St. Louis classical calendar for the week of April 11, 2016

Marlon Daniel

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African Musical Arts presents A Tribute to Great African Composers: The Power of Music to Bring People Together on Saturday, April 16, at 7:30 p.m. "A concert of over 200 singers and musicians participating from the St. Louis Children's Choirs, St. Louis Women's HOPE Chorale, Legend Singers, University City Symphony Orchestra, IMI Chamber Players, as well as the very captivating Voices of Trinity from Chicago, acclaimed soprano Alison Buchanan and renowned African American conductor Marlon Daniel from New York." The concert takes place at the 560 Music Center, 560 Trinity in University City. For more information: africarts.org.

African Musical Arts presents A Tribute to Great African Composers: The Power of Music to Bring People Together on Sunday, April 17, at 3 p.m. "A concert of over 200 singers and musicians participating from the St. Louis Children's Choirs, St. Louis Women's HOPE Chorale, Legend Singers, University City Symphony Orchestra, IMI Chamber Players, as well as the very captivating Voices of Trinity from Chicago, acclaimed soprano Alison Buchanan and renowned African American conductor Marlon Daniel from New York." The concert takes place at Trinity Presbyterian Church, 6800 Washington in University City. For more information: africarts.org.

The Community Music School of Webster University presents Spring Opera Scenes on Sunday, April 17, at 4 p.m. "Webster students from the Department of Music present a variety of scenes from several well-known operatic masterpieces, including The Mikado and Patience by Gilbert and Sullivan, The Marriage of Figaro and Cosi fan tutte by Mozart, and Der Rosenkavalier by Richard Strauss." The Community Music School is at 535 Garden Avenue on the Webster University campus. For more information: webster.edu/cms.

The Community Music School of Webster University presents a concert by The Webster University Chamber Orchestra on Sunday, April 17, at 7 p.m. "The Webster University Chamber Orchestra presents its season finale concert on April 17, 2016 at the Concert Hall of the Community Music School at Webster University. Conductor Dr. Paul Davis will be joined by guest conductor Suzanne Rome from Louisiana State University. The program features classic orchestral repertoire, including Rossini's Overture to The Barber of Seville, Debussy's Suite Bergamasque, Tchaikovsky's Waltz from Sleeping Beauty, and closes with Beethoven's Symphony No. 5." The Community Music School is at 535 Garden Avenue on the Webster University campus. For more information: webster.edu/cms.

Tyshawn Sorey

New Music Circle and KDHX present the Alloy Trio on Saturday, April 16, at 8 p.m. "Alloy Trio is the highly anticipated group led by drummer/composer Tyshawn Sorey. Named one of 'Five Drummers Whose Time Is Now' by The New York Times, Sorey has spent a career confounding expectations. For over a decade he has remained one of the most prolific drummers in NYC, playing with the likes of Vijay Iyer, Roscoe Mitchell, Anthony Braxton and Myra Melford. Outside of his musical works he also holds a masters from Wesleyan University and in 2015 received the prestigious Doris Duke Impact Award." The performance takes place at TheStage @ KDHX, on Washington Avenue in Grand Center, just east of the Jazz Bistro. For more information: newmusiccircle.org.

Friday and Saturday, April 15 and 16, at 8 p.m., Yan Pascal Tortelier conducts the St. Louis Symphony Orchestra with piano soloist Louie Lortie in Saint-Saëns's Piano Concerto No. 5, known as the "Egyptian" concerto, and Mussorgsky's Pictures at an Exhibition as orchestrated by Maurice Ravel. Performances take place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

Joseph Young conducts the St. Louis Symphony Orchestra in Beethoven's New Groove, a special Family Concert on Sunday, April 17, at 3 p.m. "Stomp, clap, clap, stomp! Learn about the beats in music and how different rhythms create different music styles. Hear your classical favorites, including Tchaikovksy's Waltz from Sleeping Beauty, Grieg's In the Hall of the Mountain King and selections from Beethoven's Fifth and Ninth symphonies." Performances take place at Powell Symphony Hall, 718 North Grand. For more information: stlsymphony.org.

Fifty Fingers of Imrat Khan

The Sheldon Concert Hall presents Ustad Imrat Khan and The Fifty Fingers of Imrat Khan on Friday, April 15, at 8 PM. "A great family heritage of musicians of sitar and surbahar dating to the era of the courts of Akbar. Continuing the heritage with his 4 sons and with special introduction by the students of the great master Ustad Imrat Khan is a special musical contribution from Todd Mosby, master of ImratGuitar." The Sheldon is at 3648 Washington in Grand Center. For more information: thesheldon.org.

The Tavern of Fine Arts presents a classical open stage night on Monday, April 11, from 7:30 - 9 PM. "Come by yourself or bring your quartet. Sight read through a Beethoven quartet or use this as an opportunity to put the finishing touches on that Hindemith Viola Sonata you have been working on. All ages and skill levels are welcome. We have a 6' grand piano and an accompanist." The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents guitarist Mark Akin on Saturday, April 16, at 8 p.m. The concert features music by Assad, Bach, Dowland, Giuliani, Grieg, Jose, and Rodrigo. The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood. For more information: tavern-of-fine-arts.blogspot.com.

Symphony Review: "E.T. the Extra-Terrestrial" in concert shows its age, and that's a good thing

stlsymphony.org

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Steven Spielberg's blockbuster E.T. the Extra-Terrestrial, a live concert version of which is on view at Powell Hall this weekend, is 34 years old now and beginning to show its age—which is not necessarily a bad thing.

A product of a time when pacing in popular films was somewhat less frenetic and music was less omnipresent, E.T. is shamelessly manipulative but skillfully made.  The wordless opening sequence, shot from the point of view of the diminutive aliens, makes the humans pursuing them look massive and threatening.  The iconic flying sequences still look great.  And the final farewell sequence can still tug at the heartstrings.

As with other St. Louis Symphony movie events, of course, the emphasis is on the score, performed live by the orchestra as the film is shown on the big screen above them.  The music for E.T. was composed by that most famous and prolific of living film composers, John Williams.  It earned him the fourth of his five (to date) Academy Awards, and it's easy to see why it was so honored.  It's melodically appealing and vividly evocative stuff, employing the full resources of a late romantic symphony orchestra in creative and sometimes surprising ways.  And even though Williams's harmonic palette is fairly conventional, he's not about using dissonance, string harmonics, and eerie glissandi when the dramatic situation calls for them.

Under the baton of Erik Ochsner—who conducted the SLSO for the concert version of Lord of the Rings: Fellowship of the Ring back in 2011—the orchestra sounded like the finely tuned instrument it has become over the years. For his part, Mr. Ochsner was very engaged with and friendly towards the musicians under his baton—not an easy task given the need to divide his attention between the printed score and the film (complete with the visual equivalent of a click track) playing out on a monitor mounted on the podium.

Erik Ochsner
erikochsner.com

It would be easy to dismiss the SLSO movie events as mere potboilers intended to improve the orchestra's balance sheet, but that would require one to overlook the amount of dedication and talent it takes to pull them off.  And besides, hearing this music live reveals orchestral details that are only really apparent in a concert hall.  I hadn't realized, for example, how often the harp and keyboards (piano and synthesizer) were featured.  SLSO Principal Harp Allegra Lilly and keyboard player Peter Henderson (who, for reasons which escape me, is still not the Principal for that section) were kept quite busy and were the first soloists to asked to stand at the end as a result.

There is one more showing of the concert version of E.T. Sunday at 2. It's genuine family fun and highly recommended. You might even find yourself tempted to come back this Friday or Saturday when Yan Pascal Tortelier conducts the orchestra with piano soloist Louie Lortie in Saint-Saëns's Piano Concerto No. 5 ("Egyptian") and Mussorgsky's Pictures at an Exhibition in the familiar Maurice Ravel orchestration.  Performances take place at Powell Symphony Hall, 718 North Grand. For more information, visit the St. Louis Symphony web site.

At the Humana Festival, "Wellesley Girl" displays untapped potential

L-R: Jeff Biehl, Pun Bandhu, Lynda Gravátt, Kelly McAndrew
Photo: Bill Brymer

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One of the great things about the Humana Festival of New American Plays is the valuable exposure it gives to new playwrights.  Their work is sometimes rough around the edges or even, as is the case with Brendan Pelsue's Wellesley Girl at this year's festival, a bit of a mess.  But as far as artistic growth goes, there's just no substitute for the experience of seeing one's work performed by a professional company for a paying audience.

The concept behind Wellesley Girl is intriguing, especially during our fractious political season.  Set in the year 2465, the play takes place in a walled enclave in New England whose 435 inhabitants are, as far as they know, the sole surviving population of the United States of America.  They're all members of Congress, and the Supreme Court is now one woman—the only one with legal training and the books to back it up.

Barney O'Hanlon, Rachael Leslie
Photo: Bill Brymer

Their stable if limited world is threatened when an army from Texas suddenly and inexplicably shows up, insisting that they are the real U.S. government and making a list of impossible demands.  The population soon splits into two camps, one insisting on negotiation and another on "scorched earth", which appears to mean abandoning the enclave and fleeing into the wilderness.  Neither alternative makes much sense, though, since the invading army appears to be invincible and the water supply outside of the enclave is supposedly poisoned.  Only the enclave's filtration system makes it drinkable.

This setup has the potential to offer a satirical look at our current political dysfunction and possibly an examination of how people behave when there are no good choices.  Unfortunately it offers neither.  The arguments among the enclave's residents become little more than shouting matches and the moral dilemma they face becomes buried in political maneuvering. 

L-R: Philip Taratula, Jeff Biehl
Photo: Bill Brymer

The plot also doesn't hold up to much scrutiny and much of it simply makes no sense.  If the water is poisoned, what are the mighty Texas forces drinking?  How did they even find out about the New Englanders in the first place, given that there appears to be no communication infrastructure?  If the army has them surrounded, how will they escape to the woods? 

Worse yet, the feeble final scenes seem to indicate that the playwright simply wrote himself into a corner and couldn't find a way out.  When the final blackout came, nobody clapped because it wasn't clear whether or not the play had actually ended.

The show isn't without its moments.  A scene in which Donna, The Supreme Court (Lynda Gravátt) hears arguments at her kitchen table with a hand-made "SCOTUS" sign in the center have real charm.  And Barney O'Hanlon's robot Hank is a wonderfully precise piece of acting.  Indeed, the cast as a whole is quite good, even if some of the characters they portray are a bit one-dimensional.  There's also some real comedy in the public meetings before they descend into chaos.  But ultimately this play's reach far exceeds its grasp.

That said, this is still an interesting first effort, for all its flaws.  Mr. Plesue is clearly an original voice and, given that he is still working on his M.F.A., it's reasonable to assume that he might have a bright future ahead of him.  Very few creative people get everything right the first time, after all.

Wellesley Girl runs through April 10th in the Pamela Brown Auditorium at Actors Theatre of Louisville as part of the 40th Humana Festival of New American Plays.

At the Humana Festival, Sarah Ruhl's "For Peter Pan on Her 70th Birthday" never quite gets off the ground

Scene 1
Photo: Bill Brymer

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"Having been unpopular in high school," observed Fran Lebowitz in her 1978 essay collection Metropolitan Life,  "is not just cause for book publication."  If she had seen Sarah Ruhl's For Peter Pan on Her 70th Birthday, the world premiere of which is part of the 40th Humana Festival of New American Plays, she might have added that a death in the family is not just cause for play production.

As the play opens, five adult siblings (the oldest, Ann, is 70; the others are in their 50s and 60s) are gathered in the remarkably large hospital room of their comatose father George.  In what feels like the strongest of the play's three scenes, the siblings ruminate on death, the afterlife, and what it means to really be an adult.  The tension of waiting for the end that they both dread and anticipate is palpable and believable.

Scene 2
Photo: Bill Brymer

The remaining two scenes are less impressive.  In the first, Ann and her brothers and sisters gather in George's house for an impromptu wake.  Fueled by liberal doses of Jameson, they tell stories from their childhood, share jokes, and engage in political arguments which, given the play's setting during "the Clinton era", feel rather dated.  Meanwhile, the ghost of George wanders in and out, repeating the routines of his daily life—and generating some of the funniest moments.

Finally, everyone toddles off to bed and Ann, who serves as the play's narrator, dreams of repeating the role of Peter Pan—the part she played at a local theatre before heading off to college—with her siblings as the Darling family and brother Jim as Captain Hook.  Like the previous scene, it has no real dramatic shape and doesn't really go anywhere.  A final scene between Ann and her ghostly father suggests that she is coming to terms with his departure, but it essentially comes out of nowhere, dramatically speaking.

Scene 3
Photo: Bill Brymer

Kathleen Chalfant leads a strong cast as a sympathetic and engaging Ann.  There's good work here as well from Keith Reddin as Michael, David Chandler as Jim, Lisa Emery as Wendy, and Ron Crawford as the spectral George.  Barney O'Hanlon was a late substitution in the role of the youngest brother, John, but you wouldn't have known that from his assured performance.

Les Waters directs with a sure eye for both the comedy and drama in the script, but even so For Peter Pan on Her 70th Birthday is a bit too specifically autobiographical for its own good.  It feels less like a play for a general audience than a home video.  Ms. Ruhl is a highly regarded playwright with a string of frequently performed and justifiably praised shows, though, so I'm inclined to cut her a little slack with this one.

For Peter Pan on Her 70th Birthday runs through April 10th in the Pamela Brown Auditorium at Actors Theatre of Louisville as part of the 40th Humana Festival of New American Plays. 

At the Humana Festival, student interns deliver a "Wondrous Strange" collection of ghost stories

Hannah Karpenko in "The Bonnets"
Photo: Bill Brymer

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Every edition of the Humana Festival features a program of short one-act plays organized around a common theme and performed by the students of the Actors Theatre of Louisville's Acting Apprentice Company.  This year's show, Wondrous Strange—which takes its title from Horatio's exclamation of astonishment after seeing the ghost of Hamlet's father ("O day and night, but this is wondrous strange!")—focuses on ghosts and the supernatural.

"Kentucky's supernatural lore fills anthology after anthology," writes Jessica Reese in the program book, "and every year, thousands of visitors head to the state's haunted landmarks, from posh hotels and mansions to dive bars and Civil War sites…This season, four fearless writers—Martyna Majok, Meg Miroshnik, Jiehae Park, and Jen Silverman—have been invited to venture into the spirit realm and examine the unexplained and the uncanny."

L-R: Alejandro Hernandez, Addison Williams
Jayson Speters in "Ghost Bros"
Photo: Bill Brymer

The resulting short (70 minute) collection of nine plays, sketches, and "blackouts" is a bit uneven, but taken as a whole it's great fun and performed with skill and versatility by a company of 20 talented young actors.  Even though we saw it at a 10:30 a.m. matinee, the show still created an appropriately spooky atmosphere, punctuated with moments of inspired comedy.

Most of the latter comes from Jen Silverman's two contributions. "Ghost Bros" is a hilariously on-target send-up of supernatural "reality" TV and juvenile macho as the titular "bros" (Alejandro Hernandez, Jayson Speters, and Addison Williams) blunder their way through a long-abandoned insane asylum in unsuccessful pursuit of a ghostly little girl (Walls Trimble). "The Bonnets", which concludes the show, is an enthusiastic celebration of murder and mayhem by the female members of the company, dressed in modest nightgowns and bonnets.

Martyna Majok contributes one of the best pieces, a touching little character study about an inexperienced prostitute (Glenna Brucken) who advertises herself as a psychic to stay ahead of the law, only to discover that her customer (Mr. Hernandez) is really interested in a reading.  Instead of playing this for laughs, Ms. Majok makes it a charming portrait of two troubled people looking for comfort in a cold world.

Tracey Green in "Something Like"
Photo: Bill Brymer

One of the creepiest entries is Meg Miroshnik's "The Holler", about a group of friends who have made the mistake of trying to turn part of a former abattoir into an apartment—with unpleasant results.  Her zombie tale "Bug" is a close second, but I thought its predictability spoiled it a bit.

Jiehae Park's "Something Like" takes the ghost story into cyberspace as a young woman (Tracey Green) becomes addicted to interacting with an artificial intelligence program (Adenike Thomas) modeled after her deceased lover.  It downplays the supernatural element to deliver a moving illustration of how we deal with loss.

Directors Marti Lyons and John Rooney make good use of the Bingham Theatre's versatile space, assisted by Paul Toben's dramatic lighting and Christian Frederickson's sound, both of which go a long way towards establishing a disturbing atmosphere.

Wondrous Strange runs through April 10th at Actors Theatre of Louisville as part of the 40th Humana Festival of New American Plays. 

At the Humana Festival, "This Random World" abounds in comic coincidences

L-R: Shirine Babb and Beth Dixon
Photo: Bill Brymer

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One of the great pleasures of the novels of Charles Dickens is the often comical way in which he arranges for characters from very disparate walks of life to be connected, often by wildly improbable coincidences.  In his new comedy "This Random World," veteran comic playwright Steven Dietz stands that convention on its head. 

In Dietz's anti-Dickensian story, characters who are already related to each other, however tangentially, repeatedly miss making connections as a result of coincidences that are as unlikely and comical as anything the great British novelist ever dreamed up.

Renata Friedman and Todd Lawson
Photo: Bill Brymer

As the play opens, Scottie—in her 70s and ailing, but still energetic—is preparing for a trip to the Shimogamo Shrine in Kyoto with her assistant and general dogsbody Bernadette.  Bernadette convinces Scottie to send Bernadette's younger sister Rhonda instead, but events conspire to force a last-minute cancellation on Scottie's part, sending Rhonda to Japan on her own.  Meanwhile, Scottie's daughter Beth, who believes her mother to be a shut-in, has taken off on an adventurous and expensive trip of her own to Nepal where, because of a missed connection, she is thrown together with Gary, a new-agey life coach and the ex-boyfriend of the outrageously neurotic Claire, who is the ex-girlfriend of Scottie's son Tim.

As for Tim, he's a failed writer and computer hacker whose already off-track life is sent into a genuine tailspin when his prank hack of a mortuary's server results in the publication of his own fictional obituary.  His attempts to explain to Rhonda—who just happens to work at said mortuary—that he is actually alive prove to be as funny as they are frustrating.

Nate Miller and Brenda Withers
Photo: Bill Brymer

I could have used the word "coincidentally" a lot in those last two paragraphs, but you get the idea.  As the characters' lives spin merrily out of control, the connections that might get them back on track are repeatedly missed in absurdly unlikely ways.  In one scene, for example, Bernadette just happens to leave her cell phone behind in a hospital waiting room at exactly the point when Beth, who just happens to have lost her cell, is calling from a pay phone to find out what's going on with Scottie.  As the phone rings, Tim just happens to walk in.  He answers it just as Beth impatiently hangs up.

Apparently, the phone just happens not to have voice mail.

Not all of the missed connections are funny, of course.  Dietz is too smart a playwright not to throw in a few scenes that are genuinely touching.  And those scenes work because, with the possible exception of the absurdly unhappy Claire, his characters are all well drawn and believable.

Deonna Bouye
Photo: Bill Brymer

The actors do well by these characters.  Brenda Withers's Beth is as confident as Nate Miller's Tim is lost and perennially baffled.  Beth Dixon is an appealingly feisty Scottie, nicely contrasting with Shirine Babb's patient Bernadette.  Todd Lawson's Gary is perfectly clueless and Deonna Bouye's Rhonda is hilariously motor-mouthed.  Dietz has made the role of Claire fairly one dimensional, but Renata Friedman makes her interesting nevertheless.

Dietz's script calls for a set that suggests "a world that is warm, mysterious and evocative", and designer Daniel Zimmerman has certainly delivered that.  Director Meredith McDonough keeps the action focused and smoothly flowing among the play's many scenes.

"This Random World" is essentially a one-joke play, but the variations on that joke are so ingenious that it never goes stale or wears out its welcome, remaining thoroughly entertaining right up to the surprising final scene.  Given its relatively simple technical demands, I'd expect it to start appearing on other regional stages in the coming years; it certainly deserves to be seen.

"The Random World" runs through April 10 at the Actors Theatre of Louisville, as part of the 40th Humana Festival of New American Plays.  For more information: actorstheatre.org.

Chuck's Choices for the weekend of April 8, 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:

"The Grind" from Briefs
Photo: Max Friedman

That Uppity Theatre Company and The Vital Voice present Briefs: A Festival Of Short Lesbian and Gay Plays Friday through Sunday, April 8-10. "BRIEFS is a unique venture in St. Louis that brings together numerous directors and theatrical artists to showcase the work of eight different playwrights all under one roof. BRIEFS presents theatrical work that address the lives of lesbian, gay, bisexual, transgender, and queer or questioning people. The festival is targeted to a diverse and mature audience that appreciates good theatre in unique settings. The playwrights include three-time Pulitzer Prize nominee and five-time Emmy nominee James Still. Still's When Miss Lydia Hinkley Gives A Bird the Bird is the story about a thinly coded women's literary club set in 1859. Award-winning General Hospital writer Scott C. Sickles, will have his world premiere of his play I Knew It, inspired by a rumored relationship between Mick Jagger and David Bowie. We are excited for emerging playwright Stephen Peirick to direct his play titled A Comfortable Fit, about a shopping excursion between a transgender mother and daughter." Performances take place at The Rialto Ballroom at Grand Center_3547 Olive. For more information, visit briefs.eventbrite.com or call (314) 995-4600.

My take: If Briefs is about anything, it’s about the fluidity of identity and the diversity that comes from it. If America is about anything, it’s about diversity. And that, no matter what some people will try to tell you, is a good thing. Diversity in nature increases resistance to extinction. Diversity in the workplace leads to smarter teams and better problem solving. Diversity is a source of strength. E pluribus unum. Go, see, and enjoy.

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Steven Lutvak

The Presenters Dolan presents singer/songwriter Steven Lutvak in A Gentleman's Guide to the Gentleman's Guide on Friday and Saturday, April 8 and 9, at 8 PM as part of the Gaslight Cabaret Festival. "Come hear the man who was behind the Broadway hit, A GENTLEMAN'S GUIDE TO LOVE AND MURDER sing his songs, and let you in on the fascinating backstory and incredible journey of the making of a Tony Award winning musical." The performances take place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

My take: Jim Dolan is bringing the spring edition of the Gaslight Cabaret Festival to a big close with a show by one of Broadway's newest and brightest talents. "The craftsmanship of the lyrics is impeccable," wrote Mark Horowitz in a DC Theatre Scene article on Mr. Lutvak's show in January, "dripping with wit, and sporting rhymes that leave one gasping in awe. The music is immediately and tunefully accessible, but listen more closely and you’ll hear harmonies, accompaniments, and flourishes that are the work of a composer with a unique voice and something to say."

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Great Falls
Photo: John Lamb

The West End Players Guild continues their 105th season with Lee Blessing's comedy/drama Great Falls Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 8-17. "This long, strange trip is undertaken by Monkey Man, a divorced middle-aged writer, and his teenaged ex-stepdaughter, who goes by the name of Bitch. Both of them have lost their way in life, and they set off in search of answers on a road trip through the great American West. By turns funny, sad, touching and profane, Great Falls will take you on a memorable and moving theatrical tour." There will also be a show on Thursday, April 14, at 8 PM. Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org.

My take: Lee Blessing's work has appeared fairly frequently on local stages in recent years, and with good reason: he's an original and sometimes provocative voice. "An honest look at what is possible -- and seemingly impossible -- in human encounters lies at the heart of many Lee Blessing plays," wrote Michael McGregor in a 2010 review of Great Falls for Oregon Live. "Letting each character have his say -- and his due -- he shines a harsh but understanding light on contemporary American problems."

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Hedwig and the Angry Inch
Photo: John Lamb

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

My take: "When Hedwig brings her Angry Inch band to St. Louis," writes Tina Farmer at KDHX, "you better get ready for a punk rock throwback that's still a force to be reckoned with. This is the premise, feel, and atmosphere Stray Dog Theatre has created for their production of John Cameron Mitchell's angry ode to the downtrodden working class, running through April 16, 2016 and directed by Justin Been. This is Hedwig's story and uniquely hers, but she shares kinship with musicians, artists, and rebels -- transgender, queer, and straight -- who have stories they are compelled to tell. Fame be damned." This aggressive rock musical is not new to St. Louis, of course, but Stray Dog is putting their own spin on it by turning their space into the seedy rock club where Hedwig performs, complete with table service.

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The University of Missouri at St. Louis presents Idris Goodwin's How We Got On Thursday through Sunday, April 7-10. "Hank, Julian, and Luann are three talented, determined suburban teens coming of age in the 1980s. Dreaming of fame and fortune in the new Hip-Hop music scene, they must overcome cultural isolation, familial dysfunction, and ruthless rivalries to make the music that defines their lives. A sultry DJ spins their stories with her own meta-theatrical perspective in this contemporary ode to the roots of rap." The performances take place at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus. For more information, touhill.org or call 314-516-4949.

My take: I saw the world premiere of this show at the 2012 Humana Festival of New American plays and was simply blown away by it. As I noted in my review, this is a literate, poetic, deeply felt and warmly human look at three suburban teens (two black and one Latino) in 1988 trying to make sense of their lives, their ambitions, and their relationships with their parents while learning to express themselves with rhymes and beats. A DJ/narrator holds it all together and weaves a highly educational history of history of rap into the story. The result is a compelling, moving, funny, and exciting piece of theatre. I'm glad to see that it has finally made its way to St. Louis.

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Gateway Opera presents William Bolcom's chamber opera Lucrezia Friday and Saturday, April 8 and 9, at 8:00 p.m. "Lucrezia is a chamber opera, composed by William Bolcom, with libretto by Mark Campbell, scored for five singers and two pianists. It's a zarzuela riff on Machiavelli's La Mandragola and re-imagines the comedy's heroine as an intelligent seductress in charge of her own destiny." Performances take place at Washington University's 560 Music Center, 560 Trinity in University City. For more information: gatewayopera.org.

My take: Well, how often do you get to see chamber operas by William Bolcom? Or any operas, for that matter? An eclectic composer and student of a wide variety of popular and classical music, Mr. Bolcom's musical voice is not heard nearly often enough on concert and opera stages.

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Our Town

The Hawthorne Players present the Thornton Wilder's Our Town April 8-17. "Narrated by a stage manager and performed with minimal props and sets, audiences follow the Webb and Gibbs families as their children fall in love, marry, and eventually-in one of the most famous scenes in American theatre-die." The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.info.

My take: What can I say about this classic that has not already been said? The type of small town life depicted in Wilder's play (the action place between 1901 and 1913) was already passing from the scene when it premiered in 1938. By rights it should be a museum piece by now. But the writing touches so effectively on the universal human experiences of birth, life, and death that it never seems dated.

Held Over:

Satchel Paige and the Kansas City Swing
Photo: John Gitchoff

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

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

At the Humana Festival, "Cardboard Piano" examines the fragile quality of mercy

L-R: Nike Kadri, Jamar Williams, Briana Pozner
Photo: Bill Brymer

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Dramatizing contemporary political events is a risky proposition.  A story "ripped from the headlines" can have immediate impact but fade quickly as the latest outrage takes center stage.  Fortunately, Hansol Jung's gripping drama Cardboard Piano manages to balance immediacy with a contemplation of deeper issues.

It's New Year's Eve, 1999, and in a church in Northern Uganda Chris, the daughter of an American missionary, and Adiel, a local teenage girl, are preparing to welcome the new millennium with a secret wedding ceremony.  Their celebration is interrupted by the unexpected arrival of Pika, a child soldier in the infamous Lord's Resistance Army fleeing the brutal commander who has cut off the boy's ear for failing to carry out a sadistic command.

Chris and Adiel patch his wounds but, as subsequent events demonstrate, the damage to his soul runs much deeper.  As the first act comes to a violent end, it seems that the play has nowhere to go, but when the second act opens in the same church ten years later, it's clear that Ms. Jung's concerns go beyond a simple contemplation of the horrors of war. 

Nike Kadri and Michael Luwoye
Photo: Bill Brymer

As Paul, the church's Ugandan pastor, rehearses a sermon on the parable of the Good Samaritan with his wife Ruth (the Biblical resonance of the names will prove significant), the scene looks peaceful enough.  But, as in the first act, that peace is shattered by the appearance of a third party—Chris, now an adult and hoping to bury her late father's ashes in the church garden.  Her arrival sets in motion a series of dramatic explosions that strike at the heart of Christian concepts of mercy and forgiveness.

Interviewed in the program book, Ms. Jung notes that "religion can do two opposite things.  It can destroy, hurt, and be an instigator of violence, but it can also be the only thing capable of controlling that violence…I am a Christian, but I've always interrogated what that means.  That really influenced the writing of this play."  Forgiveness, as the subsequent action of the play suggests, is not an easy thing to truly grant—and may not always be justified.

Cardboard Piano uses the same cast for both acts, with the performers playing the roles of Adiel, Pika's commander, and Pika appearing in the second act as, respectively, Ruth, Paul, and Francis, a gay teenager who is leaving town to escape the rabid homophobia of the town's populace.  That adds interesting resonance to the characters and gives the actors an opportunity to demonstrate their impressive range.

Jamar Williams
Photo: Bill Brymer

As Paul and Pika's commander, Michael Luwoye has perhaps the biggest challenge, since the roles are so radically different. He meets it brilliantly, creating two sharply contrasting and credible characters.  Nike Kadri also makes Adiel and Ruth different enough to make suspension of disbelief easy, as does Jamar Williams as Pika and Francis. Briana Pozner very effectively differentiates the teenaged and adult versions of Chris with subtle and consistent changes in vocal inflection and body language, assisted by Ms. Jung's smartly crafted dialog.

Director Leigh Silverman guides this all with a sure hand and Scenic Designer William Boles's set makes creative use of the Jory Theatre's intimate black box space.

As our own domestic political process plays out the conflict between a version of Christianity based on mercy and compassion vs. one based on anger and judgment, the issues in Cardboard Piano feel both immediate and timeless.  I'd be surprised if this play didn't have a life after Humana.

Cardboard Piano runs through April 10 in the Jory Theatre at Actors Theatre of Louisville, as part of the 40th Humana Festival of New American Plays.  For more information: actorstheatre.org.

At the Humana Festival, 'Residence' chronicles a month in the age of anxiety

Danielle Slavick
Photo: Bill Brymer

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The poor are a frequent topic of American political discourse, receiving compassionate concern from the left and righteous hatred from the right.  But our shredded social safety net has left the middle class in precarious straits these days as well—a fact which, while not discussed overtly, is nevertheless a recurring theme in Laura Jacqmin's comedy/drama Residence.

As the play opens Maggie, a new mom, has just checked in to an extended-stay hotel (the "Residence" of the title) in Tempe, Arizona.  She's selling a portable ultrasound system to local doctors, hoping to earn enough in commissions to get her family out of debt and her life back on track.  In the process she encounters Bobby, the hotel's all-purpose "gofer" and Theresa, the ambitious manager trainee determined to give her a "five star experience."

Leah Karpel and Alejandro Rodriguez
Photo: Bill Brymer

Bobby and Theresa couldn't be more different in some ways.  He's a slacker pothead avoiding commitment with his ex-girlfriend and she's a perky college student determined to get ahead at pretty much any cost.  And neither of them appears to have much in common with Maggie, who just wants her life to be less crazy. 

As the play progresses, though, it's clear that what unites them is that they're just one bad break or wrong choice away from personal and economic disaster. That constant sense of life on the high wire gives Residence a sense of dramatic urgency, even while individual scenes are often extremely and very believably funny.  Sometimes they're even a bit of both, as in the alcoholic seduction scene between Bobby and Theresa, which suddenly turns confrontational when Theresa realizes Bobby has a daughter with his former girlfriend.

As is so often the case at Actors Theatre of Louisville, the cast of "Residence" is impeccable.  Leah Karpel and Alejandro Rodriguez play off each other beautifully as Theresa and Bobby, and Danielle Slavick makes Maggie impressively sympathetic—not an easy task, given what a very disturbed person Ms. Jacqmin has made her. 

Avery Glymph shows considerable range as all of Maggie's doctor clients plus husband Ben, who appears only via Skype.   And Amelia Workman is on stage all too briefly as Bobby's ex Nita.  She's an intriguing character, but the script makes her something of an enigma.  It's not at all clear what she sees in Bobby, who simply can't seem to find a way to take his life or responsibilities seriously.

Alejandro Rodriguez, Danielle Slavick,
Leah Karpel
Photo: Bill Brymer

In fact, the sketchiness of nearly all the characters is one of the script's major weaknesses.  The principals are not quite shallow enough to be simple stereotypes—although Maggie comes perilously close to being little more than a psychiatric diagnosis—but neither are they fleshed out enough to feel entirely real. 

In addition, the issues raised in Residence are, perhaps, a bit too specific to our current social and economic situation here in the USA to have much resonance beyond it.  I think this is likely to be one of those pieces that perfectly captures a particular moment in time and then quickly fades.

Still, it's a well-made piece overall, with a shrewdly observed critique of the petty ways in which those with a little bit of economic power seem compelled to throw their weight around and make life miserable for the rest of us.  Barbara Ehrenreich described that phenomenon in detail in her 2001 book Nickel and Dimed, of course, but it is perhaps time for a reminder.  And Hal Brooks's sharp direction serves the play well.

Residence runs through April 10th as part of the 40th Humana Festival of New American Plays at Actors Theatre of Louisville.  For more information: actorstheatre.org.

St. Louis theatre calendar for the week of April 4, 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 Bridges of Madison County
Photo: Matthew Murphy

The Fox Theatre presents the musical The Bridges of Madison County opening Tuesday, April 5, and running through April 17. "THE BRIDGES OF MADISON COUNTY, one of the most romantic stories ever written, first captured the nation's attention as a best-selling novel by Robert James Waller and is now an irresistible, two time Tony Award®-winning Broadway musical. This stunning new production features gorgeous, soulful music by Tony Award®-winning composer Jason Robert Brown (Parade, The Last Five Years) that the Daily News hails as "one of Broadway's best scores in the last decade." With a book by Pulitzer Prize Winner Marsha Norman (The Secret Garden, The Color Purple) and direction by Tony® winner Bartlett Sher (South Pacific, The Light in the Piazza), THE BRIDGES OF MADISON COUNTY is the unforgettable story of two people caught between decision and desire, as a chance encounter becomes a second chance at so much more." The Fox is on North Grand in Grand Center. For more information: fabulousfox.com.

That Uppity Theatre Company and The Vital Voice present Briefs: A Festival Of Short Lesbian and Gay Plays Friday through Sunday, April 8-10. "BRIEFS is a unique venture in St. Louis that brings together numerous directors and theatrical artists to showcase the work of eight different playwrights all under one roof. BRIEFS presents theatrical work that address the lives of lesbian, gay, bisexual, transgender, and queer or questioning people. The festival is targeted to a diverse and mature audience that appreciates good theatre in unique settings. The playwrights include three-time Pulitzer Prize nominee and five-time Emmy nominee James Still. Still's When Miss Lydia Hinkley Gives A Bird the Bird is the story about a thinly coded women's literary club set in 1859. Award-winning General Hospital writer Scott C. Sickles, will have his world premiere of his play I Knew It, inspired by a rumored relationship between Mick Jagger and David Bowie. We are excited for emerging playwright Stephen Peirick to direct his play titled A Comfortable Fit, about a shopping excursion between a transgender mother and daughter." Performances take place at The Rialto Ballroom at Grand Center_3547 Olive. For more information, visit briefs.eventbrite.com or call (314) 995-4600.

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

Webster University's Conservatory of Theatre Arts presents The Cockfight Play Friday at 7:30 pm, Saturday at 2 and 7:30 p.m., and Sunday at 2 p.m. April 8-10. “John has been in a stable relationship with his boyfriend for a number of years. But when he takes a break, he accidentally falls in love with a woman. Torn between the two, filled with guild and conflicting emotions, he doesn't know which way to turn. As the pressure mounts, a dinner with both parties is arranged, and everyone wants to know what John's decision will be.” Performances take place in the Stage III Auditorium in Webster Hall on the Webster University campus. For more information, events.webster.edu or call 314-968-7128.

Steven Lutvak

The Presenters Dolan presents singer/songwriter Steven Lutvak in A Gentleman's Guide to the Gentleman's Guide on Friday and Saturday, April 8 and 9, at 8 PM as part of the Gaslight Cabaret Festival. "Come hear the man who was behind the Broadway hit, A GENTLEMAN'S GUIDE TO LOVE AND MURDER sing his songs, and let you in on the fascinating backstory and incredible journey of the making of a Tony Award winning musical." The performances take place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The West End Players Guild continues their 105th season with Lee Blessing's comedy/drama Great Falls Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 8-17. "This long, strange trip is undertaken by Monkey Man, a divorced middle-aged writer, and his teenaged ex-stepdaughter, who goes by the name of Bitch. Both of them have lost their way in life, and they set off in search of answers on a road trip through the great American West. By turns funny, sad, touching and profane, Great Falls will take you on a memorable and moving theatrical tour." There will also be a show on Thursday, April 14, at 8 PM. Performances take place at the Union Avenue Christian Church, 733 North Union at Enright in the Central West End. For more information, call 314-367-0025 or visit www.westendplayers.org.

Hedwig and the Angry Inch
Photo: Tom Gannam

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

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

The University of Missouri at St. Louis presents Idris Goodwin's How We Got On Thursday through Sunday, April 7-10. "Hank, Julian, and Luann are three talented, determined suburban teens coming of age in the 1980s. Dreaming of fame and fortune in the new Hip-Hop music scene, they must overcome cultural isolation, familial dysfunction, and ruthless rivalries to make the music that defines their lives. A sultry DJ spins their stories with her own meta-theatrical perspective in this contemporary ode to the roots of rap." The performances take place at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus. For more information, touhill.org or call 314-516-4949.

Lindenwood University presents the musical Joseph and the Amazing Technicolor Dreamcoat on Thursday, April 7 at 7 p.m.. "One of the most enduring shows of all time, Tim Rice and Andrew Lloyd Webber's Joseph and the Amazing Technicolor Dreamcoat is the irresistible family musical about the trials and triumphs of Joseph, Israel's favorite son." The performance takes place on the main stage 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.

Topper Productions present Dawn Schmid in Let Them Eat Cake on Sunday, April 10, at 3 p.m. " Puppy love, adolescent love, troubled love, seasoned love, self love...no matter the season, or the circumstances, love asks us to grow, to question, to trust, to risk. Talented newcomer, Dawn Schmidt explores the many questions love asks us,with a fresh new perspective, as quirky and endearing as she is!" The Boom Boom Room is at500 N. 14th St. downtown. For more information: theboomboomroomstl.com.

Love and Information
Photo: Jerry Naunheim, Jr.

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

Gateway Opera presents William Bolcom's chamber opera Lucrezia Friday and Saturday, April 8 and 9, at 8:00 p.m. "Lucrezia is a chamber opera, composed by William Bolcom, with libretto by Mark Campbell, scored for five singers and two pianists. It's a zarzuela riff on Machiavelli's La Mandragola and re-imagines the comedy's heroine as an intelligent seductress in charge of her own destiny." Performances take place at Washington University's 560 Music Center, 560 Trinity in University City. For more information: gatewayopera.org.

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

Joe Dreyer and
Rosemary Watts

The Presenters Dolan presents Joe Dreyer and Rosemary Watts in Nuance and Novelty on Thursday, April 7, at 8 PM as part of the Gaslight Cabaret Festival. "Joe and Rosemary grace the Gaslight stage with an all new show." The performance takes place at the Gaslight Theater, 358 North Boyle. For more information: gaslightcabaretfestival.com.

The Hawthorne Players present the Thornton Wilder's Our Town April 8-17. "Narrated by a stage manager and performed with minimal props and sets, audiences follow the Webb and Gibbs families as their children fall in love, marry, and eventually-in one of the most famous scenes in American theatre-die." The performances take place at the Florissant Civic Center Theatre at Parker and Waterford in Florissant, MO. For more information, call 921-5678 or visit hawthorneplayers.info.

St. Louis Shakespeare presents Shakespeare's tragedy Richard III Thursdays at 7:30 p.m., Fridays and Saturdays at 8 p.m., and Sundays at 2 p.m., April 9-17. "A brilliant military commander, Richard, Duke of Gloucester, cannot be content in peacetime. As Richard centralizes power and makes a play for the crown, his motives grow uglier, sending him, enraged, into a bloody battle at Bosworth Field against Henry Tudor." Performances take place at the Ivory Theatre, 7620 Michigan in the Carondelet neighborhood. For more information, call 314-361-5664 or visit stlshakespeare.org.

Satchel Paige and the Kansas City Swing
Photo: John Gitchoff

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

The Monroe Actors Stage Company presents Moliere's comedy Tartuffe, Fridays and Saturdays at 7:30 and Sundays at 2:30 p.m., through April 10, in the Historic Capitol Theatre in downtown Waterloo, Illinois. For more information, visit www.masctheatre.org or call 618-939-7469.

The Social Justice Center presents There is a Field on Friday, April 8, at 7 p.m. at Washington University. "As the Second Intifada erupted in the West Bank and Gaza, demonstrations also began in Palestinian villages and towns inside Israel. In October 2000, Israeli forces killed thirteen unarmed Palestinians in these demonstrations. The youngest of those killed was a 17-year old boy named Aseel Asleh. Aseel was shot point blank in the neck by Israeli police while nonviolently demonstrating outside his village. There Is A Field is a documentary-style play about Aseel's life and his killing, told from the perspective of his older sister, Nardeen. Through Nardeen's struggle to cope with the murder of her brother, the play also addresses the larger struggle facing Palestinians inside Israel." For more information: thereisafield.info.

Hands Up United and St Louis Palestine Solidarity present There is a Field on Sunday, April 10, at 3 p.m. in Ferguson, MO. "As the Second Intifada erupted in the West Bank and Gaza, demonstrations also began in Palestinian villages and towns inside Israel. In October 2000, Israeli forces killed thirteen unarmed Palestinians in these demonstrations. The youngest of those killed was a 17-year old boy named Aseel Asleh. Aseel was shot point blank in the neck by Israeli police while nonviolently demonstrating outside his village. There Is A Field is a documentary-style play about Aseel's life and his killing, told from the perspective of his older sister, Nardeen. Through Nardeen's struggle to cope with the murder of her brother, the play also addresses the larger struggle facing Palestinians inside Israel." For more information: thereisafield.info.

COCA presents Presentation House Theatre production of Where The Wild Things Are Thursday through Sunday, April 7-10. "This intimate and interactive "guided play" experience invites the audience on stage to help transform Max's bedroom into the various landscapes of his adventures...ending with a Wild Rumpus in which the audience becomes the Wild Things themselves!" COCA is at 524 Trinity in University City. For more information, call (314) 725-6555 or visit www.cocastl.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.

St. Louis classical calendar for the week of April 4, 2016

The Choir of St. John's College

The Cathedral Basilica of St. Louis presents The Choir of St. John's College, Cambridge on Friday at 8 p.m., April 8, at the cathedral at 4431 Lindell. "The Choir of St John’s College, Cambridge is one of the finest collegiate choirs in the world – known and loved by millions from its broadcasts, concert tours and over 90 recordings. Founded in the 1670s, the Choir is known for its rich, warm and distinctive sound, its expressive interpretations and its ability to sing in a variety of styles. Alongside this discipline, the Choir is particularly proud of its happy, relaxed and mutually supportive atmosphere. The Choir is directed by Andrew Nethsingha following in a long line of eminent Directors of Music, recently Dr George Guest, Dr Christopher Robinson and Dr David Hill."  For more information: www.cathedralconcerts.org.

First Presbyterian Church of Kirkwood presents a concert by The Metropolitan Orchestra of St. Louis on Sunday, April 10, at 7 p.m. "Season Four concludes with Haydn’s Lord Nelson Mass. The Choirs of Webster University and guest conductor, Trent Patterson join Conductor Laureate, Allen Carl Larson in this powerful work. Also on this concert is the beautiful Adagietto from Mahler’s Fifth Symphony and Mozart’s Ave Verum."  First Presbyterian Church is at 100 East Adams in Kirkwood.  For more information: metro-orch.org.

Cameron Carpenter

The Hettenhausen Center for the Arts presents Cameron Carpenter featuring the International Touring Organ on Thursday, April 7, at 7:30 p.m.  "Virtuoso composer-performer Cameron Carpenter smashes the stereotypes of organists and organ music, all the while generating worldwide acclaim and controversy. His diverse repertoire includes the complete works of Bach, film scores, original works and collaborations with jazz and pop artists." The concert takes place in the Hettenhausen Center for the Arts on the college campus in Lebanon, IL.  For more information: thehett.com.

Opera Theatre of Saint Louis presents the Annual Spring Recital for its Monsanto Artists-in-Training vocal program on Sunday, April 10 at 3:00 p.m.  This year, the competition will be adjudicated by internationally acclaimed American mezzo­ soprano Denyce Graves, who previously appeared on the Opera Theatre of Saint Louis stage in the 2013 world premiere of Terence Blanchard’s Champion. The event, followed by a complimentary reception, takes place at the Sheldon Concert Hall at 3648 Washington Boulevard in Grand Center.  For more information: experienceopera.org.

The St. Louis Chamber Chorus presents Concert Five: All Manner of Gods on Sunday, April 10, at 3 p.m.  "Choirs have celebrated numerous faiths over the centuries. We present a paean to the Greek god Pan by Granville Bantock, the praise of Jupiter by Gombert, and invocations to Hindu gods by John Schlenck. These contrast with music serving the Judeo-Christian traditions by Salamone Rossi and Gustav Holst, as well as a commission from Pulitzer-Prize winner, Steven Stucky." The concert takes place at the 560 Music Center, 560 Trinity in University City. For more information: www.chamberchorus.org.

The St. Louis Symphony Orchestra presents a showing of the film E.T. the Extra-Terrestrial, with the John Williams score performed live by the orchestra conducted by Erik Ochsner, Friday at 7 p.m. and Saturday and Sunday at 2 p.m., April 8-10.  The showings take place at Powell Symphony Hall, 718 North Grand in Grand Center.  For more information: stlsymphony.org.

Alec Feldges

The Tavern of Fine Arts presents Timothy Jansen and Craig Frutiger in a joint piano recital on Tuesday, April 5, at 8 p.m. The concert features music by Liszt  The Tavern of Fine Arts is in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.

The Tavern of Fine Arts presents guitarist Alec Feldges on Friday, April 8, at 8 p.m.  "Classical guitarist Alec Feldges performs at the Tavern before returning to school at Mizzou."  The Tavern of Fine Arts is at 313 Belt in the Debaliviere Place neighborhood.   For more information: tavern-of-fine-arts.blogspot.com.