St. Louis classical calendar for the week of March 24, 2014

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The Bach Society of St. Louis presents an Bach's St. John Passion on Sunday, March 30, at 3 PM at First Presbyterian Church of Kirkwood, 100 East Adams Ave. “Only Bach can produce great works of art that also take the listener on along a spiritual and emotional journey. The Leipzig master's setting of the Passion story from the Gospel of St. John combines powerful emotion with intense drama, providing a meaningful preparation for Lent. The Chorus and Orchestra are joined by five outstanding soloists who were featured in our recent St. Matthew Passion, tenor William Watson as the Evangelist, baritone Stephen Morscheck singing the role of Jesus, countertenor Jay Carter, tenor Lawrence Jones, bass Curtis Streetman, along with the Bach Society debut of soprano Kathryn Lewek.” For more information: www.bachsociety.org

The Community Music School of Webster University presents a concert of winning compositions from the 10th Annual Young Composers Competition on Saturday, March 29, at 3 PM. " The national competition selects winners in two levels: I. 12-16 years and II. 17-21 years. The 2013-2014 winners represent four different states. The concert will include a work by guest composer, Beth Denisch. Ms. Denisch's work has been described as "... wonderfully evocative ... simply splendid," David Cleary, New Music Connoisseur." The school is at 535 Garden Avenue in Webster Groves, MO. For more information: www.webster.edu/cms.

Karita Mattila
Photo: Lauri Eriksson

David Robertson conducts The St. Louis Symphony Orchestra and soprano Karita Mattila in Wagner's Prelude to Tristan and Isolde, Brahms's Symphony No. 3, and Schoenberg's Erwartung on Friday and Saturday at 8 PM March 28 and 29, at Powell Symphony Hall, 718 North Grand. “Brahms constantly strived to embody and emulate the great symphonic model that Beethoven created. His Symphony No. 3 follows in Beethoven's path as a work unfolding with brilliant melody and harmony. A contemporary of Brahms, Wagner charted his own revolutionary path in the epic opera Tristan and Isolde with lush and powerful harmonies depicting a legendary love affair. Acclaimed by the St. Louis Post-Dispatch for “her big, steely voice and expressive charisma,” the captivating soprano Karita Mattila returns for Schoenberg's bone-chilling monodrama Erwartung.” For more information: stlsymphony.org.  Fill out an on-line form before Wednesday, March 26, and you might even win free tickets plus a gift certificate to Vito's!

Steve Lippia

Steve Lippia joins The St. Louis Symphony Orchestra for Simply Sinatra on Sunday, March 30, at 3 PM at Powell Symphony Hall, 718 North Grand. “Steve Lippia joins the STL Symphony in a special tribute to Ol' Blue Eyes that every Sinatra fan will want to hear including "Come Fly with Me," "Luck Be a Lady," "The Lady is a Tramp," "My Way" and more. The Symphony performs arrangements of Sinatra's classic tunes and accompanies Steve Lippia.” For more information: stlsymphony.org.

The St. Louis Symphony Orchestra and Maryville University's Music Therapy Program present Creative Music Making, part of the orchestra's SymphonyCares music therapy initiative, on Wednesday, March 26, at 7 PM in the Maryville University Auditorium. " This partnership between the Symphony and Maryville gives people with physical and mental disabilities an opportunity to learn about and create music together with Symphony musicians and Maryville students." The auditorium is at 650 Maryville University Drive in Town and Country, MO. For more information: www.stlsymphony.org/symphony_neighborhood

The Tavern of Fine Arts presents Manuela Kaymakanova, violin and Diana Umali, piano in a program of music of Brahms, Turina, Zlatev-Cherkin, and Bartok on Saturday, March 29, at 8 PM. “Manuela Kaymakanova was born in Rousse, Bulgaria, and began her violin studies at the age of five. She holds a Bachelor of Music from Webster University, where she received the Buder scholarship for gifted students and studied with Yuly Iliashov. Presently she teaches at the Community Music School of Webster University and maintains a private studio. Diana Umali completed her master's degree in Piano Performance with an emphasis in accompanying/chamber music from Southern Illinois University Edwardsville in May 2006. She graduated summa cum laude from Saint Louis University, attaining a B.A. in Music Performance and B.S. in Finance. Currently she is a music professor at Southwestern Illinois College.” The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

Third Baptist Church presents an organ concert on Friday, March 28, at 12:30 PM as part of its free Friday Pipes series. "Join us on Fridays at Third Baptist Church for Friday Pipes, the free organ recital series celebrating the restoration of the church's 72-rank Kilgen/Möller pipe organ. Each week a different performer will be presenting a program of classical, church, and theatre organ music in the beautiful sanctuary of Third Baptist. This season's performers come from across the USA, and even from around the world. Free parking is available in the church lots on Washington Avenue." Third Baptist Church is at 620 N Grand. For more information: www.third-baptist.org

Chuck's Choices for the weekend of March 21, 2014

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:

That Uppity Theatre Company and The Vital Voice present Briefs: A Festival Of Short Lesbian and Gay Plays Thursday through Sunday, March 21-23. " More than a traditional theatrical production, BRIEFS is a community event, bringing together a diverse audience from the LGBT community, straight allies, local businesses, and local artists. Our slogan this year is, “Come for the play, stay for the party!” The space will stay open for at least at hour after every performance so people can visit and have a drink. Additionally, on Sunday, March 23, our final performance matinee will also honor LGBT seniors and their friends and will include a complimentary brunch for LGBT seniors from groups including SAGE, Primetimers and Older Lesbians Advocating for Change (OLAC)." Performances take place at La Perla, 312 North 8th Street, downtown. For more information, visit uppityco.com or call (314) 995-4600.

My take: Based on my experience acting in the first Briefs festival two years ago, this evening of short one-acts is likely to be rather like the weather in St. Louis: if you don't like it, wait ten minutes and it will change. Expect a wide variety of scripts, all professionally produce and acted for a large and supportive audience. As the official description says, this is at least as much a social and celebratory event as it is an evening of theatre.

St. Lou Fringe presents Five-Fifths: Alice In Fringeland on Friday, March 21, at 7:30 PM. "St Lou Fringe presents its newest annual benefit event and showcase of St Louis' finest indie artists, FIVE-FIFTHS. Five-Fifths presents one classic story, broken into five acts, and performed by five different performing groups. This isn't just any night of theater. With a VIP reception, after party, celebrity guests and integrating visual and ambient art, we are taking the experience of theater going to a whole new level. Welcome to Fringeland." The performance takes place a the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information: stlfringe.com

My take: As you might have heard, the St. Louis Theater Circle gave Em Piro and the St. Lou Fringe a special award this past Monday in recognition of the Fringe's unique and important contribution to the local cultural scene. This fund raiser looks to be Classic Fringe (if that's not a contradiction in terms): unconventional, theatrical, and provocative. Enjoy.

HotCity Theatre presents Red Light Winter by Adam Rapp through March 29. “A tempestuous love triangle smolders between two college buddies and the red light woman they share for a night. Sex, lies and decadence will change their lives forever!” 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.

My take: Critics have been impressed by this oddball play. "This is a doomed love story with comedy," writes Andrea Braun at Playbackstl.com, "or maybe a comedy with doomed love, or maybe a tragedy with some jokes...I’d call Red Light Winter another win for the always intriguing HotCity Theatre." Over at Ladue News, Mark Bretz says "Red Light Winter is sometimes graphic, frequently surprising and consistently engaging." HotCity has a good track record of bringing St. Louis new and unconventional shows.

©Photo by Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Soups, Stews, and Casseroles: 1976 through March 30. “When the main employer in Monroe, Wisconsin is acquired by a major manufacturer, a once peaceful small town turns into a battleground as families struggle to retain their independence, identity and livelihoods. While new opportunities develop for some, difficult choices must be made, putting loyalties and relationships to the test. This world premiere play has been commissioned by The Rep and was developed through the Ignite! New Play Festival.” 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.

My take: As I write in my review for KDHX, this play addresses the slow poisoning of our culture by the empty values of the corporation and the marketplace using well-developed and credible characters in a way that's thoughtful, often funny, and consistently engrossing. Attention, as Linda Loman says in Death of a Salesman, must be paid.

The Presenters Dolan present Tim Schall: 1961 on Saturday, March 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: gaslightcabaretfestival.com.

My take: I saw this show the first time around exactly one month ago. It was a polished, well-paced, and exceptionally entertaining evening back then. Since then Tim and music director Carol Schmidt have been refining the arrangements and have added the multi-talented Michele Isam (with Ms. Schmidt, the other half of the local jazz/pop/rock duo Jasmine from many years ago), so this is clearly one you don't want to miss.

Held Over:

Photo: Jill Ritter Lindberg

New Line Theatre presents the rock musical Rent Thursdays through Saturdays at 8 PM, through March 29. "New Line continues its 23rd season with Jonathan Larson's Pulitzer Prize winning, long-running rock opera Rent. This cheerfully transgressive, 1990s rock/pop riff on the classic story, set in New York City’s East Village, is best described in its creator's own words: 'In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and we should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium.'"Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information: newlinetheatre.com.

My take: I've always been a fan of this musical. Jonathan Larson's score is inventive and stylistically eclectic and his lyrics are artful and intelligent. What strikes me about Rent is how much this modern and supposedly revolutionary show reminds me of another one to which those same adjectives were applied back in 1968: Hair, the show that defined the genre of rock musical. Like Hair, Rent takes jabs at the older generation - mine - and thumbs it's nose at the American status quo from the bottom of the economic pyramid. Unlike Hair, though, it's less overtly political, covers a wider emotional spectrum, and may actually be a better piece of theatre. In her review for KDHX, Tina Farmer describes this as "a memorable production filled with stolen chances, borrowed happiness and powerful emotions pulled from a constant state of movement, noise and distraction."

New World records

Ingram Marshall

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This weekend David Robertson conducts the symphony in three "American" works. Granted, only one was written by an American; but all three were composed here and one even had its premiere in St. Louis.

The music that opens the concerts, Ingram Marshall's "Bright Kingdoms," was first performed in Oakland, California, back in 2004. It's unusual in that it uses both live and recorded sounds—a compositional technique that Mr. Marshall has been playing with since his days as a graduate student at Columbia University in the 1960s. In 1971 a summer study trip to Indonesia exposed him to gamelan music with its altered sense of time and so that, too, became part of his vocabulary.

In his notes for the 2004 premiere, Mr. Marshall wrote that the recorded sound consists of "processed recordings" of a Swedish children's choir, including a boy singing a hymn whose words, in English, are: "Through the bright kingdoms of this early, go we to paradise with song."

"Unconsciously," he went on, "the music turned out to be about innocence, the kingdoms of innocence and the dissolution of those kingdoms. Several sections of the piece are for orchestra alone, one in particular being a threnody for strings about half way through, another being a series of brightly orchestrated passages near the beginning that might be heard as 'kingdoms.' Otherwise, the orchestra and 'soundtrack' are cohabitants."

Erich Wolfgang Korngold

The orchestra has plenty of experience playing along with recorded sounds—they did an entire program of it last week with "Bugs Bunny at the Symphony II," for example—so this is nothing new for them. Although I expect Mr. Marshall's stuff might be a bit more challenging than "I Tawt I Taw a Puddy Tat."

Up next is Erich Wolfgang Korngold's "Violin Concerto in D major," op. 35, which first saw the light of day right here in Mound City back in 1947. Jascha Heifetz was the soloist, and on the podium was the French conductor Vladimir Golschmann. Golschmann was music director of the SLSO from 1931 to 1958 (the longest-reigning SLSO music director to date) and made a number of recordings with the orchestra.

Korngold's name will be familiar to classic film fans. Born in Moravia in 1897, Korngold was a child prodigy hailed as a "musical genius" by Gustav Mahler. He composed his first ballet at age 11 and his most famous opera, "Die tote Stadt," at 23. In 1934 director Max Reinhardt enticed Korngold to Hollywood to write the music for his lavish film version of "A Midsummer Night's Dream" (well worth seeing, despite the many cuts in Shakespeare's text). He returned to Austria, but was drawn back to California in 1938 to write the score for "The Adventures of Robin Hood." While he was there, Hitler's Anschluss of Austria took place, and Korngold became an émigré ("We thought of ourselves as Viennese," he would recall later; "Hitler made us Jewish.")

Dvořák with his friends and family in New York

Even if you didn't know Korngold was a film composer, you could guess it by the lush romantic sound of this music. You might also recognize some of the themes, as he recycled material from the films "Juarez" (1939), "Anthony Adverse" (1936), "Another Dawn" (1937), and—in the lively finale—"The Prince and the Pauper" (1937). It's flashy stuff and should fit nicely under the hands of soloist Gil Shaham (who is Mr. Robertson's brother-in-law).

Closing the concerts is the "Symphony No. 9 in E minor," op. 95, (“From the New World”) by Antonín Dvořák. The Czech master wrote it during a visit to America in the early 1890s and while he never explicitly quotes any American folk material, there's still something about this music that strongly suggests America. From the flute theme in the first movement that seems to echo "Swing Low, Sweet Chariot," to the second movement Largo that has (at least for me) always evoked the majestic solitude of the plains (Dvořák said he wrote it after reading Longfellow's "Hiawatha"), to the "bluesy" flatted seventh chords of the finale, Dvořák "New World" symphony just shouts "USA"—even if it does so with a strong Czech accent.

Some critics have complained of the symphony's structural weaknesses and its episodic nature, but even they have had to confess that it's never anything less than tremendously appealing. It's one of the first "classical" works I ever encountered, and I've never lost my affection for it. If you've never heard it before, I'd bet it will strike you the same way.

The essentials: David Robertson conducts The St. Louis Symphony Orchestra and violin soloist Gil Shaham in Marshall's Bright Kingdoms, Korngold's Violin Concerto, and Dvorak's Symphony No. 9, "From the New World" on Friday at 10:30 AM and at 8 PM, and Saturday at 8 PM March 21 and 22, at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org. The Saturday concert will be broadcast live on St. Louis Public Radio, 90.7 FM, HD 1, and on the Internet from the station web site.

The Union label

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Who: The Repertory Theatre of St. Louis
What: Soups, Stews, and Casseroles: 1976 by Rebecca Gilman
When: March 12-30, 2014
Where: The Studio Theatre

In his director's notes for "Soups, Stews, and Casseroles: 1976," Seth Gordon notes that the play "asks questions that are important for us to contemplate and then leave us to work it out in the end. I've heard many an audience member tell me that his or her favorite play is the kind that keeps one talking about it for a long time after viewing."

If the conversation my wife and I had on the way home from opening night is an indication, Ms. Gilman's play will be a strong contender for many a favorite list. "Soups, Stews, and Casseroles: 1976" deals with what might be the defining socioeconomic issue of the late 20th and early 21st centuries: the dominance of American life by amoral and short-sighted corporate culture and its corrosive effect on our sense of community. When, in his 1897 book "Suicide," French sociologist Émile Durkheim coined the term "anomie" to describe "a condition in which society provides little moral guidance to individuals" he could easily have been describing the result of that corporate control a century later.

In Ms. Gilman's play, "anomie" begins to creep into a small Wisconsin town when the family-owned cheese factory that is the town's only industry is suddenly purchased by fictional corporate behemoth Consolidated Foods. Kim (Vincent Teninty), a mid-thirtyish employee who has always hated his job at the factory, isn't sure whether it's the best thing that could have happened to him or the worst. That uncertainly is compounded when Kim's wife Kat (Nancy Bell), who writes for the local newspaper, pays a Welcome Wagon visit to Elaine (Mhari Sandoval), who has just moved to town with her husband, Consolidated executive Jeffrey—who, appropriately, is never seen. The friendship that develops between Kat and Elaine motivates Kat to make some positive changes in her life (as Holmes once remarked of Watson, Elaine may not be luminous, but she can be a conductor of light). It also leads to a promotion to management for Kim and—as we see that he actually has a grasp of organizational and business principles that qualifies him more for administrative than assembly line work—a job offer at Consolidated HQ in Chicago.

It also starts to drive a wedge between Kim's relationship with his former union compatriots, in particular with Kyle (Jerzy Gwiazdowski), the 26 year-old union president and nephew of Joanne (Susan Greenhill), Kat's opinionated and unrepentantly leftist friend who is also Kat's co-editor for the recipe book from which the play gets its title. As Kat and Joanne's relationship begins to fray, the book—a local tradition that is published every year—becomes a symbol for community traditions threatened by Consolidated. Problems arise as well for Kim and Kat's daughter, Kelly (Emma Wisniewski), whose school friends see her dad as a traitor.

This is a situation that could easily become a platform for strident preaching or turgid soap opera. It's a credit to Ms. Gilman's skill that, while she clearly takes sides, she avoids doing so in a heavy-handed fashion. The changes in the assembly line that Kim recommends, for example, clearly will reduce costs, but will do so by turning the workers into little more than biological robots. On the other hand, it's clear that the workers have become complacent about their jobs and that the union has encouraged an attitude of entitlement. Consolidated is still running an ethical deficit, but nobody is entirely without blame. The fault, as Cassius noted, is not in our stars, but in ourselves.

The script does get perilously close to "TV movie of the week" territory at one point in the second act, but ultimately sidesteps it. The delivery of the author's core message in the second act by Kelly—that when we treat others as objects rather than fellow humans, it diminishes us—flows naturally from her high school debate project, so it emerges naturally from the script instead of feeling imposed. Even the "feel good" ending is, as it turns out, a logical development of a plot point raised near the beginning of the play. It could, perhaps, stand to be elaborated on a bit more to make the ending more credible, but that's a minor complaint.

Ms. Gilman has, in short, managed to address important issues using well-developed and credible characters in a way that's thoughtful, often funny, and consistently engrossing. A product of the Rep's "Ignite!" new play festival, "Soups, Stews, and Casseroles: 1976"—which began as a staged reading at the 2012 festival—is an excellent illustration of the value of that project. The play still wants a bit of tweaking, but as it stands, it's already one of the better new scripts I've seen in recent years.

Turning from the script to the production itself, things are a bit mixed. Director Seth Gordon has done some impressive work for the Rep and his blocking and pacing are excellent but he has, I think, decided to play the script too much for laughs and has directed his actors—good as they all clearly are—to play everything a bit too broadly and make everything a bit too big. There is certainly comedy in this script (especially in the first act) but Mr. Gordon has pushed it too far towards farce for my taste.

That said, everyone in this cast does fine work, even if it all should be dialed down a bit. Nancy Bell's Kat is immediately sympathetic and painfully aware of the sacrifices she has made for her family. Vincent Teninty's Kim appears stolid but we soon see the resentments and regrets that come close to destroying him. Susan Greenhill appears to be channeling the late Selma Diamond as the raspy-voiced Joanne. It comes close to caricature, but that's obviously what Mr. Gordon wants, and she does it well.

Mhari Sandoval neatly captures Elaine's self-absorption and casual sense of entitlement, fueled by equal parts vapid self-help books and alcoholic "iced tea." The character is, in many ways, the prototype for the smug, Randian narcissism that seems to have swept through our nation in recent decades—especially at the upper end of the socio-economic scale—but she has a darker side as well, and Ms. Sandoval brings that out effectively towards the end of the show.

As she prepares her anti-capital punishment arguments for her high school debate contest, Kelly gradually becomes the moral voice of the playwright. Emma Wisniewski makes the character's earnestness believable, adding weight to the playwrights' message without sacrificing credibility. Equally credible is Jerzy Gwiazdowski's transition from comic befuddlement to steely determination as Kyle.

Kevin Depinet's set is an impeccable recreation of a mid-1970s middle-class kitchen, complete with refrigerator magnets, hanging lamps, window box, and a fondue pot. John Wylie's lighting and Rusty Wandall's sound complete the illusion. You can almost feel that cold Wisconsin wind as characters enter and leave the "mud room" stage left.

"Soups, Stews, and Casseroles: 1976" addresses issues that continue to tear at the fabric of American life, threatening to replace the compassion that is our human heritage with the sociopathic self-regard that already infests corporate boardrooms. To paraphrase Linda Loman in "Death of a Salesman," attention must be paid to such a play. Our sense of community must not be allowed to fall into its grave like an old dog. We need to keep publishing our collections of soups, stews, and casseroles—if only to remind ourselves that we still have something in common.

"Soups, Stews, and Casseroles: 1976" continues in the studio theatre at the Loretto-Hilton Center through March 30th. For more information: repstl.org.

St. Louis theatre calendar for the week of March 17. 2014

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 ArtsZipper site.

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That Uppity Theatre Company and The Vital Voice present Briefs: A Festival Of Short Lesbian and Gay Plays Thursday through Sunday, March 21-23. " More than a traditional theatrical production, BRIEFS is a community event, bringing together a diverse audience from the LGBT community, straight allies, local businesses, and local artists. Our slogan this year is, “Come for the play, stay for the party!” The space will stay open for at least at hour after every performance so people can visit and have a drink. Additionally, on Sunday, March 23, our final performance matinee will also honor LGBT seniors and their friends and will include a complimentary brunch for LGBT seniors from groups including SAGE, Primetimers and Older Lesbians Advocating for Change (OLAC)." Performances take place at La Perla, 312 North 8th Street, downtown. For more information, visit uppityco.com or call (314) 995-4600.

The Lemp Mansion Comedy-Mystery Dinner Theater presents its Bullets in the Bathtub through April 27. The Lemp Mansion is at 3322 DeMenil Place. For more information: lempmansion.com

Carol Schmidt

The Cabaret Project and 88.1 KDHX present the monthly Cabaret Open Stage Night on Wednesday, March 19, from 7 to 10 PM at the Tavern of Fine Arts. The master of ceremonies is 88.1 KDHX senior performing arts critic Chuck Lavazzi and the music director is Carol Schmidt. Bring your favorite seasonal songs and be prepared for the big sing-along! If you're planning to sing, be prepared to do one or two songs and bring music, preferably in your key. It's 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, visit tavern-of-fine-arts.blogspot.com or call 314-367-7549.

Southern Illinois University at Edwardsville Department of Theater and Dance presents Pinter's The Caretaker March 21-30. The performances take place on the campus in Edwardsville, IL. For more information, call 618-650-2774.

Curtain's Up Theatre presents Cinderella Or The Story Of Bigfoot on Saturday, March 22. The performances take place in the Dunham Hall Theater on the SIU-Edwardsville campus. For more information, visit curtainsuptheater.com.

The Looking Glass Playhouse presents The Diary of Anne Frank through March 23. Performances take place at 301 West St. Louis Street in Lebanon, Ill. For more information, visit www.lookingglassplayhouse.com.

The Repertory Theatre of St. Louis presents a staged reading of Every Reason to Hope and Believe by Laura Eason on Sunday March 23, at 3:00 PM as part of the Ignite! New Play Festival. “Emma, a successful St. Louis fundraiser, and Nathan, one of the city's most celebrated African American artists, couldn't make it work as a mixed race couple. When they reunite professionally to discuss creating a statue of Dred Scott to be erected in front of the Old Courthouse, their conversation quickly turns personal in this moving story of entitlement, privilege, passion, and how the past informs the present. Commissioned for Ignite! by The Rep.” The reading takes place at the Sally S. Levy Opera Center, 210 Hazel in Webster Groves. For more information, visit repstl.org.

St. Lou Fringe presents Five-Fifths: Alice In Fringeland on Friday, March 21, at 7:30 PM. "St Lou Fringe presents its newest annual benefit event and showcase of St Louis' finest indie artists, FIVE-FIFTHS. Five-Fifths presents one classic story, broken into five acts, and performed by five different performing groups. This isn't just any night of theater. With a VIP reception, after party, celebrity guests and integrating visual and ambient art, we are taking the experience of theater going to a whole new level. Welcome to Fringeland." The performance takes place a the Kranzberg Arts Center, 501 North Grand in Grand Center. For more information: stlfringe.com

The Bissell Mansion Murder Mystery Dinner Theatre presents Flaming Saddles through April 27. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

The Touhill Performing Arts Center presents The New York Gilbert and Sullivan Players production of H.M.S. Pinafore on Saturday, March 22, at 8:00 PM. The Touhill Performing Arts Center in on the University of Missouri-St. Louis campus. For more information, you may visit www.touhill.org or call (314) 516-4949.

St. Louis Actors' Studio continues its seventh season, themed Sins of the Father, with Kate Chopin's The Awakening, adapted for the stage by Henry I. Schvey, through March 23. "Set in New Orleans and the Southern Louisiana coast at the end of the nineteenth century, the plot centers on Edna Pontellier and her struggle to reconcile her increasingly unorthodox views on femininity and motherhood with the prevailing social attitudes of the turn-of-the-century South. It is one of the earliest American novels that focuses on women's issues without condescension. It is also widely seen as a landmark work of early feminism, generating mixed reaction from contemporary readers and criticism." Performances take place in the Des Lee Auditorium at the Missouri History Museum. For more information, call 314-458-2978 or visit stlas.org.

Photo: Lon Brauer

The Repertory Theatre of St. Louis presents Michael Frayn's comedy Noises Off March 19 - April 13. “Disasters abound as a frantic, sleep-deprived touring company of actors rehearses and performs their fictional farce, Nothing On. Too many doors, too many sardines and not near enough time combine to create a riotously funny situation on and off stage for both cast and crew. Michael Frayn's intricately crafted mayhem is hailed as one of the greatest comedies ever written.” 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.

Summerstage presents the musical Pippin March 20-22. Performances take place at 1350 27th St. in Granite City, IL. For more information, call (618) 451-1032.

New Jewish Theater presents Arthur Miller's The Price March 20-April 16. “Everything has a price. In one of the most emotional pieces that Arthur Miller ever wrote, two estranged brothers reunite for one day to sort and sell their deceased father's "furniture," before the building is torn down. The brothers are forced to deal with the price of decisions made in their shared past.” Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

HotCity Theatre presents Red Light Winter by Adam Rapp through March 29. “A tempestuous love triangle smolders between two college buddies and the red light woman they share for a night. Sex, lies and decadence will change their lives forever!” 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.

Photo: Jill Ritter Lindberg

New Line Theatre presents the rock musical Rent Thursdays through Saturdays at 8 PM, through March 29. "New Line continues its 23rd season with Jonathan Larson's Pulitzer Prize winning, long-running rock opera Rent. This cheerfully transgressive, 1990s rock/pop riff on the classic story, set in New York City’s East Village, is best described in its creator's own words: 'In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and we should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium.'"Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information: newlinetheatre.com. Read the 88.1 KDHX review!

The St. Louis Theater Circle presents the St. Louis Theater Circle Awards on Monday, March 17, at 7 PM. The awards recognize outstanding achievement in locally produced professional theatre as judged by local theatre critics who are members of the Circle. Presenters will include KDHX's own Chuck Lavazzi. The ceremony is preceded by an optional buffet dinner at 6:00 PM from With Love Catering and takes place at COCA, the Center of Creative Arts, at 524 Trinity in University City. Tickets for both the ceremony and the buffet are available at the door or by calling 314.561.4877. The event will be broadcast and webcast live on HEC-TV Charter channel 989, U-Verse channel 99, and at hectv.org

Alton Little Theater presents Sex, Please, We're 60 Thursdays through Sundays, through March 23, at 2450 North Henry in Alton, IL. For more information, call 618.462.6562 or visit altonlittletheater.org.

St. Louis Community College at Florissant Valley presents a free staged readings of Joanna Baillie's comedy The Siege, on Tuesday, March 18 at 7:00 PM in Room H112 in the Humanities Building on the campus at 3400 Pershall Road in Florissant, MO. Bailllie was "an unjustly forgotten woman dramatist of the late 18th/early 19th century" and the reading is part of the celebration of Women's History Month. The show has never before been performed in Saint Louis, and rarely, if ever, staged in over 200 years.

©Photo by Jerry Naunheim, Jr.

The Repertory Theatre of St. Louis presents Soups, Stews, and Casseroles: 1976 through March 30. “When the main employer in Monroe, Wisconsin is acquired by a major manufacturer, a once peaceful small town turns into a battleground as families struggle to retain their independence, identity and livelihoods. While new opportunities develop for some, difficult choices must be made, putting loyalties and relationships to the test. This world premiere play has been commissioned by The Rep and was developed through the Ignite! New Play Festival.” 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. Read the 88.1 KDHX review!

The Repertory Theatre of St. Louis presents a staged reading of Ten Questions to Ask Your Biology Teacher About Evolution by Stephen Massicotte on Wednesday March 19, at 7:30 PM as part of the Ignite! New Play Festival. “High school biology teacher Ms. Kelly encourages her students to ask questions about the world around them. But when one student starts openly questioning the very basis of her teachings and the school science curriculum, her own personal faith is put to the test.” The reading takes place at the Sally S. Levy Opera Center, 210 Hazel in Webster Groves. For more information, visit repstl.org.

The Presenters Dolan present Tim Schall: 1961 on Saturday, March 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: gaslightcabaretfestival.com. Read the 88.1 KDHX review!

O'Fallon TheatreWorks presents Twelve Angry Jurors. at the O'Fallon Municipal Centre auditorium March 21-30. 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.

The St. Louis Family Theatre Series presents the Lightwire Theater production of The Ugly Duckling and The Tortoise and the Hare March 21 at 2:00 PM, March 22 at 7:30 PM, and March 23 at 2:00 PM. "Lightwire Theater, with its dazzling visuals, poignant choreography and creative use of music ranging from classical to jazz to pop, literally brings these classic tales into a new and brilliant light." Performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 314-921-5678 or visit www.florissantmo.com.

The Fox Theatre presents the musical We Will Rock You March 18 - 30. "From London's West End, the worldwide smash hit musical by Queen and Ben Elton comes to St. Louis for a limited engagement! We Will Rock You features the greatest hits of the legendary British rock group, Queen. Now in its 11th year in London and seen by a staggering 15 million people worldwide, this hilarious, multi-award-winning and record-breaking phenomenon boasts a fantastic score of killer Queen tunes that you just can't resist singing along to, such as Another One Bites The Dust, Crazy Little Thing Called Love, We Are The Champions, Bohemian Rhapsody and of course, We Will Rock You. It's the world champion of musicals and the show that rocks harder than any other, so don't miss the party - book your tickets now!" The Fox Theatre is at 517 North Grand in Grand Center. For more information, call 314-534-1678.

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.

St. Louis classical calendar for the week of March 17, 2014

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BandTogether presents The Music of John Williams: A 17th Anniversary Concert on Saturday, March 22, at 8 PM.  "Join BandTogether on March 22, 2014 as we celebrate our 17th Anniversary by showcasing the music of John Williams. Your ears will be delighted as we transport you to the world of film with songs from Saving Private Ryan, Schindler's List, Superman, Star Wars, and many more. It'll be a night of entertainment you don't want to miss!"  The performance takes place at the 560 Music Center, 560 Trinity in University City, MO.  For more information: www.bandtogetherstl.com.

The St. Louis Classical Guitar Society presents Fabio Zanon in concert on Saturday, March 22, at 8 PM. "Winner of both the Francisco Tarrega Competition in Spain and the GFA Competition here in St. Louis in 1996, Fabio has since received many awards for his concerts and recordings. A towering music presence in his native Brazil, he was accorded an award as best concert performance of 2006 for his debut as an operatic conductor! Concluding our 50th Anniversary Theme, in 2009 Fabio published his first book, Villa-Lobos, to commemorate the 50th anniversary of the death of Heitor Villa-Lobos, and his program will include works from this all-important Brazilian composer. Fabio last performed for us in March 2003." The performance takes place at the Ethical Society, 9001 Clayton Road.  For more information: www.guitarstlouis.net.

Steven Jarvi conductis The St. Louis Symphony in a Symphony in Your College Concert on Sunday, March 23, at 7:30 PM.  "Musicians of the St. Louis Symphony, Beat Therapy, and conductor Steven Jarvi present the music of award-winning composer and STL Symphony timpanist Shannon Wood at Washington University."  The performance takes place at the 560 Music Center, 560 Trinity in University City, MO.  For more information: stlsymphony.org.

The St. Louis Symphony presents Bosnian Journey Celebration on Wednesday, March 19, at 7 PM as part of the On Stage at Powell Chamber Concert Series.  "For this concert series, we throw open the doors of Powell Hall and invite our audience to sit on stage and interact with musicians to enjoy a casual and unique evening of chamber music. These concerts are absolutely free, and no tickets or reservations are required. Each hour-long concert is followed by a free reception. St. Louis celebrates 21 years since it welcomed the first refugees from war-torn Bosnia. Come and hear the stories of your Bosnian neighbors and experience powerful Sevdah music as we celebrate this vibrant St. Louis population. This concert is a MetLife Music without Boundaries concert with support from the Daughters of Charity Foundation of St. Louis, and is in collaboration with the Bosnia Memory Project and the International Institute of St. Louis." Powell Hall is at 718 North Grand.  For more information: www.stlsymphony.org/symphony_city.

Gil Shaham

David Robertson conducts The St. Louis Symphony Orchestra and violin soloist Gil Shaham in Marshall's Bright Kingdoms, Korngold's Violin Concerto, and Dvorak's Symphony No. 9, "From the New World"on Friday at 10:30 AM and at 8 PM, and Saturday at 8 PM March 21 and 22, at Powell Symphony Hall, 718 North Grand.  “One of Hollywood’s greatest composers, Korngold created a melodic and lyrical Violin Concerto full of cinematic themes premiered by the STL Symphony in 1947. Gil Shaham, declared by The New York Times as “one of today’s eminent violinists” will shine in this concerto by one of Hollywood’s greatest composers. Dvořák’s New World Symphony takes us on a musical journey through the countryside he revered portraying the picturesque landscape and hopefulness of the American people.”  For more information: stlsymphony.org.

Steven Jarvi conductis The St. Louis Symphony Youth Orchestra in Wagner's Rienzi Overture, Elgar's Cello Concerto, and Tchaikovsky's Symphony No. 5 on Sunday, March 23, at 3 PM.  Grant Riew is the cello soloist.  The performance takes place at Powell Symphony Hall, 718 North Grand.  For more information: stlsymphony.org.

The St. Louis Symphony’s Young Friends of the Symphony presents Sips and Symphonies on Thursday, March 20, at 7:30 PM.  "What is Sips and Symphonies? It is a great way to learn about music in a fun, casual environment. On the third Thursday of each month, we get together at Tavern of Fine Arts to listen to and discuss a piece of music being performed at an upcoming concert at Powell Hall. We will have a different guest moderator each month who will help lead an informal conversation about the music."  A special cocktail is created for each event to accompany the music.  The event takes place at The Tavern of Fine Arts, 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents pianist Jonathan Heaney in a recital featuring music by Beethoven, Brahms, Debussy, Liszt, and Rachmaninoff on Friday, March 21, at 5:30 PM. "Jonathan Heaney is a junior at Washington University pursuing a Bachelor of Music degree in piano performance. He focuses on collaborative piano, and frequently performs with singers, orchestras, and other instrumentalists. He attended Eastern Music Festival in Greensboro, NC in the summer of 2013, studying with Gideon Rubin. He was recently given a position as staff pianist for the summer of 2014 with the Janiec Opera Company at Brevard Music Center in Brevard, NC. His principal teacher at Washington University is Seth Carlin.”  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.  For more information: tavern-of-fine-arts.blogspot.com.

Third Baptist Church presents an organ concert on Friday, March 21, at 12:30 PM as part of its free Friday Pipes series.  "Join us on Fridays at Third Baptist Church for Friday Pipes, the free organ recital series celebrating the restoration of the church's 72-rank Kilgen/Möller pipe organ. Each week a different performer will be presenting a program of classical, church, and theatre organ music in the beautiful sanctuary of Third Baptist. This season's performers come from across the USA, and even from around the world. Free parking is available in the church lots on Washington Avenue." Third Baptist Church is at 620 N Grand.  For more information: www.third-baptist.org.

It's the real thing

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Who: Emily Bergl
What: Until the Real Things Comes Along
When: Thursday through Saturday, March 13-15, 2014
Where: The Gaslight Cabaret Festival

In an interview earlier this week, I asked Emily Bergl what it was about her approach to cabaret that set it apart from more traditional shows. "I'm presenting a complete evening of entertainment," she replied, "with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!"

Now that I've seen the premiere of the show, I'd say she has achieved that particular goal. A few "new show" speed bumps not withstanding, "Until the Real Thing Comes Along" is a lively and entertaining evening that often goes in unexpected directions in clever and diverting ways.

An actress with substantial film, television, and theatre credits, Ms. Bergl inhabits a number of characters in the course of the performance, from the comically neglected girlfriend of a Russian oligarch in Cole Porter's "Down in the Depths (on the Ninetieth Floor)" (from "Red, Hot, and Blue, where it was sung by Ethel Merman) to a down-and-out druggie in Tom Waits's "Christmas Card from a Hooker." Mostly, though, she's just her cabaret self—a persona that's a mix of pixie and vixen, decked out in a sexy and sparkly black dress and determined (as she sings in a Trisha Yearwood song towards the end of the evening) to " just keep on falling in love / Till I get it right."

Yeah, I know: the difficulty of finding a good, lasting relationship is not exactly a new theme for cabaret. But Ms. Bergl makes the theme her own and explores it in a way that is uniquely hers. I can't imagine this particular set of songs with these particular arrangements working for anyone but her. And that, ultimately, is what cabaret is: a performance that fits the artist like a custom-tailored suit.

About those arrangements: music director and pianist Jonathan Mastro—to whom Ms. Bergl refers as "Johnny Piano" (presumably a joking reference to Joan Crawford's 1954 Western "Johnny Guitar")—has put together some that are exceptionally ingenious and often surprising. His mashup of Tracy Chapman's "For My Lover" with a tinkly, music-box version of Deborah Harry and Chris Stein's Blondie hit "Heart of Glass," for example, made me hear the latter song in a way I never had before—and I'm an old Blondie fan from way back. And his revisionist version of the 1928 Eddie Cantor hit "Makin' Whoopee!," which replaces some of Gus Kahn's original lyrics with contemporary female POV equivalents, presented the song in a smart new light.

Emily Bergl and Jonathan "Johnny Piano" Mastro

So, yeah, "Until the Real Thing Comes Along" is an enjoyable and creative look at a familiar topic that's a welcome addition to the Gaslight Cabaret Festival. That said, there were some minor issues of the sort that you might expect from a brand-new show.

Some of the transitions were not as smooth as they could be, for example, and I thought Ms. Bergl's flirtatious byplay with a male member of the audience went on a bit too long. The song list also felt a bit ballad heavy to me. Ms. Bergl is an accomplished comedienne, and I felt that aspect of her talent was a bit short-changed.

How important is any of that? Not very, in my view. The show's small weaknesses were effectively overwhelmed by its strengths and some of those problems, in any case, will likely have disappeared by the time you see it.

Emily Bergl's "Until the Real Thing Comes Along" has one more performances: Saturday night, March 15, at 8 PM. For more information: gaslightcabaretfestival.org. Note that the Gaslight has no parking lot, so you'll want to arrive early to grab a spot on the street. Fortunately the adjoining West End Grill has a nice assortment of food and drink to occupy you until show time.

Chuck's Choices for the weekend of March 14, 2014

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 Emily Bergl: Until The Real Thing Comes Along, Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. "Most widely known for her roles on television and in film - as Rachel in "The Rage: Carrie 2,"Beth on "Desperate Housewives" and now on "Shameless," as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves. She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's...In a Cabaret-in-a-New-Key style, Bergl blends Irving Berlin with Blondie, Rodgers and Hammerstein with Tracey Chapman, and Noel Coward with Britney Spears. It works, freshly and wondrously. Her performance is heartbreaking and funny, sometimes in the same beat." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: In an interview earlier this week, I asked Emily Bergl what it was about her approach to cabaret that sets it apart from more traditional shows. "I'm presenting a complete evening of entertainment," she replied, "with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!" Now that I've seen the premiere of the show, I have to say she has achieved that particular goal. A few "new show" speed bumps not withstanding, Until the Real Thing Comes Along is a lively and entertaining evening that often goes in unexpected directions in clever and diverting ways, greatly assisted by music director Jonathan ("Johnny Piano") Mastro's innovative arrangements.

Kirkwood Theatre Guild presents The Musical Comedy Murders of 1940 Thursday through Saturday at 8 PM. 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.

My take: This show has been popping up quite a bit locally over the last several years and certainly looks like the sort of thing Kirkwood should be able to do well. "The play is a real murder mystery," writes Bob Wilcox in his review for KDHX, "with complications and suspense. But it is also a comedy, a parody of mysteries set in mansions isolated from the world by a blizzard, with lots of theatrical in-jokes piled on." And while he notes that the show "appeared not quite to have gelled on opening night, perhaps because of rehearsals missed during our own blizzards," he goes on to say that the show is "already fun [and] will be even more fun as the cast settles in."

Photo: Jill Ritter Lindberg

New Line Theatre presents the rock musical Rent Thursdays through Saturdays at 8 PM, through March 29. "New Line continues its 23rd season with Jonathan Larson's Pulitzer Prize winning, long-running rock opera Rent. This cheerfully transgressive, 1990s rock/pop riff on the classic story, set in New York City’s East Village, is best described in its creator's own words: 'In these dangerous times, where it seems the world is ripping apart at the seams, we can all learn how to survive from those who stare death squarely in the face every day and we should reach out to each other and bond as a community, rather than hide from the terrors of life at the end of the millennium.'"Performances take place at the Washington University South Campus Theatre, 6501 Clayton Road. For more information: newlinetheatre.com.

My take: I've always been a fan of this musical. Jonathan Larson's score is inventive and stylistically eclectic and his lyrics are artful and intelligent. What strikes me about Rent is how much this modern and supposedly revolutionary show reminds me of another one to which those same adjectives were applied back in 1968: Hair, the show that defined the genre of rock musical. Like Hair, Rent takes jabs at the older generation - mine - and thumbs it's nose at the American status quo from the bottom of the economic pyramid. Unlike Hair, though, it's less overtly political, covers a wider emotional spectrum, and may actually be a better piece of theatre. In her review for KDHX, Tina Farmer describes this as "a memorable production filled with stolen chances, borrowed happiness and powerful emotions pulled from a constant state of movement, noise and distraction."

Held Over:

Dramatic License Productions presents the comedy Shirley Valentine through March 16. Performances take place at Dramatic License Theatre located at the upper level of Chesterfield Mall (near Sears and across from Houlihan's Restaurant). For more information, call 636-220-7012 or visit dramaticlicenseproductions.org.

My take: One-actor shows are always a risk, but actress and costume designer Teresa Doggett (a.k.a. "the hardest-working woman in show biz") has done this role before, to considerable acclaim. In her review of the current production for KDHX, Tina Farmer praises Ms. Doggett's "warm, spirited performance" as well as "the capable direction of Lee Anne Mathews." She has good things to say about the technical aspects of the show as well, including the costume design by Ms. Doggett.

Minterview: Emily Bergl

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[Minterview = mini-interview]

The Presenters Dolan present "Emily Bergl: Until The Real Thing Comes Along" Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. Most widely known for her roles on television and in film—as Rachel in "The Rage: Carrie 2," Beth on "Desperate Housewives" and now on "Shameless—as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves.

She has performed at the Oak Room, the Cafe Carlyle, and the new Feinstein's. I ran a few questions by her about her eclectic approach to the genre.

Q: It has been said that cabaret, as an intimate art form, is closer to film than theatre. You've had lots of film and TV experience. How do you think this informs your cabaret work?
A: I consider myself a character actor, so no matter what I'm working on I try to transform into a different person each time. Cabaret gives me the opportunity to bring all those characters together in one show. You never know who might show up, from a country girl to a Russian aristocrat.

Q: In September of 2011, The New York Times called your 2010 show "Kidding on the Square" "a gust of fresh air that could knock you off your feet." What is it about your approach to cabaret that sets it apart from more traditional shows?
A: What sets apart my cabaret show is that I'm presenting a complete evening of entertainment with a real narrative and lots of different characters. I don't assume that if I just sit on a stool and do a bunch of torch songs it's going to be fascinating. We like to entertain the folks!

Q: You already had a pretty busy stage and screen career before you started doing cabaret. What got you started down that path?
A: I was inspired to create my own show because it seems like a lot of people don't even know what cabaret is anymore. I want to reintroduce this wonderful art form with music that's relevant while still honoring the classics. Modern day life can be very isolating; I think we're all craving the kind of intimate experience you get in an evening of cabaret.

Emily Bergl with Jet Li for Habitat for Humanity
Chiang Mai, Thailland

Q: I see you're heavily involved with Habitat for Humanity. How did that happen?
A: I became involved with Habitat for Humanity because I've been a huge Jimmy Carter fan ever since I was fifteen years old. I've built houses in Borneo, Thailand, DC, NYC, Pascagoula, Charlotte, Los Angeles, you name it. Last year I even got to sing “Aint' Misbehavin'” for President Carter himself

Q: Is there anything you think the audience needs to know about your show before they come to see it?
A: All the audience needs to know is that they're going to have a fabulous time! You don't have to know anything about my show to enjoy it, but you will definitely recognize some of the songs no matter where your musical taste lies. We do everything from Billie Holiday to Blondie. And if possible it's best enjoyed with a cocktail or two.

For more information on Emily Bergl's appearance at the Gaslight Cabaret Festival: gaslightcabaretfestival.com.

A river ran through it

Connie Fairchild

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Who: Connie Fairchild, with Michele Isam and Karen Coletti
What: Down by the River
When: Saturday, March 9 and Friday, March 28, 2014
Where: The Gaslight Theatre

Some of you may remember Connie Fairchild and the local band that bore her surname from the 80s and 90s. Performing a mix of R&B, rock, and jazz—today they'd probably call it "roots music"—the band won awards and fans locally.

Now Connie Fairchild has made what producer Jim Dolan billed as her cabaret debut as part of the Gaslight Cabaret Festival. And while the result wasn't really cabaret so much as a themed concert, it was musically solid and very well received by a sold-out house that clearly included a large contingent of fans and friends.

Titled "Down by the River," the show featured a nice variety of songs mostly dealing with rivers, floods, rain, and other forms of aquatic motion both literal and as metaphor. As Ms. Fairchild noted in her between-song patter, she has lived most of her life in river towns—including Paducah, Kentucky, Baton Rouge, and St. Louis—so the theme has a lot of personal resonance. "[T]here are a lot of great songs that fit into the theme," she noted in an interview with St. Louis Public Radio's Terry Perkins. "The river’s such a great metaphor for life — never the same, always changing."

So, in the course of the evening, we got American Songbook standards like "Cry Me a River" and an upbeat version of Hoagy Carmichael's "(Up a) Lazy River" that owed a bit to the 1961 Bobby Darin hit and included some nice scatting by co-star Michele Isam. There was a gospel-ish take on Jimmy Cliff's 1969 "Many Rivers to Cross" and Randy Newman's 1974 "Louisiana 1927," which Ms. Fairchild introduced with stories of how her family escaped a flood by walking along the railroad tracks, which were always on high ground. Newman's "I Think It's Going to Rain Today" got a nice heartfelt treatment and the classic spiritual "Wade in the Water" had genuine soul.

Michele Isam

Ms. Fairchild has the kind of light, flexible, and somewhat smoky voice that went well with this material, especially when joined (as it often was) in close harmony with Ms. Isam’s (a former member of Fairchild and co-founder, with Carol Schmidt, of Jasmine) and pianist/music director’s Karen Coletti. In fact, although this was was billed as a solo cabaret, it would probably be more accurate to describe it as a concert by a trio headed by Ms. Fairchild. Certainly Ms. Isam's singing, sax, and percussion were integral to the show, as was Ms. Coletti's work on piano and synth. There was a clear musical and personal chemistry among the three women that was very appealing.

That said, if Ms. Fairchild is serious about adding cabaret to her already impressive list of credentials, there are a few tweaks that might be in order.

There wasn't, to begin with, the kind of dramatic arc or narrative through line usually associated with cabaret. Too, Ms. Fairchlld tended to tell us what each song was about up front rather than allowing us to discover it through her performance (as is usually the case in cabaret), and there was a certain sameness to the trio's approach (polished as it was) that didn't always do justice to the words of some of the more lyrically interesting songs. And while Ms. Fairchild connected with the audience in her patter, when singing her eyes were usually closed or turned towards her fellow performers or her music stand. In cabaret, you need to keep that connection going all the way through.

None of this is unusual in a concert setting, I think, where audiences have likely come to expect an attitude that's less about the lyrics and more about the music. And to be fair, once I understood that this was more concert than cabaret, I wasn't much bothered by any of it either. In fact, when they were really cooking and playing off each other in standards like "In the Cool, Cool, Cool of the Evening" (music and lyrics by Hoagy Carmichael and Johnny Mercer) the spirit of fun was pretty irresistible. It was an entertaining evening, the audience loved it, and that—not the hokey-pokey—is what it's all about.

Connie Fairchild's "Down by the River" has a repeat performance on Friday, March 28th, at 8 PM at the Gaslight Theatre, 358 North Boyle. For more information: gaslightcabaretfestival.com. Note that the Gaslight has no parking lot, so you'll want to arrive early to grab a spot on the street. Fortunately the adjoining West End Grill has a nice assortment of food and drink to occupy you until show time.

Connie Fairchild set list; songwriters provided if known

1. Green Garden (Laura Mvula)
2. Say It With Love
3. A Change Is Gonna Come (Sam Cooke)
4. In the Cool, Cool, Cool of the Evening (Hoagy Carmichael and Johnny Mercer)
5. Louisiana 1927 (Randy Newman)
6. Wade in the Water (Traditional)
7. Cry Me a River (Arthur Hamilton)
8. (Up a) Lazy River (Hoagy Carmichael)
9. Echoes of the River
10. I'm On My Way (Traditional)
11. I Think It’s Going to Rain Today (Randy Newman)
12. I Can’t Stand the Rain (Ann Peebles)
13. Many Rivers to Cross (Jimmy Cliff)
14. Drown In My Own Tears (Ray Charles)
15. Happiness (Allen Toussaint)
16. Encore: Liquid Spirit (Gregory Porter)