Steve Woolf, a personal remembrance

Steve Woolf accepts the award for The Comedy of Errors
at the St. LouisTheatre Circle, 2013
Photo by Sid Hastings

There was very sad news today about July 12th  passing of Steve Woolf, a man who was one of the true luminaries of the St. Louis theatre scene. I have known Steve for many years now, but our association was almost entirely professional and mostly related to my position as Senior Performing Arts Critic at KDHX. As an actor, I auditioned for him several times and was actually cast once (in Witness for the Prosecution, 2006).

So, unlike many of the tributes to him you will see on (anti)social media and other sources over the coming days, this is less about his many fine personal qualities (which he had in abundance) and more about his intelligence and wisdom as a director and the artistic head of the Repertory Theatre of St. Louis for many years.

It is, in short, a remembrance by a critic, actor, and appreciative audience member.

As someone who has been a subscriber to the Repertory Theatre for something like four decades, I had to opportunity to see and admire the changes he made in company’s fortunes and repertory choices. If there was anyone who knew how to assemble a balanced season guaranteed to please both established customers while still attracting new ones, that man was surely Steve Woolf.  When he took the company over its record had been, in my recollection, spotty, with some fine productions alternating with far too many stinkers, either because of weak scripts or misbegotten artistic concepts. Steve changed that for the better, and IMO the local theatre community is very much in his debt as a result.

I am also grateful, as a member of the St. Louis Theater Circle, for his support of our organization and his willingness to host the annual awards gala.

Ave atque vale, Steve. Your journey beyond the Galactic Rim is a sad one for the local arts community and it is safe to say you will be sorely missed.

Review: A paper doll that I can call my own

L-R: Caralyn Kozlowski, Michael James Reed
Photo by Peter Wochniak

If George Bernard Shaw (who was a great admirer of Ibsen's A Doll's House) were alive today, he might have written something rather like the show on the main stage at the Repertory Theatre of St. Louis right now, Lucas Hnath's A Doll's House, Part 2 .

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Set fifteen years after the events in Ibsen's groundbreaking and controversial 1879 drama, A Doll's House, Part 2 (written in 2017) speculates on what might have happened to Nora after she walked out on her marriage and what might happen if she returned to the same house (and through the same door) she left at the end if Ibsen's original. It's a play of ideas in which no one point of view clearly prevails and which provides much food for thought afterwards. In this respect, the script resembles two others by the playwright that I very much admire, Death Tax and The Christians.

L-R: Tina Johnson, Caralyn Kozlowski
Photo by Peter Wochniak

Hnath's versions of Nora, Torvald, and Anne Marie are not, of course, Ibsen's. They're very contemporary in their language and attitudes, rather like the Henry II and Eleanor of Aquitaine in Goldman's The Lion in Winter. Personally, I think that's a better choice that attempting some sort of pastiche of Ibsen, but your mileage may vary.

A solid ensemble cast (Tina Johnson, Caralyn Kozlowski, Michael James Reed, and Andrea Abello) delivers compelling performances under the direction of Timothy Near. I found they self-conscious posing of Ms. Kozlowski's Nora a bit off-putting at first, but it soon began to make sense—Nora's "little squirrel" mannerisms had changed over the years but not vanished. Whether that's a directorial decision or something baked in to the script by Hanath, I have no idea. In any case, this is a play and a production that grow in the memory rather than shrink, which I see as a good thing. Performances continue through November 4 at the Repertory Theatre of St. Louis.

Review: Everything you know is wrong!

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

Kenneth Lee
Photo by Peter Wockniak

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"Everything You Know is Wrong" is both a hilariously surreal 1974 album by the The Firesign Theatre and a decent summary of "Caught," Christopher Chen's ingenious puzzle box of a play at the Repertory Theatre of St. Louis studio theatre through March 25th (2018). It's almost too clever for its own good, but it does raise issues about the contextual nature of Truth in a thought-provoking and entertaining way that doesn't break the fourth wall so much as ignore it.

Providing too much information about "Caught" would ruin its many surprises, but I can at least give you the setup. As you enter the studio theatre you're given a program. But it's not for a play titled "Caught," it's for the conceptual art exhibition "Devil in a Red Dress" by Lin Bo of the Xiong Collective. Rep volunteers helpfully answer questions about the art on display, including the titular video piece projected on the center panels on stage. Then the lights dim and Lin Bo (actor Kenneth Lee) is introduced by director Seth Gordon (director Seth Gordon).

L-R: Kenneth Lee, Jeffrey Cummings, Rachel Fenton
Photo by Peter Wochniak

Lin Bo presents a slide show describing how China's autocratic leadership has co-opted protest art by displaying its own fake protest art in Peking's 798 Art District (a real place, although its history is more complex than Lin Bo would have us believe) and then details his harrowing experiences as a political prisoner, as recently described in a New Yorker article. He finishes his presentation, the lights dim again, and the panels behind him are drawn aside to reveal an office at The New Yorker where Lin Bo is being quizzed by the article's author, Joyce (Rachel Fenton) and her aggressively clueless editor Bob (Jeffrey Cummings). It seems that an independent investigation has turned up some holes in the artist's story.

And so it goes for a total of four scenes, each of which reverses and undermines what has gone before, mixing the real with the fictional and constantly changing the audience's expectations. It also challenges ideas of what and how we understand the nature of truth, most notably in a circumlocutory and increasingly bizarre interview with playwright Wang Min (Rachel Lin) that reduces her interviewer to tears.

L-R: Rachel Lin, Rachel Fenton
Photo by Peter Wochniak

And that brings me back to that four-man audio theatre group (now reduced to two due to mortality), The Firesign Theatre, because "Caught" parodies and defies the audience's expectations about theatre the way classic Firesign Theatre albums parodied and defied the audience's expectations about TV and radio. In "Don't Crush That Dwarf, Hand Me the Pliers," for example, we're first presented with a service by Pastor Rod Flash of the First Church of the Presumptuous Assumption of the Blinding Light. Then the perspective changes and we're hearing the service in the background as George Leroy Tirebiter is watching it on TV. But then George orders a pizza and is sucked into the TV, where he becomes an aged version of himself on a TV talk show reminiscing about his old movies. Then someone changes the channel and we're hearing/watching one of those movies, "High School Madness." Eventually we learn that the person changing the channels is old George, who has been up all night watching himself on TV.

"Caught" isn't as deliberately surreal as the FT's work, but the repeated changes in perspective have the same dizzying effect, like a roller-coaster ride through a hall of mirrors. I think it fails to provide a coherent point of view on the issues it raises or to offer any real resolution, but maybe that's the point--the play may be over, but the story continues.

L-R: Rachel Lin, Kenneth Lee
Photo by Peter Wochniak

It is, in any case, superbly acted. Mr. Lee manages to make Lin Bo just phony enough to make his subsequent unraveling credible, but not so obviously bogus as to give away the game too early. Ms. Fenton's portrayals of both the flustered Joyce and the exhibit curator are finely shaded.

Ms. Lin does an equally impressive job in multiple roles, shifting personas almost imperceptibly as the script dictates. Mr. Cummings makes Bob's gradual change from dim to deranged hilariously believable. Yes, Bob is a one-joke character, but Mr. Cummings tells the joke well.

The backstage and technical aspects of the production are impeccable, as they so often are at the Rep. Mr. Gordon's direction follows the script's subtle changes in tone expertly. Robert Mark Morgan's simple but effective sets and Rusty Wandall's minimal but evocative sound add to the overall impact of the production.

"Caught" is, in short, a kind of theatrical thrill ride that dazzles, entertains, and provokes. Go and enjoy, but give yourself some time to discuss it afterwards with your friends. Odds are everyone will have different perspectives on what they have seen. Because, after all, everything you know is wrong.

Performances of "Caught" continue through March 25th downstairs in the studio theatre of the Loretto-Hilton Center on the Webster University campus.

Review: True Believers

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

L-R: Michael James Reed, Susaan Jamshidi, Lindsay Stock,
Ross Lehman
Photo: Jerry Naunheim, Jr.

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Selina Fillinger, the author of the drama Faceless getting its St. Louis premiere at the Rep Studio right now, is a remarkable young woman. Although only 23 and a recent graduate of the theatre program at Northwestern University, she has produced an intelligent, shrewdly observed commentary on faith, identity politics, institutionalized violence, and the vulnerability of young people coming of age in the digital goldfish bowl of social media.

Thought provoking, engrossing, and crackling with sharp dialog, Faceless is the all too plausible tale of Susie Glenn, an 18-year-old Chicago high school student who is reeling from the murder of her cop mother and disconnected from her father, who is finding it hard to cope with both her grief and his own. Lonely and unpopular, she is easy prey for Reza, an ISIS recruiter who convinces her to convert to Islam via a simple declaration on Twitter.

Arrested before she can fly overseas to join Reza, whom she has never seen in person (represented only by a recorded voice and a silhouette, he is literally faceless), Susie finds herself on trial for helping to plan acts of terrorism. Her prosecutor is Claire Fathi, a Harvard-educated Muslim lawyer who, as the show's publicity notes, "lives the faith that Susie professes to understand" but of which she has only the most elementary understanding.

Encouraged by her boss Scott Bader--a career Federal prosecutor with political ambitions--and irritated by Susie's religions pretensions, Claire tries aggressively for a conviction. As events unfold, both Susie and Claire begin to seriously question their decisions and it becomes clear that the high moral ground is a precarious place from which one is easily dislodged.

Faceless was first performed at Chicago's Northlight Theatre last year, and the Rep production features some of the same cast and creative team from that world premiere. Most notably, Lindsay Stock and Susaan Jamshidi reprise their roles as Susie and Claire, respectively, and their familiarity with the material and with each other gives their interactions real authenticity.

Ms. Stock moves credibly from girlish superficiality to tragic stature in the course of the evening, while Ms. Jamshidi is equally believable in her journey from righteous anger to serious self-doubt. These wonderfully detailed, thoughtfully shaped performances are the solid foundations on which the drama is built.

Michael James Reed, last seen as Claudius in the Rep's Hamlet, is the aggressively inflexible Scott, driven by a combination of moral certitude and political opportunism. The playwright only gives us a few chances to see a more human side to the character, but Mr. Reed makes the most of them. Next to the literally faceless Reza, he's the closest thing the play has to a villain, but Ms. Fillinger's text and Mr. Reed's nuanced performance give him enough depth to make him that much more chilling.

L-R: Susaan Jamshidi and Lindsay Stock
Photo: Jerry Naunheim, Jr.

As Mark Arenberg, Susie's defense attorney, Ross Lehman (another alumnus of the Northlight production) is the warm and compassionate counterweight to Mr. Reed's character. The playwright has given Ross some of the play's most trenchant political commentary, and Mr. Lehman gives these "author's message" moments a ring of sincerity that avoids preachiness. Joe Dempsey rounds out this sterling cast with a heartbreakingly real performance as Susie's father Alan.

Director BJ Jones, another Northlight import, moves the show at a brisk pace and her blocking keeps the action visible throughout the studio theatre's three-quarter round setup. Andre Pluess's sound, Heather Gilbert's lighting, and Stephan Mazurek's projections all add to the documentary realism of the show and John Culbert's minimalist set makes the many scene changes quick and seamless.

Isumi Inaba's costumes nicely illustrate character. I especially liked different styles of hijab--the headscarf worn by many Muslim women--used for Susie and Claire. Susie's is little more than a simple scarf, worn as thoughtlessly as she wears her new religion. Claire's are stylish, color-coordinated with her suits, and clearly an integral part of her self-image.

If Faceless has a weakness, it may be that while (as Eric Hoffer's The True Believer demonsrated) the underlying issue of the way religious and political fanatics exploit loneliness and insecurity to recruit followers attracted by the false certainty of rigid doctrine is sadly timeless, the more timely cultural references (such as references to Twitter and Facebook) might limit its theatrical shelf life. Shortly after 9/11, for example, Anne Nelson's drama The Guys (about WTC first responders who lost their lives) was nearly everywhere. Now it's practically nowhere and looks dated. I think Faceless is a more substantial script than The Guys, but whether or not that will prevent it from looking like yesterday's news is an open question.

It is, in any case, an astonishingly mature work for a novice playwright--or any playwright, for that matter. And it deserves to be seen. Performances continue through February 4th, 2018, in the Repertory Theatre of St. Louis studio space on the Webster University campus.

Review: The play's not the thing

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

Joneal Joplin and Susan Louise O'Connor
Photo: John Gitchoff

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The best things about the Repertory Theatre of St. Louis studio production of the 2015 comedy/drama Heisenberg by Simon Stephens (whose wonderful The Curious Incident of the Dog in the Night-Time opened the Rep's mainstage season) are the parts that are, as they say in the restaurant biz, locally sourced. That includes the stellar performances by Joneal Joplin and Susan Louise O'Connor, the thoughtful direction by Rep Artistic Director Steve Woolf, and the subtle but effective sound design by Rusty Wandall.

The worst thing about it, unfortunately, is the script. Commissioned by the Manhattan Theatre Club, where it was performed by Mary Louise Parker and author/actor Denis Arndt, Heisenberg chronicles the developing relationship between Alex Priest, a quiet London butcher in his mid-seventies with an comprehensive love of music, and Georgie Burns, a forty-ish transplanted American with a flexible notion of truth.

They first meet in a railway station where Georgie has just kissed Alex on the back of the neck, claiming that she mistook him for her late husband. It's a bizarre story and, as it turns out, a wholly fictitious one, along with most of the autobiography that emerges from her long comic monologue. As written, Georgie is manic, self-obsessed, and chronically dishonest--basically the sort of person most of us would cross the street to avoid. And yet Alex not only becomes emotionally involved very quickly but, even more improbably, joins her in a quixotic quest to reconnect with her adult son, who has fled to America and has forcefully severed all ties to her.

The relationship between the two feels arbitrary and unmotivated, and the play itself feels like a seriocomic sketch that has gotten too big for its britches. That might be because, as Emmeline McCabe reports in her program note, the playwright made no attempt to plot out the script in advance but instead "was inspired by the idea of not knowing where something is or where it is going"—a very free interpretation of the Heisenberg Uncertainly Principle which gives the show its title. The result is a play that lacks any real dramatic shape and feels unfinished.

For me, ultimately, the rewards of this production came from watching two very talented actors create a credible relationship out of this material. Mr. Joplin's beautifully understated Alex is a subtle masterpiece, shaping a warm and sympathetic human being. Early on, Georgie accurately describes Alex as "not so much a creature of routine as a psychopathic raging monster of it." Watching him emerge from the cocoon of that routine is immensely gratifying.

Ms. O'Connor is just as impressive, rattling off Georgie's gargantuan line load in a way that makes it look as though she's riffing on the spot, and finding moments of vulnerability and even humanity in what is, for the most part, a pretty annoying character. Georgie talks a lot but reveals very little of herself; Ms. O'Connor givers her more depth than the playwright does.

Peter and Margery Spack's simple rectangular set divides the black box space in half, with the audience lined up facing each other on the long sides of the rectangle. The arrangement could have created sight line issues, but Mr. Woolf's blocking takes that into account, and his pacing keeps the show moving while still allowing room for it to breathe. This is, in short, a production that gives the script every possible advantage.

The Repertory Theatre of St. Louis production of Heisenberg continues through November 12 in the studio theatre at the Loretto-Hilton Center on the Webster University campus. For me, the strong acting and direction didn't compensate for the weakness of the material, but your mileage may vary.

Chuck's St. Louis theatre choices for the weekend of February 24, 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:

Lady Day at Emerson's Bar and Grill

Max and Louie Productions presents the one-woman show Lady Day at Emerson's Bar and Grill throughMarch 4. "It's March 1959 and at a small Philadelphia club, jazz and blues "phenom" Billie Holiday takes the stage for one of the last shows of her life. Playwright Lanie Robertson's Musical Drama allows us a penetrating look into the life and times of Billie "Lady Day" Holiday, as we listen to the profound legacy of her artistry-the music itself." Performances take place at the Kranzberg Arts Cener, 501 North Grand in Grand Center. For more information, visit maxandlouie.com.

My take: Whenever I read about some of the legendary performers of the past, I often wish I had a TARDIS so I could zip back in time an see (say) Houdini or Nora Bayes in their prime. Sure, some of the great musical performers of the past are represented on recordings, but can any recording really capture what made the greats—well—great? In her review of Lady Day, Ann Lemmons Pollack agrees, noting that "[t]here are some musicians whose recordings, no matter how good, how beloved, don’t do them justice. Chief among them, I would argue, is Billie Holiday. If I ever had any doubt of that, they were erased Friday night as Alexis J. Roston sang part of Holiday’s repertoire in Lady Day at Emerson’s Bar and Grill...It is, essentially, a glorious cabaret act – and those who enjoy cabaret should have a swell time seeing this at the Kranzberg Arts Center." Other reviews have been equally positive, making this sound like a real winner. Get your tickets now, though; the Kranzberg is not a big space and this could sell out.

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Held Over:

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To Kill a Mockingbird
Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Christopher Sergel's stage adaptation of Harper Lee's To Kill a Mockingbird through March 5. "Lee's Pulitzer Prize-winning novel is a beloved tale that still resonates today. Scout Finch is growing up in Depression-era Alabama, where poverty and prejudice dominate daily life. With the guidance of her wise father, Atticus, the rebellious Scout discovers her own path, learning the power of empathy and the struggle for justice." Performances take place at the Loretto-Hilton Center on the Webster University campus. For more information: repstl.org.

My take: With racism and bigotry on the rise again in America, this classic story of one lawyer's courageous stand for justice is, I'm sorry to say, every bit as relevant as it was when Harper Lee first set it down in novel form. And the Rep's innovative production has many admirers, including yours truly. "I find myself again and again wanting to use the word 'strong when I think about what the Rep is doing with Mockingbird," writes Ann Lemmons Pollack. "It’s moving, extremely well executed, and a perfect fit for almost any audience." "There is a rhythm that’s unique to this production," notes Lynn Venhaus at the Belleville News-Democrat. "The small tight-knit black community moves through scenes by singing spirituals and gospel songs, their voices strong in unison. Using music to depict their culture and struggles was a brilliant stroke, punctuating the racism and discrimination."

Review: Two potent meditations on death and life at the Repertory Theatre of St. Louis

Until the Flood
Photo: Peter Wochniak

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There are two very powerful one-act plays on stage at the Repertory Theatre of St. Louis right now. Upstairs is Until the Flood, a gripping and disturbing look at the way different members of the community reacted to the shooting of Michael Brown in Ferguson in 2014. Mothers and Sons, in the studio theatre, also deals with the death of a young man, but under very different circumstances.

Both shows are less about the deaths than about how they affected and changed the living. And about how the living responded to them.

The characters in Until the Flood are fictionalized composites of real St. Louis residents drawn from interviews Dael Orlandersmith-the play's author and solo performer-did with real St. Louis residents. She talked with a broad spectrum of people from all over the metro area: old and young, black and white, from all over the social, economic, and political spectrum. The resulting portraits are never anything less the completely credible.

And that's impressive, since some of those characters are unpleasant people. The unapologetic neo-Nazi who appears toward the end of the show, for example, could easily have become a cartoon of racist ignorance; but he's just real enough to be truly disturbing. As skilled an actor as she is a playwright, Ms. Orlandersmith shifts ethnicity and gender easily, fully inhabiting each character.

Until the Flood offers no easy answers to the "latitudes and attitudes" that divide us, but it does provide nourishing food for thought. That makes it a welcome antidote to the mental junk food so often fed to us by corporate media.

The characters in Terrence McNally's Mothers and Sons are entirely fictional. But they are also clearly inspired by McNally's personal experience as a man of the theatre living through a period that brought both the triumph of marriage equality and the tragedy of the HIV/AIDS epidemic.

As in Until the Flood, the deceased is an invisible but pervasive presence. Andre died twenty years ago of HIV/AIDS. Cal, his former partner, spent the next eight years working through his grief before finding and eventually marrying Will. They now have a young son, Bud, and are living happily on New York's Upper East Side.

Darrie Lawrence and Harry Bouvy
Photo: Peter Wochniak

Andre's mother Katharine, unfortunately, has never really come to terms with her son's death or his sexuality. When she drops in unexpectedly on Cal and Will, she's still radiating anger and grief-a situation made all the worse, from her point of view, by the fact that Cal has moved on and made a new life for himself. The play charts her rocky course towards reconciliation with both the dead and the living.

Darrie Lawrence dominates the stage a Katharine. Confused, raging and unable to cope with her conflicted feeling, Katharine is a character who could become tiresome and almost does, but Ms. Lawrence performance never wavers from perfection and in the end both she and Mr. McNally's words bring something like closure to both Katharine and us.

Harry Bouvy is a warm and welcome presence as Cal, who is essentially the play's moral center. Michael Keyloun is a funny and winning Will and ten-year-old Simon Desilets could not be more charming as Bud.

Michael Evan Haney directs with a sure hand and a good eye for keeping sight lines clean; always a tricky issue for plays staged in the round.

Speaking of things that are perfect, James Wolk's tony apartment set is certainly that, right down to the children's books in the bookshelf. The books are visible to only a small part of the audience, but they're a nice little touch. When Katharine sneers at Cal's description of their place as a home-"An apartment can't be a home!"-the cozy warmth of the set underlines how blind her grief has made her.

Congratulations to Rep Artistic Director Steve Woolf for bringing both of these compelling dramas to St. Louis. Until the Flood runs through November 6th on the main stage while Mothers and Sons runs through the 13th in the studio theatre. They both are well worth your time. For more information: repstl.org.

Chuck's Choices for the weekend of Marcch 31, 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:

Tim Schall

The Presenters Dolan presents An Evening with the St. Louis Cabaret Conference Pro Track on Sunday, April 3, at 7 PM as part of the Gaslight Cabaret Festival. "Join Conference Producer Tim Schall as he performs with six singers from St. Louis and around the nation: Claudia Hommel, Amy Friedl Stoner, David Meulemans, Tracey O'Farrell, Ben Watts and Brooke Michael Smith. The group goes on to NY later this year!" The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: The St. Louis Cabaret Conference is the annual week-long professional training camp for cabaret and musical theatre singers. I have attended several editions over the years, including last year's, which was the first one to feature both Next Stop and Pro tracks, so I had a chance to see all of these singers strut their stuff. They're very different but all very talented, and this should be a great evening.

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The Presenters Dolan presents Lisa Rothauser and Tor Hyams in Life. Who Knew? on Thursday, March 31, at 8 PM as part of the Gaslight Cabaret Festival. "This show sold out NY's 54 Below, 42 West and Joe's Pub. Lisa is a hometown girl who was in the cast of The Producers on Broadway, and sings like it. Husband Tor Hyams is a Grammy-nominated songwriter. It's a helluva show." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: I'm putting his show on the list just because it sounds like fun and because I love to support the work of local performers who make good in the Big Apple. If I weren't already committed elsewhere, I would definitely be at the Gaslight for this show.

Satchel Paige and the Kansas City Swing
Photo: John Gitchoff

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The Repertory Theatre of St. Louis presents Satchel Paige and the Kansas City Swing through April 10. "The crack of the bat, the roar of the crowd-it's what every baseball player dreams of. In 1947, Jackie Robinson had broken baseball's color barrier, while Satchel Paige and his Negro League All-Stars were barnstorming against their white counterparts in the Majors. It was baseball by day and jazz by night as the impassioned and devoted players tried to find their place in a country on the verge of change." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: While the reviews for this show have been mixed, I saw it last weekend and was very impressed. It's a fascinating look at a historical turning point both in American history in general and in the history of baseball, our national pastime, in particular. It uses the life of Satchel Paige as a metaphor for the passing of black American institutions that were made irrelevant by integration, and ties it up with the changes taking place in jazz at the same time. This is heady and smart stuff, and while the second act, in particular, could stand with some trimming, it's still a powerful show from the team that brought us the remarkable Fly a few seasons back. At a time when reactionary political forces are trying to undo all the good done since 1947, this show is very relevant.

Amy Friedl Stoner

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The Presenters Dolan presents Amy Friedl Stoner in Tapestry: The Music of Carole King on Friday, April 1, at 8 PM as part of the Gaslight Cabaret Festival. "Amy's got a great voice, and she and her band Mirage do totally right by Carole King." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: I got to know and appreciate Amy Friedl Stoner's considerable talent last summer at the St. Louis Cabaret Conference and can recommend her work without reservation. And you can hardly go wrong with the music of Carole King.

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The Presenters Dolan presents Katie McGrath and Nicole Hudson in Where the Heart Is on Sunday, April 3, at 3 PM as part of the Gaslight Cabaret Festival. "Katie and Nicole join forces to explore one of their favorite and our most urgent topics: St. Louis, the city we love and long to change. Through a combination of songs from Broadway, main street and mean streets." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: I don't really know Nicole's work, but Katie and I have shared cabaret stages for a number of years now. I have immense respect for her musical and theatrical smarts as well as her keen political intelligence. This should be a great and important show.

Held Over:

Old Wicked Songs
Photo: Eric Woolsey

New Jewish Theater presents the Old Wicked Songs through April 3 "Hoping to reconnect with his music and shatter the artistic block that has plagued his career, a young American piano prodigy travels to Vienna in the spring of 1986. He is assigned to a vocal teacher who gives him the "Dicheterliebe" song cycle by Robert Schumann. Marans incorporates the poetry of Heinrich Heine and the music of Robert Schumann into the series of events. Through the sessions between the two men, Marans creates a link between two generations who find they much more in common than they think. This is the inspirational journey of two very different men who, with music as their one common bond, must find a way to break through their pasts." 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: I recall being very taken with this script when the Rep did it many years ago. In the Jewish Light, Bob Cohn describes this as "a challenging, thought-provoking play." "Playwright Jon Marans has created a play that ebbs and flows like a musical composition," writes Steve Allen for Stage Door St. Louis. "Yes, the music is at the heart of the production but the real heart in the production is the strength and resolve of teacher and student and the life lessons they each learn from one another. It's a beautiful script handled by two truly great actors."

St. Louis theatre calendar for the week of March 28, 2016

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

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

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

The Presenters Dolan presents An Evening with the St. Louis Cabaret Conference Pro Track on Sunday, April 3, at 7 PM as part of the Gaslight Cabaret Festival. "Join Conference Producer Tim Schall as he performs with six singers from St. Louis and around the nation: Claudia Hommel, Amy Friedl Stoner, David Meulemans, Tracey O'Farrell, Ben Watts and Brooke Michael Smith. The group goes on to NY later this year!" The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

Hedwig and the Angry Inch
Photo: Tom Gannam

Stray Dog Theatre presents the rock musical Hedwig and the Angry Inch Thursdays through Saturdays at 8 PM March 31 - April 16. “The 'internationally ignored song stylist' Hedwig Schmidt, an East German diva, is also the victim of a botched sex-change operation. As she tours the U.S. with her loyal band, Hedwig candidly shares her life story. Raucous, soulful and wickedly funny with a brilliant rock score, this show has inspired legions of fans." Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

Tesseract Theatre Company presents Helvetica, A Play About Stories Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m., April 1-10. "A children's author, with the help of her beloved stuffed bear, must face the trials of life and death through fantasy and adventure." Performances take place at the Regional Arts Commission, 6128 Delmar. For more information: tesseracttheatre.org.

The Presenters Dolan presents Lisa Rothauser and Tor Hyams in Life. Who Knew? on Thursday, March 31, at 8 PM as part of the Gaslight Cabaret Festival. "This show sold out NY's 54 Below, 42 West and Joe's Pub. Lisa is a hometown girl who was in the cast of The Producers on Broadway, and sings like it. Husband Tor Hyams is a Grammy-nominated songwriter. It's a helluva show." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

Lutheran High School North presents the musical The Little Mermaid Thursday through Saturday at 7:00 p.m., March 31 - April 2. Lutheran High School North is at 5401 Lucas and Hunt road in north St. Louis County. For more information: lhsnstl.org.

Love and Information
Photo: Jerry Naunheim, Jr.

The Performing Arts Department at Washington University presents Love and Information Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 1-10. "57 vibrant scenes. Over 100 colorful characters. In this kaleidoscopic collection of micro-stories, Caryl Churchill explores the roller coaster of existence in our dizzying world. Within the play's vivid anthology, the characters engage in a varied menu of touching and humorous life vignettes, affirming that while we may require vast amounts of knowledge in our digitally-defined era, our hunger for human connection remains essential. The play, by one of Britain's most esteemed playwrights, premiered in 2012 at London's Royal Court Theatre." Performances take place in the Hotchner Studio Theatre in the Mallinckrodt Student Center on the Washington University campus. For more information, visit pad.artsci.wustl.edu or call 314-935-6543.

The St. Louis Art Museum presents a live HD broadcast of the Metropolitan Opera's production Puccini's Madama Butterfly on Saturday, April 2, at 11:55 a.m. "Anthony Minghella's breathtaking production has thrilled audiences ever since its premiere in 2006. Kristine Opolais reprises her acclaimed portrayal of the title role, opposite Roberto Alagna as Pinkerton, the naval officer who breaks Butterfly's heart. Ana María Martínez, Latonia Moore, Roberto De Biasio, and Gwyn Hughes Jones star in a second set of performances. Karel Mark Chichon conducts." The live digital HD video broadcast from New York takes place in The Farrell Auditorium at the Art Museum in Forest Park. For more information: slam.org.

The Fox Theatre presents the Tyler Perry starring in his comedy Madea on the Run Friday through Sunday, April 1-3. The Fox is on North Grand in Grand Center. "Madea is at it again in Tyler Perry's most outrageously funny stage play ever. In trouble with the local authorities, Mabel Simmons, notoriously known as Madea, is on the run from the law. With no place to turn, she volunteers to move in with her friend Bam who is recovering from hip replacement surgery. Bam is so grateful that her faithful friend Mabel is putting her own life on hold in order to nurse Bam back to health. Unknown to Bam however, Madea is only using the concerned friend gag as a way to hide out from the police. But as they say...all things work together for the good of those who love the Lord and are called according to his purpose. Madea's presence at Bam's house is just what the doctor ordered." For more information: fabulousfox.com.

The Westport Playhouse presents Men Are From Mars-Women Are From Venus Live! opening on Friday, April 1, and running through April 17. "The Off-Broadway hit comedy Men Are From Mars - Women Are From Venus LIVE!, is a one-man fusion of theatre and stand-up, and is a light-hearted theatrical comedy based on the New York Times #1 best-selling book of the last decade by John Gray. Moving swiftly through a series of vignettes, the show covers everything from dating and marriage to the bedroom." Performances take place at the Westport Playhouse in Westport Plaza. For more information: marsvenuslive.com.

Webster University's Conservatory of Theatre Arts presents Mr. Burns, a Post-Electric Play Friday tat 7:30 pm, Saturday at 2 and 7:30 p.m., and Sunday at 2 p.m. April 1-3. “After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of “The Simpsons” episode “Cape Fear” entirely from memory. Seven years later, this and other snippets of pop culture have become the live entertainment of a post-apocalyptic society, sincerely trying to hold onto its past. Seventy-five years later, these are the myths and legends from which new forms of performance are created. A paean to live theatre, and the resilience of Bart Simpson through the ages, Mr. Burns is an animated exploration of how the pop culture of one era might evolve into the mythology of another” Performances take place in the Stage III Auditorium in Webster Hall on the Webster University campus. For more information, events.webster.edu or call 314-968-7128.

Old Wicked Songs
Photo: Eric Woolsdy

New Jewish Theater presents the Old Wicked Songs through April 3 "Hoping to reconnect with his music and shatter the artistic block that has plagued his career, a young American piano prodigy travels to Vienna in the spring of 1986. He is assigned to a vocal teacher who gives him the "Dicheterliebe" song cycle by Robert Schumann. Marans incorporates the poetry of Heinrich Heine and the music of Robert Schumann into the series of events. Through the sessions between the two men, Marans creates a link between two generations who find they much more in common than they think. This is the inspirational journey of two very different men who, with music as their one common bond, must find a way to break through their pasts." 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.

Lion's Paw Theatre Company presents Plays on the Menu, a reading of the plays Old Boy Friend by Neil LaBute, Ski Lift by Chris Holbrook, and Motherhood by August Strindberg, on Tuesday, March 29, at noon at The Hearth Room at The Hawken House, 1155 South Rock Hill Road. The readings include lunch. For more information: lionspawtheatre.org.

Lion's Paw Theatre Company presents Plays on the Menu, a reading of the plays Old Boy Friend by Neil LaBute, Ski Lift by Chris Holbrook, and Motherhood by August Strindberg, on Wednesday, March 30, at noon at St. Louis Artists' Guild, 12 North Jackson in Clayton. The readings include lunch. For more information: lionspawtheatre.org.

Satchel Paige and the Kansas City Swing
Photo: John Gitchoff

The Repertory Theatre of St. Louis presents Satchel Paige and the Kansas City Swing through April 10. "The crack of the bat, the roar of the crowd-it's what every baseball player dreams of. In 1947, Jackie Robinson had broken baseball's color barrier, while Satchel Paige and his Negro League All-Stars were barnstorming against their white counterparts in the Majors. It was baseball by day and jazz by night as the impassioned and devoted players tried to find their place in a country on the verge of change." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Amy Friedl Stoner

The Presenters Dolan presents Amy Friedl Stoner in Tapestry: The Music of Carole King on Friday, April 1, at 8 PM as part of the Gaslight Cabaret Festival. "Amy's got a great voice, and she and her band Mirage do totally right by Carole King." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The Monroe Actors Stage Company presents Moliere's comedy Tartuffe, Fridays and Saturdays at 7:30 and Sundays at 2:30 p.m., February 5-14, in the Historic Capitol Theatre in downtown Waterloo, Illinois. For more information, visit www.masctheatre.org or call 618-939-7469.

The Presenters Dolan presents Joe Mancuso in That's (My) Life on Saturday, April 2, at 8 PM as part of the Gaslight Cabaret Festival. "Joe Mancuso makes his cabaret debut at The Gaslight. He tells his personal story - and how tragic events changed his life, putting him on a musical journey to becoming an award-winning vocalist, recording artist and St. Louis favorite." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The Presenters Dolan presents Katie McGrath and Nicole Hudson in Where the Heart Is on Sunday, April 3, at 3 PM as part of the Gaslight Cabaret Festival. "Katie and Nicole join forces to explore one of their favorite and our most urgent topics: St. Louis, the city we love and long to change. Through a combination of songs from Broadway, main street and mean streets." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

Would you like to be on the radio? KDHX, 88.1 FM needs theatre reviewers. If you're 18 years or older, knowledgeable in this area, have practical theatre experience (acting, directing, writing, technical design, etc.), have good oral and written communications skills and would like to become one of our volunteer reviewers, send an email describing your experience and interests to chuck at kdhx.org. Please include a sample review of something you've seen recently.

Chuck's Choices for the weekend of March 25, 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:

If/Then
Photo: Joan Marcus

The Fox Theatre presents the musical If/Then opening on Tuesday, March 15, and running through March 27. "IF/THEN is a contemporary Broadway musical about living in New York today - and all the possibilities of tomorrow. With unforgettable songs and a deeply moving story by the Pulitzer Prize and Tony Award®-winning creators of Next to Normal, this "fascinating, ambitious, and original new musical" (New York Post) simultaneously follows one woman's two possible life paths, painting a deeply moving portrait of the lives we lead, as well as the lives we might have led." The Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

My take: Ever wonder about the path not taken? If/Then follows two parallel story lines featuring the same character but different life choices. I find this a fascinating premise and would have seen the show if a family medical emergency hadn't intervened. Originally a starring vehicle of Idina Menzel of Wicked fame, If/Then on tour features Menzel's Broadway understudy Jackie Burns in the lead role, and she's apparently an impressive performer. Writing for the Belleville News-Democrat, Lynn Venhaus says Burns "makes the role her own with tremendous poise and powerhouse vocals."

Old Wicked Songs
Photo: Eric Woolsey

New Jewish Theater presents the Old Wicked Songs through April 3 "Hoping to reconnect with his music and shatter the artistic block that has plagued his career, a young American piano prodigy travels to Vienna in the spring of 1986. He is assigned to a vocal teacher who gives him the "Dicheterliebe" song cycle by Robert Schumann. Marans incorporates the poetry of Heinrich Heine and the music of Robert Schumann into the series of events. Through the sessions between the two men, Marans creates a link between two generations who find they much more in common than they think. This is the inspirational journey of two very different men who, with music as their one common bond, must find a way to break through their pasts." 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: I recall being very taken with this script when the Rep did it many years ago. In the Jewish Light, Bob Cohn describes this as "a challenging, thought-provoking play." "Playwright Jon Marans has created a play that ebbs and flows like a musical composition," writes Steve Allen for Stage Door St. Louis. "Yes, the music is at the heart of the production but the real heart in the production is the strength and resolve of teacher and student and the life lessons they each learn from one another. It’s a beautiful script handled by two truly great actors."

The Repertory Theatre of St. Louis Ignite! New Play Festival presents Until the Flood by Daniel Orlandersmith Friday at 7:30 p.m. and Saturday at 1 p.m., March 25 and 26. "The Rep has commissioned celebrated writer, performer and Pulitzer Prize finalist Dael Orlandersmith to write and perform a play about the recent events in Ferguson. She has fashioned a sensitive and moving portrayal of the people in our community, and how they feel about an event that placed St. Louis in a spotlight it didn't expect or relish." The Friday performance takes place at the Sally S. Levy Opera Center, 210 Hazel Avenue in Webster Groves and the Saturday performance at St. Louis Public Radio in Grand Center. For more information www.repstl.org/ignite.

My take: It's always interesting to see new plays—it's the main reason I attend the Humana Festival every year— and the shows previewed in Rep's Ignite! festival often go on to full productions at the Rep and elsewhere. This is a good chance to see art while it's being made.

Held Over:

American Idiot
Photo: Jill Ritter Lindberg

New Line Theatre presents the musical American Idiot, based on the album by Green Day, Thursdays through Saturdays at 8 PM through March 26. " New Line continues its 25th season with the powerful, high-octane, rock fable AMERICAN IDIOT, based on the powerhouse album by Green Day, a scorching attack on what they saw as the hypocrisy and moral evils of the Bush Administration after the attacks of Sept. 11, as well as the increasingly submissive nature of the American public. The score includes every song from Green Day's hit album American Idiot, as well as several songs from their follow-up release, 21st Century Breakdown, with music by Green Day, lyrics by front man Billie Joe Armstrong, a book by Armstrong and Michael Mayer, and musical arrangements and orchestrations by Broadway composer Tom Kitt (High Fidelity, Next to Normal, If/Then). The Toronto Star called the show 'the first great musical of the 21st century.'" 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: As you can see from the description of this show, it could hardly be more relevant during the current primary campaign season, especially in light of the Republican Party's slide into drooling insanity. In her review for KDHX, Tina Farmer says this "is a fantastic production, and several scenes flash with brilliance. The cast are uniformly strong singers and the interpretations of the songs are spot on. " At Ladue News, Mark Bretz says "New Line’s presentation superbly captures the musical essence of the album and show as well as making the most of the straightforward plot."

Molly's Hammer
Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents the world premiere of Molly's Hammer through March 27. "Molly Rush was focused on the endgame- save the world, protect her family. But what would she have to sacrifice? In 1980, the Pittsburgh housewife and mother of six walked into a General Electric plant and took a hammer to a nuclear warhead to protest the buildup of America's nuclear arsenal. Based on the true story of the Plowshares Eight, Molly's Hammer is the world-premiere account of one woman's unwavering beliefs and her family's desperate attempts to protect her from infamy." Performances take place in the studio theater at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: What's the price of compassion? What is the extent of a citizen's obligation to oppose fundamentally evil policies by a government? How much should one be expected to sacrifice for the common good? As I write in my review, these and many other questions are raised by Tammy Ryan's gripping drama Molly's Hammer. At a time when the very foundations of our political system are being openly challenged by the forces of fascism and hysterical fear, and when the leading candidates of one of our political parties are almost drooling with pleasure at the possibility of starting a nuclear war, these questions could not be more timely.

St. Louis theatre calendar for the week of March 21, 2016

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

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

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American Idiot
Photo: Jill Ritter Lindberg

New Line Theatre presents the musical American Idiot, based on the album by Green Day, Thursdays through Saturdays at 8 PM through March 26. " New Line continues its 25th season with the powerful, high-octane, rock fable AMERICAN IDIOT, based on the powerhouse album by Green Day, a scorching attack on what they saw as the hypocrisy and moral evils of the Bush Administration after the attacks of Sept. 11, as well as the increasingly submissive nature of the American public. The score includes every song from Green Day's hit album American Idiot, as well as several songs from their follow-up release, 21st Century Breakdown, with music by Green Day, lyrics by frontman Billie Joe Armstrong, a book by Armstrong and Michael Mayer, and musical arrangements and orchestrations by Broadway composer Tom Kitt (High Fidelity, Next to Normal, If/Then). The Toronto Star called the show 'the first great musical of the 21st century.'" 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.

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

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

The Presenters Dolan present Natalie Douglas in Hello Dolly: The Music of Dolly Parton on Thursday, March 24, at 8 PM as part of the Gaslight Cabaret Festival. "Called "a true force of nature" by The Times UK and "sensational" by Time Out New York. After a Birdland residency and a weeklong triumph in London, Natalie Douglas - a buxom beauty herself - brings her acclaimed Dolly Parton show to our town.." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

If/Then
Photo: Joan Marcus

The Fox Theatre presents the musical If/Then opening on Tuesday, March 15, and running through March 27. "IF/THEN is a contemporary Broadway musical about living in New York today - and all the possibilities of tomorrow. With unforgettable songs and a deeply moving story by the Pulitzer Prize and Tony Award®-winning creators of Next to Normal, this "fascinating, ambitious, and original new musical" (New York Post) simultaneously follows one woman's two possible life paths, painting a deeply moving portrait of the lives we lead, as well as the lives we might have led." The Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

The Presenters Dolan present Liam Forde: Live! on Friday and Saturday, March 25 and 26, at 8 PM as part of the Gaslight Cabaret Festival. " Liam's one break away from the heights - catch him now." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The Repertory Theatre of St. Louis presents the world premiere of Molly's Hammer through March 27. "Molly Rush was focused on the endgame- save the world, protect her family. But what would she have to sacrifice? In 1980, the Pittsburgh housewife and mother of six walked into a General Electric plant and took a hammer to a nuclear warhead to protest the buildup of America's nuclear arsenal. Based on the true story of the Plowshares Eight, Molly's Hammer is the world-premiere account of one woman's unwavering beliefs and her family's desperate attempts to protect her from infamy." Performances take place in the studio theater at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read my review!

Old Wicked Songs
Photo: Eric Woolsdy

New Jewish Theater presents the Old Wicked Songs through April 3 "Hoping to reconnect with his music and shatter the artistic block that has plagued his career, a young American piano prodigy travels to Vienna in the spring of 1986. He is assigned to a vocal teacher who gives him the "Dicheterliebe" song cycle by Robert Schumann. Marans incorporates the poetry of Heinrich Heine and the music of Robert Schumann into the series of events. Through the sessions between the two men, Marans creates a link between two generations who find they much more in common than they think. This is the inspirational journey of two very different men who, with music as their one common bond, must find a way to break through their pasts." 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.

The Presenters Dolan present Pink Martini: A Spring Fling Featuring China Forbes on Monday, March 21, at 8 PM as part of the Gaslight Cabaret Festival. The performance takes place at the Sheldon Concert Hall in Grand Center. For more information: metrotix.com.

The St. Louis Theater Circle presents the St. Louis Theater Circle Awards on Monday, March 21, at 7 PM. The awards recognize outstanding achievement in locally produced professional theatre as judged by local theatre critics who are members of the Circle. Presenters will include KDHX's own Chuck Lavazzi. The ceremony takes place at The Skip Viragh Center on the campus of Chaminade University . Tickets are available in advance at brownpapertickets.com. A pre-ceremony buffet and open bar will be situated just outside the theater entrance. Food and drinks will be available on a cash basis, but the buffet has to be ordered and paid for in advance. Check out the With Love Catering site for details or call 314-637-7907. The event will be broadcast and webcast live on HEC-TV Charter channel 989, U-Verse channel 99, and at hectv.org

Satchel Paige and the Kansas City Swing
Photo: John Gitchoff

The Repertory Theatre of St. Louis presents Satchel Paige and the Kansas City Swing March 16 - April 10. "The crack of the bat, the roar of the crowd-it's what every baseball player dreams of. In 1947, Jackie Robinson had broken baseball's color barrier, while Satchel Paige and his Negro League All-Stars were barnstorming against their white counterparts in the Majors. It was baseball by day and jazz by night as the impassioned and devoted players tried to find their place in a country on the verge of change." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

On Wednesday, March 23, at 7:30 p .m. the Repertory Theatre of St. Louis Ignite! New Play Festival presents Unseen by Mona Monsour. "Conflict photographer Mia wakes up in the Istanbul apartment of her on-again, off-again girlfriend after being found unconscious at the scene of a massacre she was photo-graphing. When Mia's mother arrives from the U.S., the apartment is filled with tension as the women try to unravel what happened. Unseen is a provocative look at one American's attempt to commune with another very foreign, much discussed part of the world." The performance takes place at the Sally S. Levy Opera Center, 210 Hazel Avenue in Webster Groves. For more information www.repstl.org/ignite.

The Repertory Theatre of St. Louis Ignite! New Play Festival presents Until the Flood by Daniel Orlandersmith Friday at 7:30 p.m. and Saturday at 1 p.m., March 25 and 26. " The Rep has commissioned celebrated writer, performer and Pulitzer Prize finalist Dael Orlandersmith to write and perform a play about the recent events in Ferguson. She has fashioned a sensitive and moving portrayal of the people in our community, and how they feel about an event that placed St. Louis in a spotlight it didn't expect or relish." The Friday performance takes place at the Sally S. Levy Opera Center, 210 Hazel Avenue in Webster Groves and the Saturday performance at St. Louis Public Radio in Grand Center. For more information www.repstl.org/ignite.

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.

Chuck's Choices for the weekend of March 18, 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:

This Friday through Sunday, March 18-20, Fontbonne University Theatre Department presents Almost, Maine. Welcome to Almost, Maine, a town that's so far north, it's almost not in the United States-it's almost in Canada. One night in the middle of winter, while the northern lights hover in the sky above, Almost's residents find themselves falling in and out of love in the strangest ways. And life for the people of Almost, Maine will never be the same. Performances take place in the Fontbonne Fine Arts Theatre on Wydown. For further details about Almost Maine, www.fontbonne.edu/academics/departments/fine-arts-department/theatre-productions.

My take:This is a charming set of romantically comic one acts with a strong dose of a kind of magical realism. We did the local premier of this a few years back at West End Players Guild and the show has been cropping up here and there ever since. I haven't seen the Fontbonne production, but I can attest to the fact that the play itself is first-class stuff.

Marisaa Mulder

The Presenters Dolan present Marissa Mulder in Fragments of Marilyn on Friday and Saturday, March 18 and 19, at 8 PM as part of the Gaslight Cabaret Festival. " In this utterly fascinating show, Marissa explores Marilyn Monroe, mind, heart and soul, and her journey from orphanage to celebrity's epicenter. A magical mix of real cabaret theater. The first public performance of Marilyn from one of the emergent talents in all of cabaret." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Ms. Mulder, as I noted in my review of her Tom Waits show back in 2014, is a fine singer who is also a gifted actor, with the ability to truly inhabit the characters in her songs. If anyone can conjure up the spirit of the late Ms. Monroe (who, while not a strong singer, also knew how to really sell a lyric) it would be Ms. Mulder.

The Presenters Dolan present Jon Weber in From Joplin to Jarrett on Sunday, March 20, at 3 PM as part of the Gaslight Cabaret Festival. " A history of jazz piano in 70 minutes, from the host of NPR's Piano Jazz." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Now there's something you don't see every day, Chauncey (as they used to say on Rocky and His Friends); a cabaret show where the focus is on piano instrumentals rather than songs. As a frustrated pianist myself, I think this looks like a fascinating show. The evolution of African-influenced piano composition from the classical approach of Scott Joplin to the disciplined improvisations of Keith Jarrett covers a lot a impressive musical territory.

Molly's Hammer
Photo: Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents the world premiere of Molly's Hammer through March 27. "Molly Rush was focused on the endgame- save the world, protect her family. But what would she have to sacrifice? In 1980, the Pittsburgh housewife and mother of six walked into a General Electric plant and took a hammer to a nuclear warhead to protest the buildup of America's nuclear arsenal. Based on the true story of the Plowshares Eight, Molly's Hammer is the world-premiere account of one woman's unwavering beliefs and her family's desperate attempts to protect her from infamy." Performances take place in the studio theater at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: What's the price of compassion? What is the extent of a citizen's obligation to oppose fundamentally evil policies by a government? How much should one be expected to sacrifice for the common good? As I write in my review, these and many other questions are raised by Tammy Ryan's gripping drama Molly's Hammer. At a time when the very foundations of our political system are being openly challenged by the forces of fascism and hysterical fear, and when the leading candidates of one of our political parties are almost drooling with pleasure at the possibility of starting a nuclear war, these questions could not be more timely.

This Friday, Saturday and Sunday First Run Theater is holding its annual Play Reading Festival. This festival showcases original scripts by St. Louis playwrights interested in seeing their work produced on a state-of-the-art stage; all readings are open to the public. The performances take place in the theatre on the campus of DeSmet Jesuit High School on Ballas Road in Creve Coeur. For more information on First Run Theater's Play Reading Festival, firstruntheatre.com

On Saturday afternoon the Repertory Theatre of St. Louis Ignite! New Play Festival presents Replica. In the near future, a terminally ill woman volunteers for an experimental procedure that will allow her memories and personality to live on in her clone. The performance begins at 2:00 PM at inside the Opera Center at Opera Theatre of St. Louis, on Hazel Avenue in Webster Groves. For more information about Saturday's performance of Replica repstl.org/ignite

My take: It's always interesting to see new plays—it's the main reason I attend the Humana Festival every year— and both the Rep and First Run are giving you a chance to see some newly-hatched theatrical chicks this weekend. First Run shows are by local playwrights while the Rep features writers from around the country. First Run's festival is this weekend only while the Rep has shows Wednesday, Friday, and Saturday of next week.

The Tavern of Fine Arts presents Tim Schall's Cabaret Party on Friday, March 18, at 8 p.m. "Hosted by Tim Schall with Carol Schmidt at the piano, this promises to be fun, lively and entertaining - a musical party with Tim, Carol and their talented friends- each singing lots of tunes for you! The guests that will sing their hearts out on March 18 include: Mara Bollini, Meghan Kirk, Ben Nordstrom and Tim and Carol, of course. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

My take: This is the first in a planned series of showcases of local cabaret talent presented in the informal atmosphere of the Tavern of Fine Arts, which is where I host The Cabaret Project's monthly open mic night. As the executive director of The Cabaret Project and the organizer of the yearly St. Louis Cabaret Festival, Tim Schall is one of the genre's leading exponents here in St. Louis, and Carol Schmidt is one of our most sought-after music directors. Their guests for this first outing are all impressive performers in their own right, so you can expect serious entertainment here. I intend to be in the audience; join me and enjoy,

Held Over:

American Idiot
Photo: Jill Ritter Lindberg

New Line Theatre presents the musical American Idiot, based on the album by Green Day, Thursdays through Saturdays at 8 PM through March 26. " New Line continues its 25th season with the powerful, high-octane, rock fable AMERICAN IDIOT, based on the powerhouse album by Green Day, a scorching attack on what they saw as the hypocrisy and moral evils of the Bush Administration after the attacks of Sept. 11, as well as the increasingly submissive nature of the American public. The score includes every song from Green Day's hit album American Idiot, as well as several songs from their follow-up release, 21st Century Breakdown, with music by Green Day, lyrics by front man Billie Joe Armstrong, a book by Armstrong and Michael Mayer, and musical arrangements and orchestrations by Broadway composer Tom Kitt (High Fidelity, Next to Normal, If/Then). The Toronto Star called the show 'the first great musical of the 21st century.'" 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: As you can see from the description of this show, it could hardly be more relevant during the current primary campaign season, especially in light of the Republican Party's slide into drooling insanity. In her review for KDHX, Tina Farmer says this "is a fantastic production, and several scenes flash with brilliance. The cast are uniformly strong singers and the interpretations of the songs are spot on. " At Ladue News, Mark Bretz says "New Line’s presentation superbly captures the musical essence of the album and show as well as making the most of the straightforward plot."