8 and 10. “Set sail for laughter and romance with Gilbert and Sullivan's timeless operetta, HMS Pinafore; or, The Lass That Loved a Sailor! Love sets a course for stormy seas as Captain Corcoran's beautiful daughter, Josephine, is torn between duty and desire. Her heart belongs to Ralph Rackstraw, a handsome sailor, but her father insists she marry the pompous Sir Joseph Porter, the clueless First Lord of the Admiralty.This hilarious operetta is filled with unforgettable characters, witty dialogue, and toe-tapping tunes. Will true love conquer all, or will class distinctions keep Josephine and Ralph apart? Find out in this delightful operatic journey that skewers social status and celebrates the power of love.” Performances take place at the Kirkwood Performing Arts Center, 201 E. Monroe in Kirkwood, MO. For more information: winteroperastl.org.

YoungLiars present Wolf Kings, a new play written and directed by Chuck Harper, Thursdays through Saturdays at 8 pm, November 7 through 23. “As an antidote to their dystopian daily lives, five women meet weekly to divert, distract, and delight each other at a clandestine theatrical soiree. But tonight, the mood grows menacing as the line between oppressor and oppressed gets murky. Part Victorian Drag Show, part Parisian Literary Salon, and part Fairy Tale Resistance Rally, Wolf Kings blends witty conversation, savage karaoke, ecstatic dance, and vicious fortune-telling into an original YoungLiars spectacle. Join us as we stray from the well-worn path into the deep dark forest, where hooded maidens, diabolical beasts, and morally-compromised grannies inevitably converge at that tiny cottage in the woods.” Performances take place at The Chapel, 6238 Alexander Drive in Clayton, MO. For more information: www.youngliarstheatre.org.

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

To get your event listed here, send an email to chuck at kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

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.

Opera Review: New World orders

Victor Herbert's 1910 operetta "Naughty Marietta" got quite a fine production the weekend of March 1 by Winter Opera St. Louis. With a new book by Ball State University’s David Taylor Little (to replace Rida Johnson Young's convoluted and somewhat racist original), this New and Improved "Naughty Marietta" was rather like a bag of Cheez-Its: I knew it was junk food but it sure was tasty.

Brittany Hebel
Photo: Peter Wochniak

Winter Opera has had a pretty good track record of reviving classic operettas that simply aren't being done these days. Their 2016 "Merry Widow" was spectacular, and their 2017 "Student Prince" was great fun. This "Naughty Marietta" was right up there with those two, boasting a Grade A cast of strong singers who could also act and knew how to handle comedy.

Soprano Brittany Hebel was the titular Marietta, a Neapolitan Countess on the run from an unwanted marriage and hiding her real identity in 1780 New Orleans. In 1910 the role was sung by Emma Trentini, a petite soprano with an outsized voice. Hebel was very much in the same mode in terms of height and vocal chops. The lead soprano in fin de siècle operetta was typically a role that called for solid top notes and vocal flexibility (think Mabel in “Pirates of Penzance”). Hebel showed the latter to great effect in the famous “Italian Street Song” with its high-flying melodic line and pseudo-coloratura ornamentation.

Melanie Ashkar and
Zach Devin
Photo: Peter Wochniak

Tenor Zachary Devin was another vocal powerhouse as the stolid Captain Rick Warrington, head of the local militia, who is smitten with Marietta but loath to admit it. His clear, soaring voice rang out easily over the male chorus in “Tramp, Tramp, Tramp,”  and his performance had just the right “Dudley Do-Right” touch to make his Rick the perfect foil for the twinkling-eyed mischievousness of Hebel’s Marietta.

Bass-baritone Michael Colman was a wonderfully villainous Etienne Grandet, the son of the governor and secretly the dreaded pirate Bras Pique. His character’s only real solo, “You Marry a Marionette,” isn’t much of a song but his performance was such an attention grabber that it was wildly applauded.

Mezzo-soprano Melanie Ashkar provided effective dramatic weight as Adah, the woman Grandet has wronged, in the ballad “Under the Southern Moon”. Her voice had the rich, sultry quality the role required.

Michael Colman
Photo: Peter Wochniak

There are some great supporting comic roles in “Naughty Marietta,” and they were played by great comic singers. Tenor Marc Schapman, a familiar figure on local opera stages, was wonderfully fatuous as the Simon O’Hara, the least stalwart member of Captain Rick’s band. Baritone Gary Moss was a delight as the puppeteer Rudolfo, who helps hide Marietta’s identity, and baritone Joel Rogier’s fine voice and comic timing enhanced the part of Rick’s lieutenant, Sir Harry Blake.

Soprano Grace Yukiko Fisher was thoroughly winning as the woebegone Lizette, a “casquette girl” (a program the libretto confuses with the less exploitative “Filles du Roi” from the previous century) wooed and scorned by the feckless O’Hara. Happily, she ends up paired off with the admirable Sir Harry. Rounding out this consistently top-flight cast were Jessica Barnes, Caitlin Haedeler, and Emily Moore.

John Stephens and Mark Ferrell provided the fine stage and musical direction, respectively, and Scott Loebl once again put together a set that looked great and made maximum use of the relatively small stage at the Kirkwood Performing Arts Center. Kudos as well to Jen Blum-Tatara for the colorful period costumes.

The ensemble
Photo: Peter Wochniak

Operetta is a sadly neglected art form these days, at least locally. Even Gilbert and Sullivan are rarely performed, and when they are it’s invariably one of the Big Three (“Mikado,” “Pinafore,” or “Pirates”). So thanks again to Winter Opera for giving us a glimpse of the kind of entertainment that used to light up the stage a century ago.

Besides, who doesn’t like a nice bag of snack food now and then?

“Naughty Marietta” concluded Winter Opera’s 17th season, but they have some special events coming up; see their web page for details.

St. Louis theatre calendar for the week of February 27, 2023

Now including both on-line and live events during the pandemic. To get your event listed here, send an email to chuck [at] kdhx.org Your event information should be in text format (i.e. not part of a graphic), but feel free to include publicity stills.

The Alpha Players present J.B. Priestly’s An Inspector Calls through March 5. “It’s April 1912 at the home of the prosperous Birling family. Arthur Birling, his wife Sybil, their daughter Sheila and son Eric are in the drawing room just after dinner celebrating Sheila’s engagement to Gerald Croft, heir to a highly successful family business. Their cozy celebration is suddenly interrupted when the maid announces the unexpected arrival of Police Inspector Goole. The Inspector has come to the home as part of an inquiry into the death of a young woman. As the Inspector’s investigation unfolds, we find that each have secrets linking them to the tragedy.” Performances take place in the James J. Eagen Center in Florissant. For more information: www.alphaplayers.org

The Light
Photo: Phillip Hamer

The Black Rep, presents Loy A Webb’s The Light through March 5. “On their two-year dating anniversary, modern day couple Rashad and Genesis have plenty to celebrate—a marriage proposal and the promise of a new life together. But will their relationship survive when memories buried long ago are uncovered? The Light takes us on an emotional journey of love, laughter, and heartache as the two young adults reconcile their past and reaffirm their personal values to live in the truth.” Performances take place in the Hotchner Studio Theatre on the Washington University campus. For more information: www.theblackrep.org

The Blue Strawberry presents Claybourne Elder Thursday, March 2, at 7:30 pm. “In this candid show, one of Broadway’s brightest (and hunkiest!) stars, Claybourne Elder, shares his favorite songs – from Sondheim to French pop – along with reflections on romance, adventure, and growing up gay and Mormon in rural Utah. He'll also share theatre reminiscences from working with Stephen Sondheim to being on Broadway 8 times a week in his underwear. Get intimate with one of New York's favorite personalities in this hilarious and heartfelt solo show.” The Blue Strawberry is at 364 N. Boyle. For more information:  bluestrawberrystl.com

The Blue Strawberry presents Terry Barber in Mercury: The Music and The Life of Queen’s Freddie Mercury Saturday, March 4, at 8 pm. “Mercury is not as much a tribute to Queen as an exploration of the man’s life and work. When Farrokh “Freddie" Bulsara was eight years old, his parents sent him thousands of miles away to a boarding school in India. The family saw each other once a year. The very shy boy Freddie felt very much alone and lonely. He developed a protective skin. In music, he started to find a way out. The bravado developed at school became a big part of his stage persona. Part broken man and part rock god, Freddie Mercury showed it all on stage, and left if all there. In this new show about the man he reveres, Terry Barber sings Freddie’s songs, and explores the conflicts between his personal and public lives revealed by his music. Terry shares the story of each song, and locates its place in Freddie’s constellation of selves.” The Blue Strawberry is at 364 N. Boyle. For more information:  bluestrawberrystl.com

Ally Gia

The Blue Strawberry presents St. Louis's own Ally Gia in The Climb on Sunday, March 5, at 4 pm. “Join Ally Gia, a graduating senior musical theatre major at Webster’s Sargent Conservatory, as she guides you through an intimate night exploring her life journey towards the stage.” The Blue Strawberry is at 364 N. Boyle. For more information:  bluestrawberrystl.com

The Fabulous Fox presents Aaron Sorkin’s 2018 adaptation of Harper Lee’s novel To Kill a Mockingbird February 28 – March 12.  Richard Thomas plays Atticus Finch in this adaptation, directed by Bartlett Sher. The Fabulous Fox is on North Grand in Grand Center. For more information: fabulousfox.com

First Run Theatre presents the Spectrum 2023 Short Play Festival, Fridays and Saturdays at 8 pm and Sundays at 2 pm, March 3-12. The program consists of seven new one-act plays by local playwrights. Performances take place at The Chapel, 6238 Alexander Drive in Clayton. For more information: firstruntheatre.org/

Fly North Theatricals presents free performances of the musical Peter and the Starcatcher March 3 through 12. Performances take place at the Greenfinch Theater and Dive at 2525 S. Jefferson. For more information: www.flynorthmusic.com

The Kirkwood Theatre Guild presents the Agatha Christie’s The Mousetrap March 3 - 12. “After a local woman is murdered, the guests and staff at Monkswell Manor find themselves stranded. It soon becomes clear that the killer is among them, and the seven strangers grow increasingly suspicious of one another. A police detective interrogates the suspects: the newlyweds running the house; a spinster with a curious background; an architect who seems better equipped to be a chef; a retired Army major; a strange little man who claims his car has overturned in a drift; and a jurist who makes life miserable for everyone. When a second murder takes place, tensions and fears escalate!” Performances take place at the Robert Reim Theatre in Kirkwood, MO. For more information: ktg-onstage.org

The Lemp Mansion Murder Mystery Dinner Theatre and Jest Mysteries present Murder at the Abbey through May 6th. "Immerse yourself in a world full of aristocracy, old money a perhaps a touch of murder!  You’ve been invited to the dinner party held by the Earl of Grantham himself. Some would kill for the opportunity to meet the Crawley family.  They’ll all be there!  The Earl, his beautiful wife and three daughters…not to mention all your favorite characters in, and around, the Grantham house." The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Spells of the Sea
Photo: Jennifer Lin

Metro Theater Company presents the world premiere of the musical Spells of the Sea through March 5. “Finley Frankfurter is a 15-year-old fisherwoman who is terrible at fishing. H.S. Crank is a grumpy old lighthouse keeper who has been sitting for 20 years in the dark. Together, this unlikely pair begins an adventure through the ocean to find the Elixir of Life, an elusive remedy that will save Finley’s father from a mysterious illness. On their journey, the pair encounter mermaids and pirates, whirlpools and their worst fears, and finally a new understanding of the meaning of family, friendship, and trust in yourself.” Performances take place at the Grandel Theatre in Grand Center. The show is also available for video streaming beginning on Feburary 16.For more information: www.metroplays.org.

The Midnight Company presents Just One Look by Joe Hanrahan, starring Kelly Howe as Linda Ronstadt. “Linda Ronstadt ruled the pop charts and filled stadiums in the 70’s and 80’s. The reigning rock goddess of her era, she later took on light opera - Gilbert and Sullivan on Broadway - and The Great American Songbook with Nelson Riddle. Her involvement in social issues accelerated during her relationship with California Governor Jerry Brown, then running for President. But for Linda, it was always a search for the next great song. Kelly Howe will portray Linda Ronstadt and sing her sensational songs.” Performances take place Wednesdays at 7:30 pm, March 1 – 8 at The Blue Strawberry, 356 N. Boyle. For more information: bluestrawberrystl.com

Nine
Photo: Gerry Love

New Line Theatre presents the musical Nine Thursdays through Saturdays at 8 pm, March 2-25. “Based on filmmaking legend Federico Fellini’s iconic 1963 (semi-)autobiographical film 8 1/2, the musical NINE is a funny, crazy psychoanalytical roller coaster ride through the mind of a troubled, self-doubting genius who's suffering a midlife crisis. Underneath the comedy, it's a story about creation and creators, the sacrifices and compromises and demons, and the mysterious, delicate process of making great art.” .  Performances take place at the Marcelle Theatre in Grand Center. For more information: www.newlinetheatre.com

The Pageant presents the one-man show Men Are From Mars – Women Are From Venus LIVE! on Sunday March 5 at 3 pm. “Moving swiftly through a series of vignettes, the show covers everything from dating and marriage to the bedroom. This hysterical show will have couples elbowing each other all evening as they see themselves on stage. Sexy and fast paced, this show is definitely for adults, but will leave audiences laughing and giggling like little kids!” The Pageant is at 6161 Delmar. For more information: www.thepageant.com/

Confederates
Photo: Liz Lauren

The Repertory Theatre of St. Louis presents Confederates by Dominique Morisseau through March 5. “An enslaved rebel turned Union spy and a tenured professor in a modern-day private university are having parallel experiences of institutionalized racism, despite existing more than a century apart. MacArthur Genius Award-Winning Playwright, Dominique Morisseau, brilliantly bends the continuum of time and weaves together the stark realities of racial and gender bias both women face in this illuminating drama.” Performances take place on the main stage at the Loretto-Hilton Center on the Webster University campus. For more information: repstl.org.

Uncle Vanya
Photo: Patrick Huber

The St. Louis Actors’ Studio presents Chekov’s Uncle Vanya Fridays and Saturdays at 8 pm and Sundays at 3 pm, through March 5. “The visit of an elderly professor and his glamorous, much younger second wife, Yelena, to the rural estate that supports their urban lifestyle. Two friends—Vanya, brother of the professor's late first wife, who has long managed the estate, and Astrov, the local doctor—both fall under Yelena's spell, while bemoaning the ennui of their provincial existence. Sonya, the professor's daughter by his first wife, who has worked with Vanya to keep the estate going, suffers from her unrequited feelings for Astrov. Matters are brought to a crisis when the professor announces his intention to sell the estate, Vanya and Sonya's home, with a view to investing the proceeds to achieve a higher income for himself and his wife.”  Performances take place at The Gaslight Theater on North Boyle in the Central West End. For more information: www.stlas.org.

Variety STL presents its annual Curtain Call Revue Tuesday through Friday at 6 pm and Saturday at 7 pm, February 28 through March 4. The show features kids from ages 9 through 20 from the Curtain Call workshop program. Performances take place  at the Chesterfield YMCA. For more information: varietystl.org

The Washington University Performing Arts Department presents The Oresteia Fridays and Saturdays at 8 pm and Sundays at 2 pm, February 24 – March 5. “How can justice be achieved without piling new crimes on top of old ones? Ellen McLaughlin’s gripping adaptation of the trilogy by Aeschylus explores the intimacy of violence and the centrality of actions by women in this ancient Greek story about the foundations of the law.” Performances take place in the Edison Theatre on the Washington University Campus. For more information: pad.wustl.edu.

Webster Conservatory presents the musical Rain and Zoe Save the World Friday at 7:30 pm, Saturday at 2 and 7:30 pm, and Sunday at 2 pm, March 3-5. “Two teenage climate activists embark on an impulsive motorcycle journey to join a group of oil protesters. What begins as two young environmentalists’ longing to belong to something greater than themselves gives way to their discovering that the true danger in this world might just be growing up. This brand new play is a funny, sincere and profoundly moving adventure about the ethics of standing up for what you believe, whatever the cost.” Performances take place in the Emerson Studio Theatre on the Webster University campus in Webster Groves. For more information: www.webster.edu

Winter Opera presents Sigmund Romberg’s The Desert Song Friday at 7:30 pm and Sunday at 2 pm, March 3 and 5. “Explore the land of romance and adventure with the mysterious Red Shadow.” Performances take place at the Kirkwood Performing Arts Center, 201 E. Monroe in Kirkwood, MO. For more information: www.winteroperastl.org

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 Calendar.

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.

Opera Review: Swedish Rhapsody: "A Little Night Music" at Union Avenue Opera

In a 2016 interview at the Glimmerglass Festival, Stephen Sondheim said that he had always viewed his 1973 musical “A Little Night Music” as having “an operetta attitude.” It’s not surprising, then, that many opera companies have embraced it.

L-R: James Stevens, Leann Schuering,
Eric McConnell, Jordan Wolk, Teresa Doggett
Photo: Dan Donovan

Union Avenue Opera’s production doesn’t just embrace the show; it makes love to it with a combination of sensuality and skill that even the curmudgeonly Madame Armfeldt (played with sardonic wit by Teresa Doggett) would appreciate. With a simple but highly functional set (C. Otis Sweezey), beautiful costumes (the multi-talented Doggett), skilled dramatic and musical direction (Annamaria Pileggi and Scott Schoonover, respectively) and, above all a splendid cast, this is the best “Night Music” I have seen in quite a while.

For those of you unfamiliar with the show, know that “A Little Night Music” is “suggested by” famed Swedish director Ingmar Bergman’s 1955 comedy “Smiles of a Summer Night.” The story centers on a collection of romantically confused couples whose foolishness is sorted out by the “smiles” of a single midsummer night, when the sun never sets and there’s both magic and pheromones in the air. Hugh Wheeler’s book adds a few complications and a bit more romance (“sex presented pastorally,” to quote Stephen Schwartz), but otherwise it sticks fairly closely to Bergman’s original.

L-R: Debby Lennon,
Peter Kendall Clark
Photo: Dan Donovan

Presenting a successful “Little Night Music” can be a tricky proposition. Sondheim’s lyrics mix low comedy and high art in a way rarely seen on the musical stage, and his music is filled with intricate rhythms and layers of polyphony that are uncommon even in the regular operatic repertoire. That musical complexity is true as well for the roles of Frederik, Desiree, and Madame Armfeldt—originally written for singing actors rather than classically trained singers—which can be challenging.

What you need, in short, is a cast that can act as well as it sings, and vice versa.

Union Avenue has assembled just such a cast. Debby Lennon, a familiar presence on the operatic, theatre, and cabaret stages locally, is a wry and  insightful Desiree Armfeldt, the actress who realizes that ending her earlier relationship with lawyer Fredrik Egerman might not have been a wise decision. Lennon is the kind of singer who sounds entirely at home in just about any musical genre, a fact she demonstrates here with a performance of “Send in the Clowns” that is simply the most heartfelt and musically solid I have ever heard.

Baritone Peter Kendall Clark’s Fredrik is funny and wistful, as he tries to negotiate a mid-life crisis of which he seems blissfully unaware. The role has generally been the province of big theatrical baritones like Len Cariou and Ron Raines, and Clark could not be a better fit. He’s got projection and tonal warmth to spare.

L-R: Leann Schuering, Peter Kendall Clark
Poto: Dan Donovan

Speaking of projection, bass-baritone Eric J. McConnell has ample vocal power as the “pea-brained” Count Carl-Magnus Malcolm, whose toxic masculinity is exceeded only by his lack of insight. He comes close to making the character’s vapid bluster a little too silly, but better to error in that direction than to let us see what a truly awful person Carl-Magnus is.  

Soprano Leann Schuering, whose crystalline voice so brightened Union Avenue’s “HMS Pinafore” in 2018, sparkles again as Countess Charlotte Malcolm, painfully aware of just how much she is under her husband’s sadistic thumb but unable to find her way out.

I have, perhaps, exhausted my store of encomiums for soprano Brooklyn Snow from her previous UAO appearances. Here, as Fredrik’s very young and deeply shallow bride Anne (“unfortunately still a virgin” after nearly a year of marriage), she is once again vocally stunning and utterly convincing in her portrayal.

L-R: Amy Maude Helfer,
Brooklyn Snow
Photo: Dan Donovan

Tenor James Stevens is Henrik, Fredrik’s son from his first marriage, who finds himself in the untenable position of studying for the priesthood while lusting after his stepmother who, after all, is around the same age as him. Steven’s performance is a perfect mix of pain and comedy, delivered with a clear-as-a-bell voice that fills the stage. Together with Snow and Clark, he makes the complex Act I trio “Now / Later / Soon” one of many memorable moments.

One sign of a solid show is the presence of first-rate performers in even the smallest roles. As the free-spirited and flirtatious maid Petra, mezzo Amy Maude Helfer brings an unusual touch of sadness to the final line of “I Shall Marry the Miller’s Son.” It’s there in the music, but I don’t recall hearing it before.

Arielle Pedersen, a finalist in last year’s Fox Performing Arts High School Talent competition, makes an auspicious UAO debut in the mostly non-singing role of Desiree’s daughter Fredrika, radiating warmth and wisdom beyond her years. Perhaps that’s the result of her tutelage at the feet (literally) of the wheelchair-bound Madame Armfeldt, continually disappointed by her daughter Desiree’s refusal to recognize the importance of the profit motive in her romances. She gives voice to it in the ruefully witty “Liaisons,” which Doggett, in one of her regrettably rare stage appearances, sings with impressive clarity, even though it’s at the bottom of her range.

L-R: Joel Rogier, Sarah Price, Phil Touchette,
Gina Malone, Grade Yukiko Fisher
Photo: Dan Donovan

Finally, let us not forget the fine work by the vocal quintet that Sondheim employs as a kind of Greek chorus, commenting on the action and sometimes letting us hear the thoughts of the characters. Their presence is essential throughout the work and their music is often complex, as in the fugal “Perpetual Anticipation,” sung by the three women of the ensemble in Act II. The quintet consists of Joel Rogier, Gina Malone, Grace Yukiko Fisher, Philip Touchette, and Sarah Price.

That said, there are the usual issues with UAO’s overly resonant acoustics blurring overlapping vocal lines, especially in the Mozartian complexity of the Act I finale “A Weekend in the Country.” Schoonover’s tempos are also a bit too brisk in places for Sondheim’s lyrically lavish music, but the projected English text helps.

L-R: Arielle Pedersen,
Teresa Doggett
Photo: Dan Donovan

Set changes were also longer than they should have been due to the necessity of hauling large pieces of furniture on and off stage. But this, again, is a function of the fact that the performance space has no backstage or wing space; there’s only so much you can expect a designer to do. “Falstaff” suffered from the same issue but at least this time Schoonover used bits of the score as change music, which made them feel shorter.

For me the bottom line is that it has been over a decade since I have seen a professional production of “A Little Night Music” and longer than that since I have seen one that was so completely right in so many ways. This is a “must see” for anyone who loves musical theatre of any kind.

There are two more performances this Friday and Saturday (August 26 and 27) at 8 pm at the Union Avenue Christian Church, 733 Union at Enright. Tickets are available at the UAO web site.

St. Louis theatre calendar for the week of January 25, 2021

Now including both on-line and live events during the pandemic. To get your event listed here, send an email to calendar [at] stageleft.org.

The Blue Strawberry presents Open Mic Night with Sean Skrbec and Patrick White Sundays at 7 pm. "Come on down and sing, come on down to play, or come on down to listen and enjoy." The club is operating under a "COVID careful" arrangement with restricted indoor capacity, mask requirements, and other precautions. The Blue Strawberry is on North Boyle in the Central West End. For more information: bluestrawberrystl.com.

Sya Collins

The Blue Strawberry presents Sya Collins in It’s My Birthday and I’ll Sing What I Want To! Saturday, January 30, at 7:30 pm.  "For her 23rd anniversary of life, Sya presents a night of her favorite songs, backed by a few of her favorite musicians (and people) in the world. Trained in classical and jazz performance, Sya brings a fresh, versatile show that will engage every audience member. You’ll hear both old and new school R&B/soul, with a sprinkle of jazz and musical theater. This is sure to be a night of great music, love, and celebration!” The club is operating under a "COVID careful" arrangement with restricted indoor capacity, mask requirements, and other precautions. The show will also be available via live video stream. The Blue Strawberry is on North Boyle in the Central West End. For more information: bluestrawberrystl.com.

Billy Stritch

The Cabaret Project presents Billy Stritch Sings Mel Tormé via live video stream Saturday at  7:30 pm, January 30. "Stritch has wowed audiences all over the world with his rich vocals and virtuosity on the keys. He does the same in this solo evening salute to one of the greatest American singers of all time - the legendary Mel Tormé. Tormé was a virtuoso whose talents ranged from swing to scat to lush ballads. Stritch embodies all of these gifts along with his own brilliance at the piano. Recorded specifically for The Cabaret Project of St. Louis at the historic Bidland nightclub in New York, Billy singing Mel features two great New York sideman and is not to be missed." For more information: thecabaretproject.org.

Circus Harmony in St. Louis and Circus Circuli in Stuttgart, St. Louis's German sister city, present Sister City Circus, on Circus Harmony’s YouTube page.  "Through a series of online meetings, workshops, and classes the two troupes created 6 different circus acts and then filmed them at iconic architectural locations in each of their cities." For more information, visit the Circus Harmony YouTube channel.

Look Into My Eyes

First Run Theatre presents an on-demand streaming version of Look Into My Eyes, a new play by Robb Willoughby, through the end of February 2021. The play can be viewed on First Run's YouTube channel as well as on the First Run Facebook page.

Fly North Theatricals presents three new free digital series. Their new digital line up includes The Spotlight Series, the Grown-Up Theatre Kids Podcast, and Gin and the Tonic. The Spotlight Series highlights the Fly North family of students and actors performing songs from previous FNT shows. In the Grown-Up Theatre Kids podcast you can join Colin Healy and Bradley Rohlf every other Friday as they explore life after drama club and what it means to make a living in theatre far from the lights of broadway. Gin and the Tonic is a "reckless unpacking of music history’s weirdest stories hosted by Colin Healy.” The Spotlight Series and Gin and the Tonic are available at the Fly North Theatricals YouTube channel and the Grown-Up Theatre Kids podcast can also be found on Spotify, Apple Podcasts, Sticher, other podcast platforms. All three are updated on a bi-weekly (every other week) basis.

Forgottonia

Fly North Theatricals will present Forgottonia, their new original musical about falling in love, coming of age, and seceding from the United States, streaming for free on YouTube through January 31. "Forgottonia is a 'historical half-truth' about the events surrounding a real life secessionist movement in rural Western Illinois beginning in 1968. While tempests like Nixon and Vietnam rage far from her hometown of Colchester, IL, on this island in the corn, Jane Horn, her peculiar brother Jack, and acting-school drop out Neal Gamm are stuck in the doldrums. However, life is up-ended when a train breaks down in the middle of town bringing the outside world to the middle of Colchester and teeing off a sequence of events that will lead Jane, Jack, and Neal far from home. Forgottonia will be shown exclusively on Fly North Theatricals’ YouTube channel via a series of ‘premiere videos’ set to mimic a normal theatre schedule: Tuesday-Saturday at 7:30 pm, Sundays at 2 pm. All performances will feature an intermission as well as a 'stage door' via Zoom after the performance featuring actors from the show. For more information: flynorththeatricals.com.

The Lemp Mansion Murder Mystery Dinner Theatre presents A Fistful of Hollers through May 8. "Gun slingers, dance hall girls, cowboys, gold diggers, cowboy boots and ten-gallon-hats will abound. Rowdy cowboys will duel to the death as the crooked sheriff watches with glee. But none of these characters are as dangerous as Nasty Nate, he’s the orneriest gun in the west and word is that he’s going to be stirring up trouble at the Lemp Mansion." The Lemp Mansion is at 3322 DeMenil Place in south city. For more information: www.lempmansion.com

Metro Theatre Company presents Jacked! streaming on demand through March 31. "From playwright Idris Goodwin (Ghost, And in this Corner: Cassius Clay) comes the Jack and the Beanstalk story with a modern-day twist. And it’s not just the story that has a fresh take. This all-new virtual production fuses storytelling and poetry with a smart, moving hip hop score and hand-drawn animation based on visuals by artist Nick Kryah – exploring the imaginative boundaries of theater, film, and animation. You and the children in your family join Jack for an adventure that might start with the beanstalk, but follows Jack and his mother as they struggle to live happily ever after." For more information: metroplays.org.

Moonstone Theatre Company presents Moonstone Connections, a series of in-depth interviews with arts leaders by company founder Sharon Hunter. New episodes air the third Tuesday of each month; see linktr.ee/moonstoneconnections for more information.

The Muny presents Attuned: Cast Me at the Muny, a nine-part podcast that "showcases audition tips and funny stories, while offering an inside look at what makes casting a Muny show so challenging." The series is available on demand at the Classic 107.3 web site. For more information: classic1073.org/podcasts

L-R: Angel Riley, Ryan Johnson in
The Pirates of Penzance

Opera Theatre of St. Louis presents an abridged, 30-minute version of Gilbert and Sullivan's The Pirates of Penzance designed to introduce children to the world of Opera. The Pirates of Penzance is available via on-demand streaming through February 6. "As a child, Frederic was accidentally apprenticed to a conscientious but hapless band of pirates. On the day of his 21st birthday, Frederic thinks he’s finally free to explore the world — and meet girls — but some fine print in his contract leads to a surprising twist." For more informtation: opera-stl.org/on-the-go.

The Repertory Theatre of St. Louis presents Cooking, Carols and Cocktails, a four-episode web series combining cooking classes by local chefs, musical performances, and tours of local restaurants, running through the end of January. "Join us in the kitchens of some of St. Louis’ master chefs as they guide us in creating a delectable seasonal spread. While your meal simmers, enjoy exclusive holiday music performances and a special cocktail taught by a guest mixologist. From appetizer to digestif, each of the four episodes in this series brings the best of St. Louis’ culinary and music scenes into your home for a festive feast." Tickets are available for individual episodes as well as for the full series. For more information: repstl.org.

The Repertory Theatre of St. Louis, in collaboration with Baltimore Center Stage, Long Wharf Theatre, The Public Theater and Woolly Mammoth Theatre Company, present Play at Home, a series of micro-commissioned short plays from some of the American theatre's most exciting and prominent playwrights. These new plays – which all run 10 minutes or less – are available for the public to download, read and perform at home for free at playathome.org.

Adena Varner and family

The Repertory Theatre of St. Louis presents a live video stream of the WiseWrite Digital Play Festival running until the end of the Rep's 2020-2021 season. “Step into the imagination of three young playwrights as The Rep presents professional readings of their new plays.” The production is directed by Adena Varner, the Rep's Director of Learning and Community Engagement. For more information: repstl.org.

Deal Orlandersmith in
After the Flood

The Repertory Theatre of St. Louis and All Arts present Until the Flood, written and performed by Dael Orlandersmith, via on-demand streaming. "On August 9, 2014, Darren Wilson, a white police officer, shot and killed Michael Brown, an African American teenager in Ferguson, Missouri. The shooting ignited weeks of social unrest, propelled the Black Lives Matter movement and prompted a controversial investigation by the U.S. Department of Justice. Celebrated writer, performer and Pulitzer Prize finalist Dael Orlandersmith traveled to St. Louis and conducted interviews with dozens of people who were grievously shaken by Brown’s shooting and the turbulent aftermath. From these intimate conversations, Orlandersmith created eight unforgettable characters who embody a community struggling to come to terms with the personal damage caused by these events." For more information: allarts.org

R-S Theatrics presents While the Ghostlight Burns, a virtual discussion series featuring R-S Artistic Director Sarah Lynne Holt in conversation with St. Louis theatre artists, Mondays at 7 pm.  Conversations will be archived at the R-S Theatrics YouTube channel. For more information: r-stheatrics.com/while-the-ghostlight-burns.html

The St. Lou Fringe presents Matthew R. Kerna in original eight-minute solo performance adaptation of Charles Dickens' A Christmas Carol, remastered for the virtual stage.  For more information: www.stlouisfringe.com/a-christmas-carol

Come Together

The St. Louis Shakespeare Festival presents streaming videos from the SHAKE20 festival, including re-imagined, condensed versions of classic Shakespeare plays and new takes on old favorites like Joe Hanrahan's Come Together, at the Shakespeare Festival Facebook page at www.facebook.com/pg/STLShakesFest/videos

The St. Louis Writers Group streams live recordings of previous play reading sessions at their Facebook page. For more information: facebook.com.

SATE, in collaboration with COCA and Prison Performing Arts, presents Project Verse: Creativity in the Time of Quarantine. Project Verse presents two new plays: Quatrains in Quarantine by e.k. doolin and Dream On, Black Girl: Reflections in Quarantine by Maxine du Maine. The performances are streamed free of charge on SATE’s website and Facebook page. For more information: slightlyoff.org.

Classic Mystery Game

SATE also offers streaming performances of the shows originally scheduled for live 2020 productions: The Mary Shelley Monster Show, As You Like It (produced for SHAKE20, Project Verse, and Classic Mystery Game. The shows are available on their YouTube channel.


Union Avenue Opera offers Sneak Peeks of its 2021 season operas Il barbiere di Siviglia (The Barber of Seville), Les Contes d'Hoffmann (The Tales of Hoffmann) and The Cradle Will Rock on its YouTube channel.

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 Calendar.

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.

Review: Opera Theatre offers a brief encounter with Gilbert and Sullivan

The pandemic cancelled the Opera Theatre of St. Louis (OTSL) 2020 season and will radically re-shape its 2021 season, which will take place outdoors and involve a raft of health safeguards. Meanwhile, local audiences are being offered a variety of on-line offerings from the company, including its new "Opera on the Go!" program.

L-R: Angel Riley, Ryan Johnson

Targeted at young audiences, "Opera on the Go!" kicks off with a small-cast, one-act version Gilbert and Sullivan’s popular operetta “The Pirates of Penzance.” Offered via on-demand streaming from January 23rd through February 27th, this pared-down production clocks in at a fast-paced half hour by dumping all but the most essential aspects of the story along with the majority of the characters. The lovers Frederic and Mabel are still there, along with Frederick’s nursemaid Ruth, the Pirate King and of course, the comically pompous Major-General Stanley, but that’s it.

Adults familiar with the original may find this compression a bit disconcerting but younger audiences are likely to be vastly entertained by both the verbal and visual gags as well as by the broad but precise comic performances of the excellent five-member cast.  It's the same quintet that brought us OTSL's enchanting holiday concert last month, so the names and faces will be familiar.

L-R: Benjamin Taylor, Angel Riley,
Stephanie Sanchez, Ryan Johnson

Tenor Ryan Johnson swoons hilariously as Frederic, torn between his duty as an apprentice pirate and his love for the vivacious Mabel, sung brilliantly by soprano Angel Riley. Mr. Johnson’s matinee-idol crooning in “Oh, is there not one maiden breast” is perfectly done and Ms. Riley’s coloratura talents are nicely displayed in a cut-down but still impressive version of “Poor wandering one.” Bass Alex Rosen brings a degree of vocal depth not usually heard in the baritone role of Major-General Stanley and rattles off the famous patter song with stunning clarity.

Baritone Benjamin Taylor swaggers powerfully in his opening number as the Pirate King and mezzo Stephanie Sanchez makes a formidable Ruth. Both bring an impressive combination of vocal power and comic flair to their roles.

Director Shawna Lucey, who presumably provided the simple but very effective choreography as well, keeps the action mostly brisk and the comedy snappy, with just enough sight gags to keep the young target audience engaged without ever going overboard. The only exception is the long and weepy parting between Frederic and Mabel which, while it makes sense in the two-act original, goes on far too long for this reduced version. I think it might tax some younger attention spans as well. Judicial editing probably would have been advisable.

Alex Rosen

The clever video designs of Greg Emetaz add plenty of colorful visual humor to the proceedings, as do the bright, borderline-cartoon costumes James Schuette created for Opera Theatre’s original 2013 production. Pianist Mauro Ronca provides solid accompaniment and contributes a brief deadpan comic turn as Queen Victoria.

Opera Theatre’s entertainingly abbreviated “Pirates of Penzance” is being offered to the general public on demand through February 27th. It’s also available to schools through June as part of the Opera on the Go program, which includes short video workshops on Lighting, Making Music, Movement and Dance, and Patter Songs. Visit the Opera Theatre web site for more information.

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