Cabaret Preview: Ben Watts' "Wonderful Enough" at the Kranzberg, May 30, 2015

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Cabaret, according to local cabaret pro Ken Haller, is the art of telling stories through song—which means it's a form of theatre. A well-constructed cabaret act is ultimately a kind of one-act play, which is why actors—who have the advantage of understanding dramatic form—often create some of the best cabaret.

Which brings us to "Wonderful Enough," the cabaret debut by local actor Ben Watts this Saturday, May 30, at the Kranzberg.

I first became aware of Mr. Watts' talent back in July of 2009 when we both appeared in Stray Dog Theatre's "Rocky Horror Show" (him as Riff Raff, me as the Narrator). He had an obvious gift for comedy and a clear, high tenor voice that had what the late Anna Russell once referred to as "a good cutting edge"—very helpful given the then-primitive state of Stray Dog's sound system (it has since gotten a lot better). His performance as Prior Walter in Stray Dog's "Angels in America" in April of 2012 demonstrated that he could handle dramatic material as well.

Carol Schmidt

Over the last few months, Mr. Watts has been making regular appearances at The Cabaret Project's open mic night at the Tavern of Fine Arts (which I host), where he has demonstrated that he can sell a ballad as well as a novelty number. You'll find plenty of both in his show this weekend, and if the rehearsal I attended on Tuesday is any indication, his performances will be solid.

I came in towards the end of the run through, so I missed some (but by no means all) of the comedy numbers. The set of ballads I saw, though, was pretty impressive. It began with a blues-infused "St. James Infirmary" (complete with a bit of Leon Redbone vocalise) before moving on to Kurt Weill's world-weary "Barbara Song" (from "Threepenny Opera") and finally a beautifully operatic arrangement by music director and pianist Carol Schmidt of Jim Steinman's "Total Eclipse of the Heart."

Tim Schall

At that point, a break in the mood was required, and I got one in the form of Cole Porter's classic "Let's Do It"—introduced with a short and very funny monolog about the trials of gay dating in the 21st century.

I don't want to go into too much detail, since part of the fun of a cabaret show lies in the element of surprise. So I'll just say that if what I heard Tuesday is any indication, "Wonderful Enough" will be a welcome debut, and an important addition to the ever-expanding cabaret scene in St. Louis. Mr. Watts, Ms. Schmidt, and director (and local cabaret pro) Tim Schall appear to have put together a very solid evening with a well-balanced song list that cuts across multiple genres.

Ben Watts' "Wonderful Enough" is this Saturday, May 30, at 8 p.m. at the Kranzberg Center, 501 North Grand in Grand Center. For more information, visit the show web site.

Chuck's Choices for the weekend of January 9, 2015

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

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New This Week:

Tim Schall

The Kranzberg Arts Center presents A Cabaret Showcase Evening on Saturday, January 10, at 7 p.m. "Eight talented singers take the stage to perform individual cabaret sets created specifically for this evening! Starring Shirley Aschinger, Kevin Cherry, Elizabeth DeVoto, Linda Kennedy, Dan McGee, Charlene Reimann, Annie Sauerburger and Ben Watts. Tim Schall is the director and Carol Schmidt is the Music Director and pianist. For more information: kranzbergartscenter.org.

My take: This singers in this showcase are the students in Tim Schall's cabaret performance class. All of them have performance experience, some of it quite substantial. I have worked with most of them before, in a cabaret and theatre settings, and know them to be solid performers. I'll be there and I hope you will as well.

Leigha Stockton and Brock Birkner
in Urinetown

Next Generation Theatre Company presents the musical Urinetown Friday and Saturday, January 9 and 10. " Winner of three TONY Awards, three Outer Critic's Circle Awards, two Lucille Lortel Awards, and two Obie Awards, Urinetown is a hilarious musical satire of the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, municipal politics and musical theatre itself! Hilariously funny and touchingly honest, Urinetown provides a fresh perspective of one of America's greatest art forms. In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity's most basic needs. Amid the people, a hero decides he's had enough, and plans a revolution to lead them all to freedom!" Performances take place at the Florissant Civic Center Theater at Parker and Waterford in Florissant, MO. For more information: florissantmo.thundertix.com

My take: Next Generation is a new group in town that describes itself as "a theatre company created specifically for young adults, providing the opportunity to perform, direct, choreograph and produce their own shows." Urinetown has the kind of energy and satirical edge that should work well for a young cast, and it takes on a serious subject—water and the way we take it for granted—in an entertaining way.

On his toes

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Who: Lara Teeter
What: Lucky To Be Me
When: April 25 and 26, 2014
Where: The Gaslight Cabaret Festival at the Gaslight Theatre

Gotta sing! Gotta dance! Gotta be a cabaret star! The Presenters Dolan closed out the Gaslight Cabaret Festival with Lara Teeter tripping the light fantastic in his cabaret debut "Lucky To Be Me." 

The show was high-energy entertainment from a veteran of the musical theatre stage both in the Big Apple and here in St. Louis, where Mr. Teeter has been a fixture at The Muny, our big outdoor venue, for over two decades as well as head of the musical theatre program at the Webster Conservatory for Theatre Arts since 2007.

As you might expect from someone with Mr. Teeter's credentials, his show relied heavily on classic songs from musical theatre and films.  He set the tone for the ensuing hour or so early on by using "Please Don't Monkey with Broadway" (from the film "Broadway Melody of 1940," where it was sung and danced by Fred Astaire and George Murphy) to comment on how the Great White Way had changed during his life from "a pornographic mess" in the late 1970s to the massive corporate billboard of today.  What followed was a high-level overview of his life and career, liberally illustrated with hits (and a few rarities) from the Great American Songbook.

Lara Teeter in the revival of
On Your Toes

So, for example, the title song from Rodgers and Hart's "On Your Toes" was used to reminisce about his Tony-nominated performance in the 1982 revival of that show, while "Once Upon a Time" (from Charles Strouse and Lee Adams's "All American," where it was sung by one of Mr. Teeter's heroes, Ray Bolger) became a reflection on how marriage and a family led to an unexpected career change.  "Life happens," he observed, and then went on to reflect on the joys of marriage and parenthood with "I Married an Angel" (another Rodgers and Hart title song) and Maury Yeston's lovely "New Words."

Throughout it all, Mr. Teeter matched his charming stage persona with the physical grace that comes from his years as a song and dance man.  A bit where he paid homage to the dancers that influenced him—Dick Van Dyke, Ray Bolger, Gene Kelly, and others—with quick impressions of their characteristic moves, was typical of the way in which he worked his dance background into the warp and woof of the show without coming across as a simple showoff.

Music director and pianist Greg Schweizer provided arrangements that supported Mr. Teeter well, although some of them seemed to push his voice higher than was entirely comfortable for him.  They had great stage chemistry, as was apparent when they turned a fluffed lyric in "Let's Do It, Let's Fall in Love" (which, to be fair, has an apparently bottomless well of words) into an opportunity for some good-natured byplay.  Director Tim Schall's influence was apparent in the show's sound structure and well–thought out blocking.

Mr. Teeter is taking "Lucky to Be Me" to New York City's 54 Below in July, by which time you can expect any minor hiccups to be gone.  I'd be surprised if it wasn't extremely well received in the city Mr. Teeter used to call home.  It certainly was in the city that he calls home now, where it put the cap on a highly successful inaugural spring season of the Gaslight Cabaret Festival.  The festival continues in the fall; see gaslightcabaretfestival.com for more information as it becomes available.

Chuck's Choices for the weekend of Februarty 21, 21014

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:

The Presenters Dolan present Ken Page: Old, New, Borrowed, and Blue on Friday, February 21, at 8 PM as part of the Gaslight Cabaret Festival. "Star of stage and screen, Ken Page is newly added to the Gateway Cabaret Festival lineup! A veteran of Broadway's original casts of Cats, Ain't Misbehavin', The Wiz, Ain't Nothin' But The Blues, and Guys & Dolls, Ken is one of Broadway's and the MUNY's favorite players. Film audiences know Ken from Dreamgirls, Torch Song Trilogy, and as the voice of Mr. Oogie Boogie in the Tim Burton cult classic, The Nightmare Before Christmas. In Old, New, Borrowed & Blue, look for Ken to include a range of songs from Old Broadway, New Broadway, his favorite artists, and the blues." The performances take place at the Gaslight Theater, 358 North Boyle. For more information: licketytix.com.

My take: I saw this show Thursday night and all I can say is that if you want to see how a real master works a house, you'll definitely want to see the second and last show on Friday. He'll have you calling him "Big Daddy" before you know what hit you because (to paraphrase a lyric from "St. Louis Blues"), if his blues don't get you then his jazzin' must. It's a well-balanced collection of songs and reminiscences nicely turned out by an old pro.

Photo: Jerry Naunheim, Jr.

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

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

The Presenters Dolan present Tim Schall: 1961 on Saturday, February 22, at 8 PM as part of the Gaslight Cabaret Festival. " In 1961 the Beatles debuted at the Cavern Club in Liverpool, Bob Dylan entered the Greenwich Village folk scene, 19 year old Carole King wrote her first #1 hit, Moon River won the Oscar for Best Song and in February of that year Tim Schall was born! Join Tim as he celebrates his birthday in a show dedicated to the music of his natal year." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: licketytix.com.

My take: As this is being written the show is sold out, but you can always put yourself on the wait list for cancellations. Tim is one of my cabaret mentors and the head of The Cabaret Project St. Louis as well as a popular voice coach and actor locally. He's been doing cabaret in St. Louis longer than pretty much anyone and can always be relied upon for a great performance.

Held Over:

Mustard Seed Theatre presents Gee's Bend through February 23. The play “explores the affect of the Civil Rights Movement on a remote island in Alabama.” Performances take place at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

My take: "The story of the community of Gee's Bend, Alabama, its origins and struggles, is an interesting and important square in the American quilt," writes Tina Farmer in her review for 88.1 KDHX. "That this small community also contributed to the American folk art movement in significant ways with their own quilts adds an amazing layer of beauty and warmth." She calls the production "thoughtful and affecting" and notes that "the show is grounded with memorable performances and dramatic tension." Mustard Seed often takes on unusual and challenging scripts, always with the focus on "issues of faith and social justice," so this is right up their alley.

Photo: John Lamb

Stray Dog Theatre presents Douglas Carter Beane's The Little Dog Laughed Thursdays through Saturdays at 8 PM through February 22, with an extra 2 PM matinee on the 22nd. “A devilishly hilarious Hollywood agent, a movie star with a recurring case of homosexuality, and a hustler and his ambitious girlfriend struggle to uncover the truth about what they really want. In the process, they trigger a non-stop stream of laughs in this Tony-award winning comedy. For MATURE AUDIENCES: In an effort to keep the selection of shows engaging and dynamic, this production may not be appropriate for all ages.” Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

My take: I've done a number of shows with Stray Dog over the years and have been consistently impressed with their professionalism and with the care they take to make sure their actors get the best support possible. That shows in the quality of what they put on stage. Reviews for this show have been good. In his review for talkingbroadway.com, for example, Richard Green says "it's very funny, and you should definitely go see it." "Bell keeps the action moving between the twin levels of the set in parry-and-thrust fashion," writes Mark Bretz at Ladue News, "ensuring that pacing never lags. The Little Dog Laughed is written mostly for laughs, with a dollop of rueful rumination. Stray Dog’s rendition is faithful to that mixture, a tasty tonic on a cold winter’s night."

Chuck's Choices for the weekend of November 29, 2013

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

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New this week:

Carol Schmidt

The Garden of Life Spiritual Center presents Celebrate Me Home, a contemporary holiday cabaret concert, on Sunday, December 1, at 1:30 PM. The featured singers are Michele Isam, Connie Fairchild (both formerly with popular St. Louis group Fairchild) and Tim Schall, with Carol Schmidt on piano and Rice Vice on bass. The program includes contemporary holiday favorites from the worlds of jazz, pop, and R&B, as well as instrumental selections from A Charlie Brown Christmas and Tchaikovsky's Nutcracker Suite. The Garden of Life Spiritual Center is at 9525 Eddie and Park Road in Crestwood, MO. For more information: 636-489-8472.

My take: I know and have worked with just about everybody connected with this show at one time or another. They're great singers and entertainers and the song list looks like fun: Kenny Loggins, Otis Redding, Amy Grant, John Bucchino and even some instrumental Tchaikovsky. Looks like a good way to start the holiday season to me.

Held Over:

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

My take: The play is based on a remarkable true story of a spontaneous truce between Allied and German forces in No Man's Land during Christmas of 1914. In some areas it lasted only one night while elsewhere it lasted until New Year's Day. While it was in effect, soldiers laid down their arms, shared Christmas carols (as well as food and drink), buried each others' dead, and even played soccer. Playwright Peter Rothstein, artistic director of Theater Latté Da where the play was developed, wanted to tell the story in the words of the real soldiers who experienced it. "I created the drama," he relates, "primarily through found text including letters, official war documents, autobiographies, World War I poetry, grave stone inscriptions and even an old radio broadcast." In his review for 88.1 KDHX, Dennis Corcoran says "this complex piece of musical theatre comes off as a beautifully, simply performed tribute to a poignant moment in the horrors of war."

TPTBT (The Place to Be Tonight): Wednesday, May 15

Michelle Collier

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Who: The Cabaret Project and 88.1 KDHX
What: Cabaret Open Mic Night First Birthday Party
Where: The Tavern of Fine Arts
When: 7-10 PM

Carol Schmidt

Why:  A year ago Cabaret Project Poobah Tim Schall, pianist and music director Carol Schmidt and I decided that the Tavern of Fine Arts was the ideal place for a regular open mic night that would give local singers a chance to try out new material or polish existing songs.  We hoped it would offer cabaret veterans a chance to expand their range of material as well as bring give new singers a chance to get some experience in front of an audience in a welcoming environment.  One year later it has all exceeded our wildest expectations.  Join us, along our special guest, MAC Award-winning singer Michelle Collier (who brings her show A Tribute to the Hollywood Blondes to the Bistro on Thursday), for an evening of fun, songs, surprises, and free birthday cake.

And, yes, I will probably do some Tom Leher songs.

Before and after

Who: Amy Willard Top
What: Back to Before
Where: The Kranzberg Center, St. Louis
When: April 19 and 20, 2013

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I’m not a big fan of the “This is My Life” school of cabaret that ties everything back to the performer’s biography.  That’s not an artistic judgment, just a personal preference; some very good cabaret acts have come out of that approach.

Amy Willard Top’s cabaret debut was definitely autobiographical, charting her course from musical theatre professional in New York and on the cruise line circuit to St. Louis mom.  The fact that, my personal preferences not withstanding, I found it mostly quite entertaining and engaging is an indication of what a good job Ms. Willard Top, music director Greg Schweizer, and director Tim Schall did here.

The song selection was nicely varied, including both old and new numbers from the Great American Songbook and the musical stage as well as some pop standards.  Mr. Schweizer’s arrangements fit like a glove and some of them (his jazzy “But Not for Me” comes immediately to mind) shed interesting new light on familiar material.  Pacing and the overall emotional arc of the evening were quite satisfying. 

The show did, in short, what a cabaret show should do: provide a showcase for the performer’s talents and present that performer in the most flattering possible light.  Ms. Willard Top came across as a charming performer with a good sense of theatre and a clear, focused voice.

On the technical side, the lighting made good use of the Kranzberg’s limited space and the sound mix was very clean.

Were there some things I would have done differently?  Probably, but most of them are more personal preferences than artistic decisions.  The bottom line is that Back to Before was a very solid cabaret debut by a skilled musical theatre performer.  Whether she goes on to do more cabaret or not, she can take some justifiable pride in this one.

Chuck's Choices for the weekend of March 21, 2013

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

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New this week:

The Bistro at Grand Center presents A Cabaret Evening featuring Shirely Aschinger, Kevin Cherry, Kari Donovan, Erica Perlow and Charlene Reimann with music direction by Carol Schmidt on Saturday, March 23, at 8 PM. ”This original evening of songs - some you will know, some that will be new to you - will entertain and touch you.” Tim Schall directs. The Bistro is at 3536 Washington Blvd in Grand Center. The showcase is the finale of an eight-week cabaret performance workshop taught by Tim and Carol, so you know it's going to be polished. For more information: http://www.brownpapertickets.com/event/351510.

Peabody Opera House presents A Chorus Line Thursday through Sunday, March 21-23. Well, who doesn't like A Chorus Line? And, as I have said before, the Peabody is one of the best places in town for musical theatre. For more information, visit peabodyoperahouse.com or call 314-622-5420.

Union Avenue Opera presents La Vie de Bohème on Saturday, March 24, at 7 PM. It's an evening of dinner, drinks, and entertainment by UAO artists and takes place at Dressel's Pub, 419 N. Euclid in the Central West End. Union Avenue has an impressive track record of producing quality opera in a difficult space. They deserve our support. For more information: unionavenueopera.org.

Held over:

Photo: Jill Ritter Lindberg

New Line Theatre presents the musical Next to Normal Thursdays through Saturdays at 8 PM through March 23. "From the composer of High Fidelity comes the most adult, most mature rock musical to hit Broadway in decades, an unrelentingly intense, brutally honest – and often, darkly funny – story about a bipolar woman and the family that grapples with her illness, all set to a hard driving rock and roll score that explodes with raw, searing emotion. Rolling Stone called it 'the best new musical of the season – by a mile.'” I saw the national tour of this show at the Fox in April of 2011 and was very much taken with it. In her review for 88.1 KDHX, Laura Kyro praises "the amazing acting and singing by all members of the cast." Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information, call 314-534-1111.

©Photo by Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Venus in Fur through March 24. “Vanda is determined to land the lead in Venus in Fur, a new play based on a classic erotic novel. Her emotionally charged audition for the playwright/director unexpectedly becomes an electrifying and dangerous game of cat and mouse that blurs the lines between fantasy and reality, seduction and power, love and sex.” Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. As I note in my review for 88.1 KDHX, the script could do with a bit of trimming but "overall it's a classic example of the 'well-made play' a la Terrence Rattigan or J.B. Priestly." Performances and direction are first-rate.

The Fox Theatre presents the drama War Horse through March 24. "A heartwarming drama about the unlikely bond between a hoarse and his young master, War Horse also boasts itself with its marvelous horse puppets intricately crafted by South Africa’s Handspring Puppet Company. No play in Broadway has ever roused audiences’ emotions with such vivid and lifelike imagery and stimulating scenic designs and a story that reminds us that unwavering dedication, bravery and friendship is timeless and universal other than this modern theatrical masterpiece." The show is also a powerful indictment of the insanity and brutality of mechanized warfare. We saw this in London last fall and were very much impressed. In his review for 88.1 KDHX, Steve Callahan describes War Horse as "visually and aurally stunning." The Fox Theatre is at 527 North Grand in Grand Center. For more information: fabulousfox.com.

Chuck's Choices for the weekend of November 29, 2012

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:

The Fox Theatre presents Blue Man Group through December 2. In her review for 88.1 KDHX, Em Piro describes it as "a fun show, with just enough provocation to be culturally relevant." The Fox Theatre is at 527 North Grand in Grand Center. For more information, call 314-534-1678.

Carol Schmidt

The Garden of Life Spiritual Center presents A Jazzy Christmas Cabaret featuring vocalists Deborah Sharn and Tim Schall Sunday, December 2, at 1:30 PM. Carol Schmidt is pianist and music director for the show, which also features Ric Vice on bass. Deborah and Tim can always be counted upon for satisfying performances and Carol is one of the best cabaret music directors around in my opinion. The Garden of Life Spiritual Center is at 9525 Eddie and Park Road. Tickets are $10 (children under 12 free) and available at the door with cash or check.

HotCity Theatre presents Charles Busch's comedy The Divine Sister November 30 through December 15. "This hilariously irreverent tale tells the story of an indomitable Mother Superior (played 'in-drag') trying to cope with a young postulant experiencing 'visions', sexual hysteria among her nuns, a Da Vinci Code style mystery, and a 'well-endowed' former flame intent on luring her away from her vows." Busch's lunatic sensibility is always worth seeing, and this should be a nice antidote to all the Christmas Carol and Nutcracker performances we get around this time. Performances take place at the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information, visit www.hotcitytheatre.org or call 314-289-4063.

The Repertory Theatre of St. Louis presents the comedy The Foreigner November 28-December 23. Performances take place on the main stage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. "In this wild and wacky comedy, Charlie Baker needs to get away, and his friend Froggy knows just the place - his favorite little fishing lodge in rural Georgia. To get Charlie some much needed peace, Froggy convinces the locals that his friend doesn’t understand English. But the plan backfires when all the lodge’s inhabitants start revealing deep secrets and diabolical plans in front of their quiet foreign guest." It has been a few decades since the Rep did this fast-paced and somewhat political comedy. Sadly, the satire of Southern bigotry is still relevant. For more information, call 314-968-4925 or visit repstl.org.

Union Avenue Opera presents The Mini Ring, a free “family opera” based on Wagner's Ring Cycle, on Friday, December 1, at 1 PM. The performance takes place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. Anna Russell still has the best condensed Ring ever, but I expect this would be a good way to introduce younger audiences to Wagner's complex universe. For more information, visit unionavenueopera.org or call 314-361-2881.

Held over:

Mustard Seed Theatre presents Imaginary Jesus through December 2 at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. "This hilarious, faced-paced show follows Matt on his journey to discover the true face of Jesus. Along the way he makes friends with St. Peter, a talking donkey and a modern Magadalen; while facing down 'Magic Eight-Ball Jesus,' 'Social Justice Jesus,' 'Legalist Jesus,' and 'King James Jesus' just to name a few." In his review for 88.1 KDHX, Robert Mitchell says this "hilarious look at a young writer's spiritual quest for the perfect personification of his personal Jesus" boasts a "star-studded cast" that's "filled with some of the best, and the funniest that STL has to offer." For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

Chuck's Choices for the weekend of November 2, 2012

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:

The Repertory Theatre of St. Louis presents Clybourne Park through November 18. “Winner of the 2011 Pulitzer Prize and 2012 Tony Award for Best Play, Clybourne Park is a wickedly funny and provocative new play about the volatile intersection of race and real estate.” As I write in my review for 88.1 KDHX, "I just can't praise this script and the Rep's splendid production of it highly enough. It's entertaining, thought provoking, and complex enough to encourage repeated viewing". Performances take place in the studio theatre at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

R-S Theatrics presents A Kidaret Cabaret on Friday, November 3 at 7 PM. “R-S Theatrics is proud to present our first ever KIDaret - providing the opportunity for all members of the family to enjoy a night out!“ Leah Luciano is music director and pianist for the performance, which takes place at Arden Mead Center at 17 Selma Avenue in Webster Groves. I have no idea what this is actually going to be like, but as the evening is going to include songs by Tom Lehrer there's no way I can't recommend it. For more information: r-stheatrics.com or 314-968-8070.

The Kranzberg Center presents The Rodgers and Hart Songbook with Tim Schall on Friday, November 2, at 8 PM. Greg Schweizer is music director and pianist for the performance, which takes place at the Kranzberg Center, 501 North Grand in Grand Center. Yes, Tim is a friend and my former vocal coach, but he's also the most experienced and savvy cabaret performer in town. You can't go wrong with one of his shows. For more information: http://www.brownpapertickets.com/event/280396.


Held over:

The Repertory Theatre of St. Louis presents the musical Daddy Long Legs through November 4. Performances take place on the main stage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO.  In her review for 88.1 KDHX Connie Bollinger recommends this "unique treatment of an old favorite." I found it completely charming.  Two-character musicals are difficult to pull off, but this one does the trick. For more information, call 314-968-4925 or visit repstl.org

Southern exposure

Jeffrey M. Wright: Southern Roots
The Presenters Dolan at The Kranzberg Center, St. Louis
April 13 and 14, 2012

[Full disclosure: I have worked on stage with Jeffrey M. Wright, Carol Schmitt, and Tim Schall in the past.]

Call it nostalgia or simple habituation, but the fact is most of us have strong emotional attachment to the music with which we grew up. It’s no surprise, then, that those of us who are cabaret performers often return to the soundtrack of our childhood when we think of material for a show.

St. Louis actor and singer Jeffrey M. Wright’s Arkansas childhood was filled with the sounds of Nashville country and crossover music, as well as Southern rock. His Southern Roots show was a celebration of that heritage, with songs ranging from mainstream hits like “Wichita Lineman” and “Help Me Make It Through the Night” to country rock classics like Elvis Presley’s 1969 hit “Rubbernecking” and newer songs like Sara Evans’s “Suds in the Bucket” from 2004. It was a tremendously enjoyable evening of material not often heard in a cabaret context and a reminder, once again, that the cabaret tent is large enough to encompass a range of music styles that goes well beyond the Great American Songbook.

Mr. Wright is a very engaging and polished performer with a fine light baritone voice. He was at his best in songs like “Southern State of Mind” and “I’m Still a Guy” where he could bring the full force of his charm to bear, but that didn’t stop him from capturing the rueful subtext of Trisha Yearwood’s “The Song Remembers When” or finding a somewhat surprising angry edge to a countrified voice and guitar arrangement of “One For My Baby”. Overall I’d say the choice of material in Southern Roots gave Mr. Wright a chance to expand his dramatic range that he probably doesn’t get that often in his theatrical work. Which is, of course, one of the reasons some actors enjoy cabaret so much in the first place.

Carol Schmitt’s inventive arrangements, stylish piano work, and backup vocals demonstrated once again why she has become such a popular music director for local singers. Guitarist Steve Schenkel added just the right amount of country seasoning to the mix, along with some impressive solo breaks. And director Tim Schall’s hand could be seen in the show’s pacing and dramatic shape.

After the Ball is Over

Photo by Gerry Love

When somebody says goodbye to me
I’m sad as I can be.
Not so with this loving Romeo
He seemed to take a lot of pleasure saying bye-bye to his treasure.
- Gus Kahn, “Toot, Toot, Tootsie! (Goo’ Bye)”

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I wouldn’t say that it was a lot of pleasure saying good-bye to my one-man show Just a Song at Twilight, which just concluded an immensely satisfying two-week run at the Missouri History Museum on October 16, 2011 under the aegis of the West End Players Guild. The show was actually a great joy to perform and, judging from audience response, to watch. So while I’m glad to have my evenings back again, it’s hard not to feel a bit of a let down knowing that I won’t be putting on that top hat, white tie, and tails any time again in the foreseeable future.

But then, if you read the excellent blog post by West End’s indispensible president Renee Sevier-Monsey on the ephemeral nature of theatre, you won’t be surprised to learn that. No matter how strong the sense of accomplishment that goes along with a good show, all of us followers of Thespis know that, sooner or later, the ball will be over and it will be time to move on.

Before the dancers leave and the stars are gone, though, I’d like to offer a little background and some tips of the top hat to many of the folks who made Just a Song at Twilight possible. Because if there’s one thing that’s true about a one-man show, it’s this: it takes way more than one person to make it work.

First, thanks to my graphics designer Marjorie Williamson. She’s responsible not only for that classy poster (which also graced the cover of our program) but also for assembling the “lantern slides” (actually a PowerPoint deck) that I used within the body of the show to illustrate the songs and stories. We both spent hours combing the Internet for images, but the final product wouldn’t have looked as good as it did without her expertise.

Thanks to Renee Sevier-Monsey for wearing multiple bonnets as my house manager, lighting designer, and set designer. The lights nicely delineated the playing area without spilling on to the projections and the set was simple but inspired. There wasn’t much to it – just an art deco floor lamp (a “practical”, which means it could be turned on and off like a real lamp) in front of which was a nightclub table and two chairs set with two glasses of wine, a period-looking shawl, and a cigarette case. The idea was that the couple had just stepped out to the dance floor and might come back at any moment. It set the tone perfectly.

Thanks to my director Tim Schall for the cool tweaks he made to the show in tech week. Tim worked closely with me to develop the original cabaret version of Just a Song at Twilight. This time around he was only able to be on hand for one rehearsal, but his input at that rehearsal had a great impact on the final look of the show. The little “framing sequence” that began and ended the show to the tune of “Love’s Old Sweet Song” was his idea (and it was Renee’s set that inspired it).

Thanks to actor, singer, dancer and choreographer and long time friend Cindy Duggan for my dance moves. I’m not a dancer (unless you count all those years of aerobics and Zumba at the “Y”), but Cindy came up with some stuff that made me look good.

Thanks to my old friend Lynn Rathbone – a gifted actress and smart director – for her input and also to my fellow West End Board member Sean Ruprecht-Belt for his notes at our dress rehearsal.

Thanks to Neal Richardson of the Webster Conservatory for the great arrangements and charts. Neal (who is also a fan of the songs of the Vaudeville era) was deeply involved in the creation of the original version of the show and played piano for both the March and July 2010, performances at the Kranzberg Center. This time around his commitments to the Conservatory made that impossible (he’s the music director for their November production of Carousel), but his spirit was still very much in evidence.

And last but by no means least, thanks to my music director and pianist Carol Schmidt. When Tim learned that Neal wasn’t available, his first suggestion was to ask Carol to step in. It was a suggestion with which I heartily concurred. I had worked with Carol on the now-defunct Moonglow and Cabaret at the Café series, so I already knew she was not only a technically proficient music director but a lively and inventive performer as well. Her imagination kept the show fresh right up to the final performance. We always found something new and interesting to do with the show during our nightly sound checks.

I could go on at great length about the process of turning a small-scale cabaret act into something more like a staged Ken Burn documentary and my actually do so in a future post, but for now I’ll just say that the warmth and enthusiasm with which you, our audience, received our show each night made all of that effort worthwhile. Feel free to stay in touch with me here and on the West End Players Guild blog. Share your thoughts on the music and the performers of the Vaudeville era.

The ball may be over and dawn may be breaking, but the dance goes on.

A Major Award

[Amidst the brouhaha over the Kevin Kline Awards discussed in my last post, some welcome jocularity from A Major Player in the local cabaret scene.  Tim Schall originally posted this to some local theatre email lists.  I'm publishing it here with his permission.]

New St. Louis Awards for Cabaret Performers Announced

A Major Award

St. Louis Area Cabaret Awards, a.k.a. “The SLACAs” (please don’t pronounce it “the slackers” - we will be offended), light up the St. Louis arts scene. New eligibility criteria for 2011:

• A performer must do at least one public performance of a minimum of 45 minutes in length, and not to exceed 2.5 hours. If performance exceeds 2.5 hours, for god sake, include an intermission so people can pee.
• Total audience attendance must be a minimum of 5 paying customers (not to include the comps you gave to your family, friends and some recent trick you picked up)
• Performer must sing at least 2 songs by Cole Porter, one of which must include the “lost lyrics” recently discovered in a trunk in a warehouse in Secaucus, New Jersey.
• You must say witty, enlightening facts about songs, composers and famous performers and make it look like you didn’t just lift them from a Michael Feinstein DVD.
• You must pay your light/sound person at least 4 times what you make in profit
• Eligible venues include The Kranzberg, The Bistro and any church basement that doesn’t smell too musty.
• Your “thank yous” at the end of the show, must be at least as long as your first two numbers and include the maintenance staff and ladies in the kitchen (if applicable).

Tim Schall, often accused of jump-starting the local cabaret movement, says, “I have been a SLACA all my life and maybe, just maybe, now I can be publicly recognized for the consummate (or is that ‘consummated?’) SLACA that I truly am! A great day has come to St. Louis!”

Dates for the first SLACA ceremony to be announced in 2011.

Please note: None of the above is true...well, mostly not true.