Opera Preview: Something wicked this way comes

Friday and Sunday, January 20 and 22, Winter Opera St. Louis presents Verdi's first Shakespearean opera "Macbeth." Premiered in 1847, it was revised in 1865 for a Paris production. This is the version usually performed today.

The banquet scene
Photo courtesy of Winter Opera

The libretto by Francesco Maria Piave and Andrea Maffei follows the bare bones of Shakespeare's original, although the story has been considerably streamlined and many secondary characters have been eliminated. The big moments are still there, though: the scenes with the witches, Lady Macbeth's "letter" and sleepwalking scenes, Macbeth's "dagger" monologue and, of course, the banquet with Banquo's ghost. And in Verdi's hands, they form the basis for very powerful theatrical moments.

Earlier today, I had a brief email conversation with stage director John Stephens. This is how it went.  CL = me, JS = John Stephens

CL: As Verdi’s first Shakespearean opera, Macbeth has somewhat suffered by comparison to later masterpieces like Otello and Falstaff, at least in the eyes of some critics (although it has proved popular with audiences). What do you find appealing about the opera as a director?

JS: I was initially attracted to Macbeth because it is a setting of the Shakespeare masterpiece by Verdi, the master of Italian opera. I love the complexity of the characters, and Verdi's use of the orchestra to enhance those complexities.

CL: Regarding Verdi’s score: it makes some interesting musical and theatrical demands, especially for the witches. What do you see as the major challenges from the dramatic point of view?

Macbeth, Banquo, and the witches
Photo courtesy of Winter Opera

JS: Verdi's choice to turn the three witches into three small choruses gives the opportunity for some fun staging moments. Likewise, the full chorus witnessing Macbeth's mental breakdown provides some of the most powerful musical sections I have ever heard.

CL: It has been seven years since “Macbeth” has been produced here in St. Louis. For audiences who are making their first acquaintance with the work, what do you think they need to know about the opera and about your production?

JS: I wanted to keep the storyline moving along as smoothly as I could, and therefore fashioned the production with relatively simple settings, which move from location to location on the playing area.

Our production is set circa 1100 with magnificent period costumes, sung in Italian with an excellent translation. The leadings roles are performed by a very talented group of singing actors, several of whom have sung with Winter Opera previously.

The Essentials: Winter Opera presents Verdi’s “Macbeth” Friday at 7:30 pm and Sunday at 2 pm, January 20 and 22, at the Kirkwood Performing Arts Center in Kirkwood, MO. For more information: winteroperastl.org

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

Opera Review: Transporting miners

There are number of remarkable things about Puccini's 1910 drama "La fanciulla del west" ("The Girl of the West"), not the least of which is the fact that the excellent production Winter Opera is presenting this Friday and Sunday (March 6 and 8) is the St. Louis premiere.

Karen Kanakis
Photo by Riq Dilly

Commissioned by and first performed at the Metropolitan Opera in New York, "La Fanciulla del West" is, as far as I know, the only Italian opera set in a mining town in the American west in 1850. It's based on the 1905 melodrama "The Girl of the Golden West" by the American producer, director, and playwright David Belasco, whose "Madama Butterfly" was the basis for one of Puccini's greatest hits.

Performances of it have become pretty rare over the last few decades, possibly because the score, richly orchestrated and dramatic as it is, doesn't have the big, show-stopping numbers you find in Puccini's other operas. There's no equivalent of "Nessun dorma" ("Turnadot"), "Quando m'en vo" ("La Bohème), or "Visi d'arte" ("Tosca"), for example, although there is a rapturous love duet in the second act that I'd put up against some of the best stuff in the composer's other operas.

Or maybe it's the fact that this is, to the best of my knowledge, the only non-comic opera by Puccini that doesn't end with the death of the heroine. Indeed, nobody dies at all in "La fanciulla del west" and the villainous Sherriff Jack Rance just quietly slinks off stage in disgrace while the lovers walk off into the sunrise to start a new life together.

Jorge Pita Carreras, Karen Kanakis
Photo by Riq Dilly

Minnie, the girl of the title, is also not your usual long-suffering Puccini heroine, ready to die for love. In fact, she's a saloon owner with a shotgun who isn't afraid to use it in defense of her lover, the reluctant bandit Ramerraz (he inherited the business from his father and is looking for a way out). Mimi she ain't.

Perhaps the most remarkable thing about this opera, though, is that it works so well as drama. Once you get over seeing rough-hewn, gun-toting, cigar-smoking "forty-niners" singing in Italian and getting homesick for their mothers, this story of Minnie's heroic efforts to save Ramerraz from the noose is pretty entertaining stuff, complete with a last-minute rescue from the gallows by a rifle-toting Minnie.

There's also an especially tense scene in the second act, when Rance discovers that Minnie is hiding the wounded Ramerraz in her cabin. She challenges Rance, whose lust for Minnie is as strong as his desire to put an end to Ramerraz, to a game of poker. If he wins, he gets her and Ramerraz. If he loses, he leaves them both and says nothing about Ramerraz's whereabouts. Minnie cheats and wins, but it's a nail-biter of a scene anyway, with the action accompanied only by a short, ominous motif in the lower strings.

Mark Freiman, John Robert Green
Photo by Riq Dilly

Winter Opera has had its ups and downs over the years. This exceptional cast is definitely one of their "ups." Soprano Karen Kanakis whose Giannetta lit up the stage [n Winter Opera's "L'elisir d'amore" in 2018, is just perfect as Minnie, with a drop-dead gorgeous voice and acting that is never less than credible, even in Minnie's "too good to be true" moments (which, to be fair, are probably true to the libretto's origins).

As Ramerraz (a.k.a "Dick Johnson," a pseudonym that the Sheriff sees through almost immediately) Jorge Pita Carreras once again displays the powerful bel canto tenor voice that distinguished his roles in Winter Opera's "Il trovatore" and "Carmen". This time around I found his acting far more convincing, which is one of the things that made his big duet with Ms. Kanakis so ravishing.

NYC-based baritone John Robert Green makes an impressive Winter Opera debut as the morally flexible Sheriff Jack Rance, whose dedication to law and order doesn't prevent him from promising to abandon his wife if Minnie will just submit to his unwelcome advances. From the moment he swaggers on stage in the prologue, appropriately dressed in black and puffing on a stogie, there's little doubt that he's a marginally more honorable version of Scarpia from "Tosca" (unlike Scarpia, Rance's word is actually worth something). His powerful voice can seduce or snarl as required.

Other outstanding performances include Bass Mark Freiman's Ashby, the Wells Fargo agent tracking down Ramerraz; baritone Jason Mallory in the cameo role of the minstrel Jake Wallace; and bass Aleksandar Dragojevic as Jim Larkens, whose weepy plea for money to pay his passage back home brings out an unexpected burst of generosity among his fellow miners.

Tenor Marc Schapman is a sympathetic presence as Minnie's loyal bartender Nick, and mezzo Erin Haupt and bass-baritone Jeremy Gussin have a tender comic moment as Minnie's housekeeper Wowkle and her beau Billy Jackrabbit, who are getting hitched just in time to make their baby legitimate.

The chorus
Photo by Riq Dilly

The members of the Winter Opera chorus (all male, in this case) do their usual fine job of turning each of their characters into clear individuals, whether they have solos or not, and Dario Salvi conducts a powerful rendition of Puccini's unusually colorful score, with some first-rate playing from the musicians--some of whom will be familiar to regulars at St. Louis Symphony Orchestra concerts.
Stage Director Jon Truitt manages the large cast well and keeps the story moving. Scott Loebl's scenery (including an impressive mountainous backdrop) and Felia Davenport's period costumes help to enhance the powerful feel of time and place.

The bottom line is that Winter Opera's "La fanciulla del west" is one of the weekend's "must see" shows, and not just because this may be your only opportunity to see a live production of it locally. It's an opera that, at least for me, is actually more musically and theatrically coherent than some of Puccini's more popular works (I'm looking at you, "Turandot") and Winter Opera is doing it up in fine style. Performances, which are sung in Italian with English supertitles, are Friday at 8 pm and Sunday at 3 pm, March 6 and 8, at the Skip Viragh Center on the Chaminade campus. Visit their web site for ticket information.

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

Review: A smoky, sexy "Carmen" at Winter Opera

Benedetta Orsi and the company
Photo: Wylde Brothers Productions

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According to Operabase, during the 2015-2016 seasons Bizet's 1875 tragedy Carmen—a very respectable production of which is on view at Winter Opera this weekend—was the second most-performed opera in the world, edged out only by Verdi's La Traviata. And why not? It has drama, it has some of Bizet's most memorable and therefore most popular melodies and last—but most definitely not least—it has sex.

No, it's not the rolling around, full frontal, direct-to-video type of sex, but when Carmen sings the famous "Habanera" while sinuously gyrating around Don Jose, there's not much room for doubt what everybody is thinking of when they're singing about l'amour. The theatrical vitality of a production of Carmen hinges, in fact, on whether or not the mezzo in the title role can convince the audience that she's so utterly irresistible that she can entice a straight arrow like Don Jose to abandon the military life and become the 18th-century Spanish equivalent of a street thug.

It's a good thing, then, that Winter Opera has Italian mezzo Benedetta Orsi in the title role. With a dark, sensuous voice and a lubricious stage presence, she's totally convincing as the most desirable woman in Seville. Her "Habanera" exudes a smoky sensuality that dominates the stage.

Better yet, she has good chemistry with bass-baritone Neil Nelson as the unabashedly lusty toreador Escamillo. Having previously demonstrated his wide vocal and dramatic range locally in roles a diverse as di Luna in Il Trovatore (Winter Opera) in Tosca and Hagen in Götterdämmerung (Union Avenue Opera), Mr. Nelson adds another feather to his cap here, bringing an engaging swagger to the familiar "Toreador" song in Act II.

"Les tringles des sistres tintaient" from Act II
Photo: Wylde Brothers Productions

Soprano Ellen Hinkle and mezzo Kara Cornell are delighful as Carmen's sisters in crime Frasquita and Mercédès, respectively, and soprano Jacqueline Venable Simmons finds the right amount of vulnerability and sympathy in the somewhat thankless role of Micaëla, whom Don Jose abandons for Carmen. Bass-baritone Robert McNichols, Jr., also makes a strong impression as Don Jose's commanding officer, Zuniga.

Jorge Pita Carreras has a gorgeous tenor voice with an impressive dynamic range but, as was the case with his Manrico in Winter Opera's Il Trovatore a year ago, his acting simply isn't at the same level, resulting in a rather monochromitic portrayal.

Nancy Mayo's chorus sings and acts with real authority, making the many ensemble numbers extremely strong, and Darwin Aquino leads the small but mighty orchestra in a very smart reading of Bizet's score. Director Matthew Haney's blocking and pacing works best when he honors the opera's dramatic realism; less so when they are sttylized and fussy, as in the final confrontation between Carmen and Don Jose.

Performances of Winter Opera's Carmen are Friday at 7:30 p.m. and Sunday at 3 p.m., March 3 and 5, at the Skip Viragh Center on the Chaminade campus on Lindbergh just north of Plaza Frontenac. The quality and consistency of Winter Opera's productions continue to bet better with each passing year and they deserve your support. For more information: winteroperastl.org.

Review: Flaws and all, Winter Opera's "La Cenerentola" is good fun

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Rossini's romantic comedy La Cenerentola, based in part on the classic fairy tale Cinderella, was your prototypical rush job. He threw it together in three weeks at the end of 1816 when the libretto for the opera he was originally supposed to write (on a completely different subject) was rejected by the Papal Censor. Bits of the opera (notably the overture) were recycled from earlier works and some of the music was composed not by Rossini but by his collaborator Luca Agolini.

L-R: Sharon Sullivan, Robin Bradley, Andrew Potter,
Joseph Ryan, Isaac Frishman
Photo: Wade Brothers Productions

Still, as the production Winter Opera is presenting this Friday and Sunday (January 27 and 29) demonstrates, it holds up pretty well. The score is a charming cornucopia of elaborate coloratura arias, rapid-fire patter songs, and the kind of layered ensembles that earned Rossini the nickname “Signor Crescendo.” Stage director Matthew Haney may be overly fond of cluttering up those ensembles with silly stylized movement that is almost (but not quite) choreography, but even so the good humor of Rossini's music and Jacopo Ferretti's libretto remain intact.

The role of Angelina (a.k.a. Cenerentola) is something of a rarity-a leading coloratura part written for a contralto. Kate Tombaugh, who sings the role here, is a mezzo but sounded quite at ease with the part's tessitura when I saw her at the final dress rehearsal Wednesday night. Combined with her capable acting, that higher voice gave the character an engagingly naïve charm that contrasted nicely with the acidic brattiness of her stepsisters. I thought she sounded a bit less comfortable with the role's coloratura side, however. Her big rondo finale ("Nacqui all'affanno ... Non più mesta") lacked the vocal fireworks I would have expected.

Rossini was generous to the lower male voices as well, with choice roles for two basses and a baritone - the social-climbing stepfather Don Magnifico (the prototypical "buffo" clown of Italian comic opera), the Prince's wise tutor Alidoro (substituting for the fairy godmother because Rossini hated supernatural elements in opera), and the wily valet Dandini, who spends most of the opera masquerading as Prince Ramiro so the latter can get an unvarnished look at the Magnifico family.

Kate Tombaugh
Photo: Wade Brothers Productions

Winter Opera is blessed with three very strong performers in these key parts. Bass Andrew Potter's alcoholic pomposity is spot on, and he handles the role's more florid passages expertly, although at dress rehearsal he sometimes got out of synch with the orchestra. Baritone Joseph Ryan is equally strong vocally and makes the most of Dandini's droll observations.

Bass Nathan Resika turns in perhaps the most surprising performance, finding interesting shadings in what could be the fairly ordinary role of Alidoro. The character is essentially a saintly fellow who delivers the libretto's explicitly Christian message about the last being first, but Mr. Resika acting (and, more importantly, reacting) makes him more three-dimensional than one might expect.

Soprano Sharon Sullivan and mezzo Robin Bradley are Angelina's stepsisters Clorinda and Tisbe. In this version of the story they're not so much wicked as foolish, superficial, and terminally self-involved. Their vocal and physical battles are appropriately funny stuff, and nicely sung.

Tenor Isaac Frishman is Prince Ramiro, hiding behind a pair of glasses, Clark Kent style, to separate the gold diggers from the real princess candidates. Angelina passes the test, of course, by falling for him even though she believes him to be only a servant, while he spends much of the opera being moonstruck by her. Mr. Frishman acts the part a bit blandly but sings beautifully, which is ultimately more important. His voice blends perfectly with Ms. Tomaugh's, which is also a bonus.

The male chorus, under the direction of Nancy Mayo, sings with power and precision even when they're marching around the stage and then falling down into a heap (which happens more often than necessary). This is not the first time I have been impressed with Ms. Mayo's work at Winter Opera, and I expect it won't be the last.

Conductor Kostis Protopapas conducts with a sure hand-although I would have liked somewhat more fleet tempi in the overture-and the small orchestra (fewer than 20 players) sounded quite polished, especially for a final dress. There was especially nice work by (among others) Chamber Project St. Louis members Jennifer Gartley and Dana Hotle on flute and clarinet, respectively, as well as Peg Bumb on bassoon and Tricia Jöstlein on horn.

Joseph Ryan (center) and the company
Photo: Wade Brothers Productions

Scenic Designer Scott Loebl and Costume Designer JC Krajicek have created a bright, colorful, fairy-tale world for Cenerentola, lit dramatically (if sometimes a bit obtrusively) by Maureen Berry. And while Mr. Haney's direction sometimes gilds the theatrical lily, as I noted earlier, for the most part it creates effective stage pictures and directs our focus where it needs to be.

Rossini's La Cenerentola isn't heard that often-it was last done in a somewhat stripped-down version by Union Avenue Opera in 2011—so this production is most welcome and a great deal of fun overall. Besides, Winter Opera remains one of the better practitioners of musical theatre in St. Louis. They also have the distinction of being the only one of our three opera companies to be working in a space that was actually built with an orchestra pit and music-friendly acoustics-a virtue not to be taken lightly.

Winter Opera's La Cenerentola will be performed Friday at 8 p.m. and Sunday at 3 p.m., January 27 and 29, at the Skip Viragh Center on the Chaminade campus on Lindbergh just north of Plaza Frontenac. The opera is sung in Italian with English supertitles. It's not especially long as operas go-around two and one-half hours, including intermission-and the bright comic action might make it a good choice for younger audience members as well as for adults. For more information: winteroperastl.org.

Chuck's Choices for the weekend of March 4, 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:

Jeffrey M. Wright

The Presenters Dolan present Jeffrey M. Wright in The 40's: Theirs...And Mine on Saturday, March 5, at 8 PM as part of the Gaslight Cabaret Festival. "A very popular and immensely likable leading man, Jeff Wright comes back with his sold-out splash. Songs made famous by Comden and Green, Cole Porter, Garth Brooks, Jimmy Webb, U2 and Rodgers and Hammerstein." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Jeff, as I have written in the past, has classic “leading man” charisma, an equally classic crooner’s voice and substantial musical theatre credentials. Granted, I have worked with Jeff on stage in the past and know him fairly well so I'm not exactly disinterested. But I know real talent when I see it, and he's got it.

Elephant's Graveyard
Photo: Joe Angeles

The Performing Arts Department at Washington University presents Elephant's Graveyard Fridays and Saturdays at 8 PM and Sundays at 2 PM, February 26 - March 6. "Something went very wrong when Sparks Traveling Circus arrived in the small Appalachian town of Erwin, Tennessee in 1916. Join us for this unbelievable, yet true, story about the desire for spectacle and Old Testament-style retributive justice in America." Performances take place in the Edison theatre in the Mallinckrodt Student Center on the Washington University campus. For more information, visit pad.artsci.wustl.edu or call 314-935-6543.

My take: “The Elephant’s Graveyard by George Brant," writes Steve Callahan at KDHX, "is part poetic dream, part nightmare. And though it’s set in a small Tennessee town in 1916 its thrill and its horror are frighteningly resonant with rising populist urges we see in headlines every day. It’s a play you will never forget...This Wash U production is an example of the very best that Educational Theatre can offer—and it can offer very fine things indeed. The student cast are, without exception, excellent. The designers of set, lights, costumes and sound quite perfectly serve the needs of this play. And I’ve never heard more wonderfully managed live music." University-based theatre companies have the kinds of resources that can allow them to take on risky and unusual material that other companies can't, and Washington University has been at the forefront of that kind of theatre lately.

Robert Breig

The Presenters Dolan present Robert Breig in Making Every Moment Count-The Music of Peter Allen on Sunday, March 6, at 3 PM as part of the Gaslight Cabaret Festival. "Robert Breig celebrates the life and times of Peter Allen, a giant of live performance in the 70s and 80s. Judy Garland discovered him in 1964, at age 20, performing in a trio at the Hong Kong Hilton. (Allen was Australian.) He left immediately to go on tour with Garland, and soon after married her daughter, Liza Minelli. Thus anointed, he started performing in small cabarets in New York, including Reno Sweeney, the Continetental Baths and the Bitter End. His grew so popular that he regularly sold out the 6,000-seat Radio City Music Hall. His signature songs were "I Go to Rio" and "Quiet Please, There's a Lady Onstage." If you don't know his music or performance genius, check out the video of Peter Allen below." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Robert is a very open and engaging personality on stage with a smooth, seamless voice that is a good match for Mr. Allen's music. The fact that he created this show in collaboration with cabaret powerhouses Lina Koutrakos and Rick Jensen (both fiercely talented performers in their own right) is icing on the cake.

L-R: Maria Kanyova and Neil Nelson

Winter Opera St. Louis presents Verdi's Il Trovatore Friday at 8 PM and Sunday at 3 PM, March 4 and 6. Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

My take: We saw the final dress rehearsal of this production on Wednesday, and while there were a few minor technical glitches of the sort one would expect in a final dress, the production looked very solid on the whole. The principal singers—tenor Jorge Pita Carreras as Manrico, soprano Maria Kanyova as Leonora, mezzo Claudia Chapa as Azucena, and baritone Neil Nelson as Count di Luna—all have impressive voices. Ms. Kanyova, Ms. Chapa, and (especially) Mr. Nelson are also fine actors, highly invested in their characters (not always a given in opera, even in these more theatrically aware days). The orchestra sounds great and the Viragh Center is one of the best venues for musical theatre in town.

Held Over:

Beautiful—The Carole King Musical
Photo: Joan Marcus

The Fox Theatre presents Beautiful—The Carole King Musical opening on Tuesday, February 23, and running through March 6. "BEAUTIFUL - The Carole King Musical tells the inspiring true story of King's remarkable rise to stardom, from being part of a hit songwriting team with her husband Gerry Goffin, to her relationship with fellow writers and best friends Cynthia Weil and Barry Mann, to becoming one of the most successful solo acts in popular music history. Along the way, she made more than beautiful music, she wrote the soundtrack to a generation." The Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

My take: Abby Mueller shines in the title role of this bright, fast-paced jukebox musical loosely based on the early years of Carole King's songwriting career, culminating with her emergence as a singer in her own right with her best selling Tapestry LP in 1971. The performers playing pop idols like The Drifters, The Shirelles, Little Eva, and The Righteous Brothers, though, really steal the show. There's just enough plot to keep things going without getting in the way of a nostalgic score that highlights hits by King and her first songwriting partner (and first husband) Gerry Goffin as well as equally well-known tunes by their fellow songwriters at Aldon Music, Barry Mann and Cynthia Weil. Go and enjoy.

Disgraced
Photo: Peter Wochniak

The Repertory Theatre of St. Louis presents Disgraced by Ayad Akhtar through March 6. "Successful corporate lawyer Amir Kapoor comes from a Pakistani family, but he long ago distanced himself from his roots to embrace life as a slick New Yorker. On course to become a partner at his law firm, Amir's carefully constructed world begins to unravel when unexpected events cause him to question his own beliefs. Raw, turbulent and unsettling, this smart drama reveals hidden attitudes toward modern culture and faith. Winner of the 2013 Pulitzer Prize for Drama." Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

My take: The playwright who gave us the brilliant Invisible Hand at the Rep Studio back in 2012 it again with a powerful portrayal of the problems immigrants face, especially when they're part of a demonized and poorly understood minority. How much can you assimilate before you lose your own identity? And is it ever enough for people who will always see you as the "other" no mater what you do or say? We learn from history that we do not learn from history, which makes this a very relevant play these days.

Chuck's Choices for the weekend of January 22, 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:

Winter Opera St. Louis presents Mozart's comic opera Cosi fan Tutte Friday at 8 PM and Sunday at 3 PM, January 22 and 24. Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

My take: While this is not my favorite Mozart opera by any means (the libretto has not worn well, in my view), it's certainly one of his big hits, and Winter Opera has a pretty good track record with the mainstream operatic repertoire. Plus, their space at the Viragh Center is one of the best musical theatre venues in town.

Newsies
Photo: Deen van Meer

The Fox Theatre presents the musical Disney's Newsies, opening on Tuesday, January 19, and running through January 31. " They delivered the papers, until they made the headlines. Direct from Broadway comes NEWSIES, the smash-hit, crowd-pleasing new musical from Disney. Based on true events, NEWSIES tells the captivating story of a band of underdogs who become unlikely heroes when they stand up to the most powerful men in New York. It's a rousing tale about fighting for what's right...and staying true to who you are." The Fox Theatre is at 517 North Grand in Grand Center. For more information, fabulousfox.com or call 314-534-1678.

My take: In her review for KDHX, Missy Heinemenn says that musical adaptation of a not-very-successful film offers "a nostalgic treat for some and a high-energy theatrical experience for all." "Disney's crowd-pleasing musical includes triumphant tales of woe that will melt cold hearts," writes Lynn Venhaus at the Belleville News-Democrat, "while the robust dance routines have the touring show's rabid fan base cheering loudly." The show copped two Tonys when it opened on Broadway in 2012 (for choreography and score). If my week hadn't been so booked, I would have certainly been at the Fox on opening night to catch this one myself.

Circus Harmony presents Giocoso Saturdays at 2 and 7 PM and Sundays at 2 PM, January 23 - 31. Performances take place at City Museum, 701 N. 15th Street. Show admission is free with museum admission. For more information: circusharmony.org.

My take: Circus Harmony does excellent outreach work that demonstrates how the arts can make a big difference in the community. If you've ever seen a Circus Flora show, of course, you've seen some of Circus Harmony's students at work as The St. Louis Arches, but the organization's reach and mission go far beyond that. "Circus Harmony," according to their web site, "teaches the art of life through circus education. We work to build character and expand community for youth of all ages, cultures, abilities and backgrounds. Through teaching and performance of circus skills, we help people defy gravity, soar with confidence, and leap over social barriers, all at the same time." Since their 2001 Circus Salaam Shalom, which brought Jewish and Muslim kids in St. Louis together, Circus Harmony has been advancing its philosophy of "peace through pyramids, harmony through handspirngs" to "inspire individuals and connect communities."

Sunset Baby
Photo: Stewart Goldstein

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

My take: The Black Rep has often delivered new and important plays that speak to the black experience, and this appears to be a case in point. "The Black Rep's production of Dominque Morisseau's searing contemporary drama", writes Tina Farmer at KDHX, "is a tense show that suffers no fools and offers no easy answers. Set in an urban neighborhood rife with gun crime, prostitution, and drugs, the show avoids simple stereotypes and pat responses. Instead we see authentic people, with significant flaws and genuinely admirable qualities combined, who are trying to make their way to a better place." "Sober, strong and striking," writes Mark Bretz at Ladue News, "Sunset Baby is a powerful study of both the past and the present."

Held Over:

The Lion in Winter
Photo: Jerry Naunheim, Jr.

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

My take: This is a tough call for me. I'm not very persuaded by director Edward Stern's approach to the text. I think he rushes it a bit and misses many nuances in Goldman's witty dialog. Reviews, however, have been very positive. "The Rep's production," writes Tina Farmer at KDHX, "finds more humor in the script than I remember, and the subtle differences in inflection and emotion expertly counter the frequently ambiguous actions of the characters. The effect is mesmerizing, giving the well-known show a fresh, vibrant energy and suspenseful tone that propels the story." And over at stltoday.com, Judy Newmark calls it a "satisfying, well-seasoned, wonderfully witty drama — perfect fare for a cold winter's night." It has been a while since we've had a solid professional production of this literate and intelligent script and this one has an excellent cast and great production values, so I'm giving it a qualified thumbs up.

St. Louis theatre calendar for the week of January 18, 2016

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

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

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

Chuck Lavazzi
Photo: Jill Ritter Lindberg

The Cabaret Project and 88.1 KDHX present the monthly cabaret open mic night on Wednesday, January 20, from 7 to 10 PM at the Tavern of Fine Arts "Drop by and enjoy a night of great music from St. Louis cabaret artists, backed up by the guest music director Ron McGowan on the baby grand." The master of ceremonies is Chuck Lavazzi, senior performing arts critic at 88.1 KDHX. If you're planning to sing, be prepared to do one or two songs and bring music, preferably in your key. At least one of your two songs should be a medium-or up-tempo number. We'd also recommend that you have your song memorized. The Tavern of Fine Arts is at 313 Belt at Waterman in the Central West End. There's free parking in the lot right across the street. For more information: thecabaretproject.org.

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

Winter Opera St. Louis presents Mozart's comic opera Cosi fan Tutte Friday at 8 PM and Sunday at 3 PM, January 22 and 24. Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

Newsies
Photo: Deen van Meer

The Fox Theatre presents the musical Disney's Newsies, opening on Tuesday, January 19, and running through January 31. " They delivered the papers, until they made the headlines. Direct from Broadway comes NEWSIES, the smash-hit, crowd-pleasing new musical from Disney. Based on true events, NEWSIES tells the captivating story of a band of underdogs who become unlikely heroes when they stand up to the most powerful men in New York. It's a rousing tale about fighting for what's right...and staying true to who you are." The Fox Theatre is at 517 North Grand in Grand Center. For more information, fabulousfox.com or call 314-534-1678.

Hard Road Theatre Productions presents Drinking Habits 2 opening on Thursday, January 21, and running through January 30. "Set in the present day outside the small town of Shady Glenn, USA, Drinking Habits 2 follows the misadventures of the Sisters of Perpetual Sewing and their friends. An orphanage with a strong connection to the convent is in danger of closing unless $5,000 can be raised in four weeks. In order to raise the needed funds, the convent decides to perform a play written by Mother Superior. Meanwhile, the other nuns of the convent agree to make a secret batch of their award-winning wine to sell to supplement the play's proceeds. But when Mother Superior believes she's had a holy vision, the lead male actor can't remember his lines, and the woman playing the Blessed Mother can't stop her uncontrollable cravings because she's pregnant with twins, things are thrown into chaos and everything that can go wrong does just as the curtain rises." Performances will be held at Highland Elementary Auditorium, 1800 Lindenthal Ave., Highland, IL. For more information: www.hardroad.org.

Kirkwood Theatre Guild presents comedy Enchanted April through January 24. "Lottie Wilton and Mrs. Arnott have never met but share a mutual feeling of unhappiness in empty relationships with their husbands. The ladies become acquainted through a newspaper advertisement and together decide to take a holiday from their spouses and rent an Italian castle for the month of April. To help with expenses, they advertise for two other women to join them. Together with Mrs. Graves, an elderly widow, and Lady Caroline Bramble, a young and attractive flapper, the women begin their month-long escape. The ladies embrace their time together; but their holiday changes gear once the men start to arrive. In the beautiful surroundings of the castle retreat, friendships are made, and love and hope are rediscovered." Performances take place in the Robert G. Reim Theatre of the Kirkwood Community Center, 111 South Geyer Road. For more information, call 314-821-9956 or visit ktg-onstage.org. Read the 88.1 KDHX review!

The Repertory Theatre of St. Louis presents the world premiere of the musical Georama January 20 - February 7. "In the mid 1800s, John Banvard created the first georama, a three-mile long scrolled painting celebrating the majesty of the Mighty Mississippi. Once a starving sketch artist, his creation catapulted him to a life of luxury and notoriety, but also brought competition and deception that threatened to push his passion to the wayside. Georama illustrates an artist's rise and fall, and the choice between the art he loves and the life he's always longed for." Performances take place in the studio theater at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org.

Circus Harmony presents Giocoso Saturdays at 2 and 7 PM and Sundays at 2 PM, January 23 - 31. Performances take place at City Museum, 701 N. 15th Street. Show admission is free with museum admission. For more information: circusharmony.org.

Anna Blair

The Emerald Room at the Monocle and The Presenters Dolan present Anna Blair in I Am Reddy, Hear Me Roar on Thursday, January 21, at 7:30 p.m. "This show will be a tribute to one of Anna's childhood heroes, Helen Reddy. Featuring the songs of Helen Reddy, some pop, some showtunes, some iconic, these songs will bring back memories of the 70's and 80's." The performance takes place in the Emerald Room at The Monocle, 4510 Manchester in the Grove neighborhood. For more information: buzzonstage.com/st-louis

Alton Little Theater presents the Neil Simon comedy Last of the Red-Hot Lovers Thursdays through Sundays, January 21-31, at 2450 North Henry in Alton, IL. " here is a rumor going around that in the 1960s any reasonable adult in search of casual sex could find it in a New York minute. But Neil Simon's Last of the Red Hot Lovers proves that there were exceptions, and the play brings back those days with a clear eye and a warm heart. A middle aged restaurateur begins to feel the desire to roam and decides to use his mother's apartment for his attempts at seduction. Only he learns that it is much more complicated and difficult than he could have imagined, and the problems which result are hilarious - a search for sexual freedom gone awry." For more information, call 618.462.6562 or visit altonlittletheater.org.

The Lion in Winter
Photo: Jerry Naunheim, Jr.

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

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

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

Peabody Opera House presents Sesame Street Live: Make a New Friend January 22-24. "No matter where you're from or where you've been, everyone is special - so join in! Elmo, Grover, Abby Cadabby, and their Sesame Street friends welcome Chamki, Grover's friend from India, to Sesame Street. Together, they explore the universal fun of friendship and celebrate cultural similarities, from singing and dancing, to sharing cookies! Join the fun and make a memory with your friends and family!" The Peabody is at 14th and Market streets, downtown. For more information, visit peabodyoperahouse.com or call 314-622-5420.

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

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.

"Oh, misery me": the problems of "Yeomen of the Guard" remain unsolved at Winter Opera

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L-R: Eileen Vanessa Rodriguez and Andy Papas

Gilbert and Sullivan operettas follow a fairly predictable format—so much so that Anna Russell once made it the basis for a sixteen-minute comedy routine on "How to Write Your Own Gilbert and Sullivan Opera." The one oddball in the G&S canon is "Yeomen of the Guard," a somewhat indifferent production of which opened Winter Opera's current season the weekend of October 30th.

"Yeomen" comes at a time in Gilbert and Sullivan's partnership when Sir Arthur Sullivan was beginning to see himself as a victim of his own success. Like his literary contemporary Arthur Conan Doyle, Sullivan felt that his popular works were overshadowing his more serious efforts. As Doyle would come to resent Sherlock Holmes, Sullivan was beginning to resent his comic collaborations with Gilbert. So when Gilbert proposed a more serious libretto, Sullivan jumped at the chance.

First performed in 1888, "Yeomen" wasn't a total departure from the familiar formula. There are disguises, complex plot reversals, and a fair amount of comedy. But the satirical jabs at British institutions are absent and the ending is, if not really tragic, at least unhappy. The result is an uneven mix of Gilbertian absurdity and unconvincing drama that never really works as either comedy or tragedy. Its appeal has always escaped me.

Set in the Tower of London in the 16th century, the story of "Yeomen" revolves around Colonel Fairfax, who is about to executed for sorcery on the basis of false testimony from an evil cousin who plans to inherit Fairfax's fortune if Fairfax dies unmarried. Fairfax offers 100 crowns to any woman who will marry him, sight unseen, and so cheat his cousin of his ill-gotten gains. Elsie Maynard, a young singer more or less betrothed to the jester Jack Point, takes him up on the offer in order to buy medicine for her ailing mother.

Unknown to Fairfax, his old friend Sergeant Meryll and daughter Phoebe have hatched a plot to save his life by disguising him as Meryll's son Leonard, newly arrived to take a position as one of the Tower guards (the "Yeomen" of the title). Once sprung from prison, Fairfax woos Phoebe and then, still disguised as Leonard, seduces Elsie while pretending to be helping Jack Point woo her.

By the end of the opera both Phoebe and her father are trapped in dreary marriages to (respectively) the loutish jailer Wilfred Shadbolt and the bloodthirsty Tower housekeeper Dame Carruthers as the price for keeping their plot secret. Fairfax claims Elsie and poor Jack Point falls senseless to the stage.

In short, no good deed goes unpunished and Fairfax, an ingrate if ever there was one, goes on his merry way.

The inadequacies of the libretto aside, Sullivan produced some wonderful music for "Yeomen," including an artfully constructed overture which was, alas, cut in half for this production. Most of the other optional cuts were apparently made as well, bringing the show in at under two and one-half hours, including intermission. Unfortunately, the slow pacing and static staging by director John Stephens made it feel longer.

As is often the case with Winter Opera, there were some truly fine voices in this cast, with mezzo Amy Maude Helfer leading the pack as a completely engaging Phoebe. She displayed a fluid, smooth voice and impressive acting skills. Soprano Eileen Vanessa Rodriguez was an excellent Elsie and bass James Harrington brought a welcome touch of dry humor to the role of Sergeant Meryll.

As Jack Point, baritone Andy Papas had the kind of rich, powerful voice that one doesn't often hear in the "principal actor" roles in Gilbert and Sullivan. He did well by Point's patter numbers, although he made the character a bit more querulous than I would have liked.

There were vocally strong performances as well from tenor Clark Sturdevant as Fairfax, contralto Sharmay Musacchio as a rather young-looking Dame Carruthers, and bass-baritone Adrian Rosas as the one historically based character, Tower Lieutenant Sir Richard Cholmondeley. Baritone Gary Moss sang well as Shadbolt and had some nice comic business, but insisted on delivering all his lines facing downstage, even when interacting with other characters, which simply looked bizarre.

The chorus was small but mighty; credit Chorus Master Nancy Mayo for that.

Scott Schoonover did his usual polished job conducting the orchestra, which generally did quite well by Sullivan's music, that annoying cut in the overture not withstanding. The fact that the Viragh Center has an actual orchestra pit also eliminated some of the balance problems you sometimes encounter in performance spaces that weren’t designed with musical theatre in mind.

Scott Loebl's set gave a nice sense of the Tower's imposing presence while still leaving lots of playing space available and JC Krajicek's costumes evoked the period quite effectively.

If "Yeomen of the Guard" was not, on the whole, one of Winter Opera's better efforts, the bulk of the blame must fall to Mr. Gilbert for producing a libretto that was neither fish nor fowl. "Yeomen of the Guard" is a problematic work, and this production didn't solve it.

Winter Opera's season continues with Mozart's "Cosi fan Tutte" January 22 and 24 and concludes with Verdi's "Il Trovatore" March 4 and 6. There's also a festive "Holidays on the Hill" concert December 8 and 9 and Dominic's on the Hill. For more information: winteroperastl.org.

Chuck's Choices for the weekend of October 30, 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:

Matilda the Musical
Photo: Joan Marcus

The Fox Theatre presents Matilda the Musical, based on the novel by Roald Dahl, through November 1. "Winner of 50 international awards including 4 Tony Awards  and seven Olivier Awards including Best Musical, MATILDA THE MUSICAL is the story of an extraordinary girl who dreams of a better life. Armed with a vivid imagination and a sharp mind, Matilda dares to take a stand and change her destiny." The Fox Theatre is at 527 North Grand in Grand Center. For more information: fabulousfox.com.

My take: Everyone seems to be enjoying Matilda immensely. The Belleville News-Democrat's Lynn Venhaus says the show "celebrates the power of imagination as it unfolds the inspiring tale of a magical little girl." KDHX's Amy Burger says it's "an enchanting piece of musical theatre for Broadway fans of all ages." "It's truly magical," writes Chris Gibson at Broadwayworld.com, "and definitely a must-see, for families, and even those who don't have them."

Winter Opera St. Louis presents Gilbert and Sullivan's comedy/drama Yeomen of the Guard Friday at 8 PM and Sunday at 3 PM, October 30 and November 1. Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

My take: Winter Opera remains one of the better practitioners of musical theatre in St. Louis. They also have the distinction of being the only one of our three opera companies to be working in a space that wasn’t retrofitted to present opera—a virtue not to be taken lightly. Their productions haven't always been entirely successful, but overall I have come to think of them as The Little Opera Company That Could. Yeomen of the Guard is an interesting choice in that it's the only Gilbert and Sullivan operetta that does not have a happy ending. It also has one of Sullivan's most ambitious scores, which is what makes it so attractive to opera companies.

Held Over:

Angel Street
Photo: Eric Woolsey

The Repertory Theatre of St. Louis presents the drama Angel Street through November 8. Mrs. Bella Manningham is going mad. Confined to an old and dark London home, her suave husband and caretaker, Jack, accuses her of playing wicked pranks and tricks that she can't recall, tormenting Bella and making her question her own sanity. Frightened, Bella believes everyone is against her, until one evening when a keen police inspector pays her a visit, shedding light on information that could save her life. Equal parts mystery, psychology and sin, Angel Street is one of Broadway's longest running plays. " 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: Sometimes a play's film adaptation will completely eclipse the original—just ask Murray Burnett and Joan Alison, whose 1940 drama Everybody Comes to Rick's would achieve fame as Casablanca. In the case of the 1938 thriller Angel Street, the 1944 film adaptation Gaslight (as the play was originally name in Britain) has become so familiar that the Rep adding it to the title. In any case, the original seems to have retained its suspense, despite the fact that pretty much everybody on the planet now knows the plot twists. "This is expertly crafted entertainment that will surely get you in the mood for the Halloween season," writes Chris Gibson at Broadwayworld.com, "and I highly recommend it!" At KDHX, Sarah Richardson says it's "an enjoyable, diverting show with a delightful cast and fantastic design." I agree about the cast, although it seems clear to me that the director has asked both leads to overact, esepcially in the final scene, with detracted from my enjoyment of what is, overall, a good production.

The Sunshine Boys
Photo: Eric Woolsey

New Jewish Theatre presents Neil Simon's comedy The Sunshine Boys through November 1. "Al Lewis and Willie Clark, as 'Lewis and Clark' were top-billed vaudevillians for over forty years. But they haven't spoken in over a decade. Now CBS is inviting the team to reunite for a 'History of Comedy' retrospective. A grudging reunion brings them back together, along with a flood of memories, miseries and laughs. Classic Neil Simon, a lot of it is epically funny and all of it is cheerful." Performances take place at the Marvin and Harlene Wool Studio Theatre at the JCCA, 2 Millstone Campus Drive. For more information, call 314-442-3283 or visit www.newjewishtheatre.org.

My take: As a local actor remarked to me the other night, this production has been "snake bit," with both of the original actors replaced for health reasons. Which makes it that much more impressive that the result is, in the words of KDHX reviewer Tina Farmer, "a sweet tribute to the era of vaudeville that's also an honest look at aging in an American culture increasingly focused on youth. Engaging performances and a pleasantly amusing script ensure this show is entertaining even for audiences with no recollection of the uniquely American variety of entertainment known as vaudeville." Chris Gibson at Broadwayworld.com agrees, saying that "this version of the show has a certain poignancy and emotional affectation that provides the play with additional depth...Go see this wonderfully fresh take on THE SUNSHINE boys, you'll certainly be glad you did."

St. Louis theatre calendar for the week of October 26, 2015

[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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Over Due Theatre presents the musical The Addams Family, based on the cartoon characters of Charles Addams, Fridays and Saturdays at 7:30 PM and Sundays at 2 PM through November 1. Performances take place at the Olivette Community Center, 9723 Grandview Drive, in Olivette, MO. For more information, call 314-210-2959 or visit overduetheatrecompany.com

The Adventures of Sherlock Holmes
aquilatheatre.com

The Hettenhausen Center for the Arts presents The Aquila Theatre production of The Adventures of Sherlock Holmes on Monday, October 26, at 7:30 PM. "In this witty, fast paced production the legendary sleuth skillfully maneuvers the twisted web of London's most intriguing cases with his split second deductions revealing intimate and useful details of a person's life. Actors from the top British and American stages bring the acclaimed Aquila Theatre's energetic, physical style to this new adaptation." The Hettenhausen Center for the Arts is at 701 College Rd., at Alton St. on the McKendree University campus in Lebanon, IL. For more information: www.thehett.com.

Angel Street
Photo: Eric Woolsey

The Repertory Theatre of St. Louis presents the drama Angel Street through November 8. Mrs. Bella Manningham is going mad. Confined to an old and dark London home, her suave husband and caretaker, Jack, accuses her of playing wicked pranks and tricks that she can't recall, tormenting Bella and making her question her own sanity. Frightened, Bella believes everyone is against her, until one evening when a keen police inspector pays her a visit, shedding light on information that could save her life. Equal parts mystery, psychology and sin, Angel Street is one of Broadway's longest running plays. " Performances take place on the mainstage at the Loretto-Hlton Center, 130 Edgar Road in Webster Groves, MO. For more information, call 314-968-4925 or visit repstl.org. Read the 88.1 KDHX review!

The Presenters Dolan present singer Kat Edmonson in The Big Picture on Friday and Saturday, October 30 and 31, at 8 PM as part of the Gaslight Cabaret Festival. "Catch a rising star. An enchantingly sweet singer with a beguiling innocence, Kat has risen quickly to fame with memorable turns on Austin City Limits, A Prairie Home Companion and NPR. She's played dates with Lyle Lovett and Chris Isaak. Her third album, The Big Picture, was recently released by Sony. " The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The Lemp Mansion Comedy-Mystery Dinner Theater presents Dead! Like Me through November 14. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com.

The Bissell Mansion Murder Mystery Dinner Theatre presents Get "Hitched" To A Redneck Or Die through October 31. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

I and You
Photo: Lon Brauer

The Repertory Theatre of St. Louis presents the drama I and You October 28 - November 15. "Anthony is an effortlessly popular "A" student; Caroline is a prickly cynic, homebound with a serious illness. This unlikely duo sits in Caroline's room, trying to cobble together a report on Walt Whitman overnight. As they work and procrastinate, argue and compromise, the teens begin to uncover each other's hidden depths. Full of surprising humor and emotion, I and You explores bravery in the face of an uncertain future and the unique, mysterious connections that bind us." 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.

Lindenwood University presents Legally Blonde the Musical October 29-31. "A fabulously fun international award-winning musical based on the movie, Legally Blonde The Musical follows the transformation of Elle Woods as she tackles stereotypes, snobbery, and scandal in pursuit of her dreams. This action-packed musical explodes on the stage with memorable songs and dynamic dances. Equal parts hilarious and heart-warming,; this musical is so much fun it should be illegal!" Performances take at the J. Scheidegger Center for the Arts on the Lindenwood campus in St. Charles, MO. For more information, call 636-949-4433 or visit lindenwood.edu/center.

Matilda the Musical
Photo: Joan Marcus

The Fox Theatre presents Matilda the Musical, based on the novel by Roald Dahl, through November 1. "Winner of 50 international awards including 4 Tony Awards  and seven Olivier Awards including Best Musical, MATILDA THE MUSICAL is the story of an extraordinary girl who dreams of a better life. Armed with a vivid imagination and a sharp mind, Matilda dares to take a stand and change her destiny." The Fox Theatre is at 527 North Grand in Grand Center. For more information: fabulousfox.com. Read the 88.1 KDHX review!

Tesseract Theatre Company presents A Mourning Hollow Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m., October 30 - November 8. "A Mourning Hollow is a romantic comedy set in the town of Plains Hollow, Missouri on Halloween night. It is a collection of vignettes exploring the process of grief in a small town." Performances take place at the Regional Arts Commission, 6128 Delmar. For more information: tesseracttheatre.org.

The Emerald Room at The Monocle presents an open mic night every Monday from 8:00pm to 11:00pm" "Musical Theater actor? Cabaret singer? Balladeer? Beleter? Coloratura soprano? Crooner? Student? Teacher? Performer? Fan? Come on down and sing. All are welcome. Ron Bryant is your accompanist. Bring your sheet music"." The monocle is at 4510 Manchester in The Grove neighborhood. For more information: themonoclestl.com.

Fontbonne University's Theatre Department presents April De Angelies' Playhouse Creatures through November 1. "The year is 1669 - a bawdy and troublesome time. Theaters have just reopened after seventeen years of Puritan suppression. There is a surge in dramatic writing and the first English actresses appear on stage. Playhouse Creatures focuses on five of the most famous (Nell Gwyn, Elizabeth Farley, Rebecca Marshall, Doll Common and Mary Betterton) to provide a moving and often comic account of the precarious lives of Restoration actresses." Performances take place at Fontbonne University's Black Box Theatre located in the Southwest building on the campus at Big Bend and Wydown. For more information: www.mustardseedtheatre.com or call (314) 719-8060.

Take Two Productions presents the rock musical Spring Awakening through October 31. "It's Germany, 1891. A world where the grown-ups hold all the cards. Join a group of students as they navigate teenage self-discovery and coming of age anxiety in a powerful celebration of youth and rebellion. Spring Awakening explores the journey from adolescence to adulthood with poignancy and passion that is illuminating and unforgettable. The landmark musical is an electrifying fusion of morality, sexuality and rock and roll that is exhilarating audiences across the nation like no other musical in years." The show is recommended for mature audiences. Performances take place at Southampton Presbyterian Church, 4716 Macklind in South City. For more information, visit taketwoproductions.org.

The Sunshine Boys
Photo: Eric Woolsey

New Jewish Theatre presents Neil Simon's comedy The Sunshine Boys through November 1. "Al Lewis and Willie Clark, as 'Lewis and Clark' were top-billed vaudevillians for over forty years. But they haven't spoken in over a decade. Now CBS is inviting the team to reunite for a 'History of Comedy' retrospective. A grudging reunion brings them back together, along with a flood of memories, miseries and laughs. Classic Neil Simon, a lot of it is epically funny and all of it is cheerful." Performances take place at the Marvin and Harlene Wool Studio Theatre at the JCCA, 2 Millstone Campus Drive. For more information, call 314-442-3283 or visit www.newjewishtheatre.org. Read the 88.1 KDHX review!

O'Fallon TheatreWorks presents the drama Wit at the O'Fallon Municipal Centre auditorium through November 1. "Winner of the 1999 Pulitzer Prize for Drama and the Lucille Lortel Award for Best Play, Margaret Edson's extraordinary first play, Wit, is a work that is as intellectually challenging as it is emotionally immediate. Synopsis: Vivian Bearing, Ph.D., a professor of English who has spent years studying and teaching the brilliant metaphysical sonnets of John Donne, has been diagnosed with terminal cancer. Her intellectual approach to the study of Donne has been intensely rational. But as her illness progresses, Vivian comes to reassess her life and her work with a profundity and humor that are transformative both for her and the audience. " The O'Fallon Municipal Centre is located at 100 North Main Street in O'Fallon, MO. For more information, visit www.ofallon.mo.us or call 636-379-5606.

Winter Opera St. Louis presents Gilbert and Sullivan's comedy/drama Yeomen of the Guard Friday at 8 PM and Sunday at 3 PM, October 30 and November 1. Performances take place at The Skip Viragh Center for the Arts at Chaminade College Preparatory School, 425 S. Lindbergh. For more information, visit winteroperastl.org.

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.