Stage Left

Sunday, April 14, 2013

St. Louis theatre calendar for the week of April 15, 2013

Updated Thursday, April 18

[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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The Kranzberg Center presents Amy Willard Top: Back to Then, Friday and Saturday, April 19 and 20, at 8 PM. The show is “a collection of Broadway, standards and pop.” It's directed by Tim Schall with musical direction by Greg Schweizer. Performances take place at the Kranzberg Center 501 North Grand in Grand Center. For more information: amywillardtop.brownpapertickets.com/

The Tavern of Fine Arts presents baritone Ed Golterman and pianist/vocalist Kellie Frohnert in The Best of the 'Sweaters' Crowd, featuring the music of Andy Williams, Perry Como, Eddie Fisher, Jack Nat Cole, and Vic Damone, on Saturday, April 20, at 8 PM. 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: 314-909-7224 or email egolterman at att.net.

Florissant Valley Community College presents the musical The 25th Annual Putnam County Spelling Bee through April 20. Performances take place in the Fisher Theatre on the campus at 3400 Pershall Road. For more information, call 314-644-5522.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on Saturdays at 9 PM at Maggie O'Brien's, 2000 Market Street. For more information, you may call 314-827-4185, email stlouis at byebyeliver.com, or visit byebyeliver.com/stlouis.

O'Fallon TheatreWorks presents Faith County at the O'Fallon Municipal Centre auditorium April 19-28. 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.

Washington University Performing Arts Department presents In the Next Room (or The Vibrator Play) by Sarah Ruhl, Friday and Saturday at 8 PM and Sunday (April 28 only) at 2 PM, April 19-28. Performances take place in the Studio Theatre in the Mallinckrodt Center on the Washington University campus. For more information, call (314) 935-5858.

Family Musical Theater presents Sondheim's Into the Woods through April 20 at the Ivory Theatre, 7622 Michigan. For more information, visit familymusical.org or call 314-571-9579.

Mustard Seed Theatre presents Jane Eyre, based on the novel by Charlotte Brontë and adapted by Julie Beckman, through April 28 at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com. Read the 88.1 KDHX review!

Summerstage presents the musical Joseph And The Amazing Technicolor Dreamcoat April 19-21. Performances take place at 1350 27th St. in Granite City, IL. For more information, call (618) 451-1032.

The Monroe Actors Stage Company presents the thriller Laura April 19-28 in the Historic Capitol Theatre in downtown Waterloo, Illinois. For more information, visit www.masctheatre.org or call 618-939-7469.

The Hawthorne Players present the comedy Leading Ladies through April 21. 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.com.

St. Louis Community College at Meramec Theatre Department presents Macbeth through Sunday, April 21. Performances take place in the theatre on the campus at 11333 Big Bend Road. For more information, call 314-984-7500.

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

Clinton County Showcase presents the comedy Nunset Boulevard through April 21. Performances take place at the Avon Theater, 525 North 2nd Street Breese IL. For more information, visit ccshowcase.com.

The Bissell Mansion Murder Mystery Dinner Theatre presents Nursery Crimes through April 30th. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

Shakespeare Festival St. Louis presents Shake38, a 38-play Shakespeare marathon that takes place all over St. Louis. This year, Shake38 will celebrate Shakespeare's Birthday, running Friday, April 19, through the Bard's Birthday on Tuesday, April 23. For more information: sfstl.com.

St. Louis Community College at Forest Park Theatre Department presents A Sherlock Holmes Comedy April 19-22. Performances take place in the Bastian Theatre on the campus at 5600 Oakland. For more information, call 314-644-9100.

Union Avenue Opera presents Leonard Bernstein's Trouble in Tahiti Friday and Saturday at 8 PM and Sunday at 3 PM, April 19-21. Performances take place at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. The opera is sung in English with projected English text. For more information, visit unionavenueopera.org or call 314-361-2881.

St. Louis Actors' Studio presents Waiting for Godot April 19-May 5 at the Gaslight Theatre, 358 North Boyle. For more information, call 314-458-2978 or visit stlas.org.

Circus Harmony presents two special World Circus Day Shows on Saturday, April 20, at 1 and 3 PM. Audience members at those shows will have the opportunity to win free tickets to an upcoming Circus Flora show. Performances take place at City Museum, 701 N. 15th Street. Show admission is free with museum admission. For more information: circusharmony.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.

Saturday, April 13, 2013

TPTBT (The Place to Be Tonight): Saturday, April 13

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Who: The St. Louis Symphony with conductor Yan Pascal Tortelier and violinist Augustin Hadelich
What: Music of Rossini, Paganini, and Berlioz
When: Tonight at 8 (simulcast on St. Louis Public Radio 90.7 FM and HD 1) and Sunday at 3
Where: Powell Symphony Hall
Why: "Known for his gorgeous tone and expressive communication, Augustin Hadelich has catapulted into the top echelon of young violinists. He makes his STL Symphony debut performing Paganini’s Violin Concerto No. 1, followed by Berlioz’s Symphonie fantastique. Complete with an elegant ball, a frightening march to the scaffold and a pastoral scene in a field, Berlioz’s most celebrated work is an orchestral tour-de-force." We saw this concert Friday morning and were very impressed by Mr. Hadelich's performance. The real killer, though, was Mr. Tortelier's electrifying Symphonie fantastique; a beautifully nuanced and highly dramatic interpretation.

Watch Berlioz: Symphonie fantastique on PBS. See more from Keeping Score.

Paganini was a violinist of such astounding technique that some said he was in league with the devil—a myth he cultivated by dressing entirely in black and arriving at concerts in a black carriage pulled by black horses. His much-deserved reputation as a womanizer and hellraiser only added to the legend. Berlioz was more stable, but his Symphonie fantastique—inspired by his obsession with the Irish Shakespearean actress Harriet Smithson—is pretty extreme stuff as well. Subtitled "Episode in the Life of an Artist", it's detailed program chronicles a sexual obsession that leads to a drug overdose (opium, the LSD of the early 18th century) and resulting hallucinations of murder and a Satanic mass.

And you thought the classics were stuffy! Check out the embedded video above for an entertaining and enlightening tour through the Symphonie fantastique and the life of its creator.

Friday, April 12, 2013

TPTBT (The Place to Be Tonight): Friday, April 12

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What: The Third Annual St. Louis Teen Talent Competition
When: Tonight at 8 PM
Where: The Fox Theatre
Why: "On Saturday, March 2nd, 37 metro area high schools acts continued their journey toward college scholarships, prizes and performance opportunities by competing in the St. Louis Teen Talent Competition Semi-finals. Performing arts professionals judged the groups and narrowed the acts to 12 who will move on to the finals.... The final competition is a Broadway-style show that is FREE and open to the public. Tickets are required and available now at no charge at The Fox box office and through Metrotix." The show is written and directed by Broadway actor, director and choreographer Tony Parise with choreography by Yvonne Meyer Hare (both St. Louis natives). The jury includes Steve Woolf from the Repertory Theatre of St. Louis, Mike Isaacson of the Muny, and Adam Sage of Missouri Ballet Theatre.

Local talent is always worth celebrating. And many of the kids on the stage tonight could be the stars of tomorrow.

Thursday, April 11, 2013

Chuck's choices for the weekend of April 12, 2013

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

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New this week:

Photo by John Lamb

Photo by Stewart Goldstein

The Black Rep presents The Whipping Man by Matthew Lopez through April 13. “Just after the Civil War in Virginia during Passover, a wounded Confederate Officer returns to a ruined plantation to find only two former slaves to care for him. With a new and different social order, the three men must wrestle with the ties that bind them together and the secrets they share. A test of humanity and their Jewish faith.” Performances take place at the Grandel Theatre, 3610 Grandel Square. In her review for 88.1 KDHX, Tina Farmer describes this as "compelling, engrossing drama that examines a little considered, but incredibly important, period in U.S. history." For more information, visit theblackrep.org or call 314-534-3810.

Wednesday, April 10, 2013

TPTBT (The Place to Be Tonight): Wednesday, April 10

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What: "So.." Stories of Life
Where: Tavern of Fine Arts
When: Tonight at 7 PM (and on the 2nd Wednesday of every month)
Why: I'm a big supporter of the Tavern of Fine Arts. It's a great space with good food and wine, and they're a strong supporter of the visual and performing arts in St. Louis. I host the Cabaret Project/KDHX cabaret open mic there on the 3rd Wednesday of each month, and they've been great to work with.

This event takes some explaining, so I'm going to let the presenters do it:
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"So.." Stories of Life is a live radio podcast held monthly at the Tavern of Fine Arts in Saint Louis!

"So..." Stories of Life is all about the art of storytelling and features stories told by everyday people, as well as writers, poets, playwrights, spoken-word performers, stand up and improv comedians, musicians, actors, dancers & other talented performers who all share a talent to tell powerful & captivating stories through their craft.

April's theme is entitled "What I Wish I'd Said" and features stories told through dance, performance, pose & art!

During our 'Stories Through Dance' segment, our guest performers will share personal stories through words and movement and then strike expressive poses in the midst of the audience so the artists in the crowd can sketch their own stories inspired by the dancers' gestures. While our dancers are posing, our featured wordsmiths will take center podium and share their work.

Our featured performer this month is Christine 'Pixie' Filonov. Pixie is a professional performer that is known for her fusion of belly dance with numerous other dance styles. She frequently combines traditional and tribal belly dance moves with hip hop, popping/locking, and lyrical. Pixie is a long-time performer with Aalim Dance Co and the Arabian Silks, and also performs regularly alongside Belly Dance Mirage and Exotic Rhythms Belly Dance.

As for our featured poet, we're very excited about the work submitted from Poet Moriah Erickson of Duluth Minnesota. Moriah is a 2011 Pushcart Prize nominee for her poem “The Murdered."
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Note that the event has suggested $7 donation, but you can pass on that and just contribute what you want to the tip jar if you like. If you're on Facebook, you can get more information on the event page there.

Tuesday, April 09, 2013

Magic to do

Who: Keith Jozsef
What: Intimate Illusions
Where: The Gaslight Theatre
When: Saturday, April 6

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St. Louis’s own Keith Jozsef is a member of that increasingly rare species of showbiz fauna, the professional magician. Not only that, but a professional magician with a full-evening magic show—something rarely seen these days outside of high-traffic tourist traps like Las Vegas or Branson.

As the title implies, Intimate Illusions was not a Siegfried and Roy–style extravaganza. It was, however, a nice collection of different types of magic wrapped up in a very entertaining two-hour package. There were no animal effects or escapology, but otherwise Mr. Jozsef presented a kind of general store of illusion that nicely displayed his versatility as a performer. And I say this as someone who got his start in showbiz doing magic.

Mr. Jozsef is a striking figure on stage—casually dressed and sporting a striking upswept hairstyle that looks rather like the prow of a ship. His demeanor is assured but charming, winning the audience over within moments of stepping on to the stage. In magic, as in cabaret or any other type of solo performance, quickly connecting with the audience is essential. Mr. Jozsef got us on his side early on and we stayed there until the end.

The show opened with a novel variation on the classic “Zombie ball” illusion, in which the magician covers a metallic ball with a silk cloth and then holds on to the silk as the ball floats around the stage. In this version it was a small table that was levitated but the effect was just as impressive—especially when Mr. Jozsef had an audience member hold on to the other two ends of the cloth while table continued floating.

That was a nice touch and typical of the high degree of audience participation in the show. Nearly all of the tricks involved one or more spectators, including an ingenious version of “sawing a women in half” in which the woman was an audience volunteer rather than the magician’s assistant. I’d never seen this particular take on that hoary classic (I think it might be original with Mr. Jozsef), and the illusion was quite striking.

Based on what I saw in Intimate Illusions, Mr. Jozsef does not appear to be a virtuoso manipulator of the Ricky Jay school, but the sleight of hand effects he did were smoothly executed and entertaining. I was especially impressed by a burned and restored thread effect near the end of the show. Accompanied by intriguing patter based on Hindu creation myths, it was a beautiful piece of close-up magic. I’m not sure it really “read” much past the first few rows, alas; the Gaslight Theater is not laid out in a way that makes small effects like that easy to see.

There was a fair amount of mentalism (mind reading and prediction effects) in the show. It’s a subgenre that has never interested me very much, but Mr. Jozsef did it well. He also gave us a very slick “cut and restored rope”, using a version of the venerable effect that has become rather popular lately, probably because it really does use nothing more than an ordinary length of rope.

What I really loved, though, were the larger illusions, including a very spiffy levitation that served as a finale. Now if only he’d managed to make the drunks sitting around us vanish…

According to his web site, Keith Jozsef mostly does private and corporate events, so it was quite a treat to see one of his rare public shows. My understanding is that he does a Halloween-themed show at the end of October every year, though, so as fall approaches you might want to check out his web site: keithjozsef.com.

The days when big magic shows helmed by performers like Kellar, Carter, Thurston, and Blackstone would tour the country are long gone. David Copperfield was, for a while, the last of the big touring magicians, but even he seems to have decided to stick to Vegas and let the audiences come to him. It’s good to see that guys like Mr. Jozsef are keeping the flame burning. If you get a chance to see him, don’t pass it up. He’s a local boy who has definitely made good.

Monday, April 08, 2013

You gotta get a gimmick

Ken Haller as Herbie, Deborah Sharn as Mama Rose,
and Sabra Sellers as Louise/Gypsy Rose Lee
in Gypsy at Stray Dog Theatre. Photo by John Lamb

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What makes a theatre group “professional”? Is it the quality of its productions? The amount it pays actors and designers? Its use of union (Actors Equity) personnel in its casts? The kind of facility where it presents its shows? Or maybe some combination of all of those?

These kinds of questions have led to some lively and even fractious discussions over the years (the latter kind often coming after a few drinks at O’Connell’s), especially when the Kevin Kline Awards were still around and still trying to define “professional” for everyone. The demise of the Klines seems to have cooled things down a bit, but the questions linger on.

Seeing the sold-out opening night production of Gypsy at Stray Dog Theatre (the show runs through April 20th), I was reminded of a couple of measurements of a group’s professionalism that might not be as obvious: the depth of its talent pool and the ingenuity with which it handles the unexpected.

Widely regarded as one of the best musicals of the late 20th century, Gypsy presents some real challenges to smaller companies. The cast is large, to begin with. Even with some actors playing multiple roles, you wind up with nearly two dozen performers, including children. In a less professional company, this inevitably means that someone—probably in a small part—is going to suck. Not here. Even the minor roles were filled with seasoned and polished actors. That’s what I mean by a deep talent pool.

Not every audience member will necessarily be consciously aware of it, but that’s the kind of thing that says “professional.”

Gypsy also makes demands on a company’s costume designer and staff. They not only need to come up with a lot of different outfits, they need to produce some fairly specialized costumes that you can’t just rent. The four strippers in the second act showstopper “You Gotta Get a Gimmick”, for example, each need elaborate, character-specific costumes.

On opening night the costume for Electra, which is supposed to light up on cue, refused to do so. Worse yet, as the company’s Electra, Paula Stoff Dean, was putting it on, the batteries began to heat up and start smoking. Panic ensued backstage. Finally, with only ten minutes to go before her entrance, Ms. Dean hit upon the idea of using flashlights to light up her costume. The resulting dance number looked so polished that many of us assumed it had been a deliberate choice.

That ability to not only mitigate a potential disaster but to turn it into an entertaining bit as well is another indicator of a theatre group’s professionalism.

That point, I think, is that there are many ways to measure how professional a company is. How do you define professionalism in theatre? Leave a comment and let everybody know.

Sunday, April 07, 2013

St. Louis theatre calendar for the week of April 8, 2013

Updated Monday, April 8

[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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Florissant Valley Community College presents the musical The 25th Annual Putnam County Spelling Bee April 12-20. Performances take place in the Fisher Theatre on the campus at 3400 Pershall Road. For more information, call 314-644-5522.

The Ozark Theatre presents baritone Ed Golterman and pianist/vocalist Sherre Waggoner in The Best of the 'Sweaters' Crowd, featuring the music of Andy Williams, Perry Como, Eddie Fisher, Jack Nat Cole, and Vic Damone, on Saturday, April 13, at 2 PM. The Ozark Theater is at 131 E Lockwood in Webster Groves. For more information: 314 909-7224 or email egolterman at att.net.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on Saturdays at 9 PM at Maggie O'Brien's, 2000 Market Street. For more information, you may call 314-827-4185, email stlouis at byebyeliver.com, or visit byebyeliver.com/stlouis.

OnSite Productions presents Childcare by Margaret Stamell Fridays at 8 PM and Saturdays at 5 and 8 PM through April 13. Performances take place at Downtown Children’s Center, 607 North 22nd Street. For more information, visit onsitetheatre.org or call 314-686-0062.

Photo by John Lamb

New Jewish Theater presents Oren Neeman's Conviction through April 14. “In 1486, during the time of the Spanish Inquisition, Catholic priest Andrés Gonzalez committed the unthinkable - he fell in love with and secretly married a Jewish woman. In the process, he begins the journey back to his true identity as a Jew.” 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. Read the 88.1 KDHX review!

The Fr. William Scheid Players present George Washington Slept Here at 8 pm on April 12-13 and 3 pm on April 14 at the Rigali Center's John Paul II Auditorium, 20 Archbishop May Drive in Shrewsbury, Missouri. “This Broadway comedy portrays the trials and tribulations of Newton Fuller, who always wanted 'a little place in the country to call his own'. He deals with no windows, no water, no roof, bad neighbors, the attempted elopement of his daughter with a would-be actor, a rich uncle who has no money, and a nephew who is a nightmare. In the end the Father of Our Country saves the day as he rides to the rescue.” For more information: (314) 792-7625 or email bridgetallen at archstl.org

Photo by Tom Gannam

Stray Dog Theatre presents the Jule Style/Stephen Sondheim musical Gypsy, based on the memoirs of Gypsy Rose Lee, Thursdays through Saturdays at 8 PM, trough April 20. There will be a matinee on the closing Saturday at 2 PM in addition to the evening show. Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995. Read the 88.1 KDHX review!

Family Musical Theater presents Sondheim's Into the Woods April 12-20 at the Ivory Theatre, 7622 Michigan. For more information, visit familymusical.org or call 314-571-9579.

Mustard Seed Theatre presents Jane Eyre, based on the novel by Charlotte Brontë and adapted by Julie Beckman, April 12-28 at the Fontbonne Fine Arts Theatre, 6800 Wydown Blvd. For more information, call (314) 719-8060 or visit the web site at www.mustardseedtheatre.com.

The Hawthorne Players present the comedy Leading Ladies April 12-21. 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.com.

Lion's Paw Theatre Company presents a reading of the plays Ties that Bind by Eric Coble, Surprise by Mark Harvey Levine, and Signs of Life By Frederick Stropple on Tuesday, April 9, at noon. The reading, which includes lunch, takes place at The Hearth Room at The Hawken House, 1155 South Rock Hill Road. For more information: lionspawtheatre.org.

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

Clinton County Showcase presents the comedy Nunset Boulevard February April 12-21. Performances take place at the Avon Theater, 525 North 2nd Street Breese IL. For more information, visit ccshowcase.com.

The Bissell Mansion Murder Mystery Dinner Theatre presents Nursery Crimes through April 30th. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

The West End Players Guild continues their 102nd season with the St. Louis premiere of Michael Hollinger's Opus by Thursday through Saturday at 8 PM and Sundas at 2 PM. “Four chairs, five people. That's one way to describe the story of Michael Hollinger's Opus-only this game of musical chairs is played not at a children's party, but at the highest levels of musical art.” The Quartet Brioso, a local chamber group, will play one-half hour before the evening shows Thursday-Saturday, April 11-13, and the Sunday matinee on April 14. Patrons are encouraged to arrive early and enjoy the pre-show music. 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. Read the 88.1 KDHX review!

The Fox Theatre presents the finalists of the Third Annual St. Louis Teen Talent Competition in a Broadway-style show on Friday, April 12, at 8 PM. The show is written and directed by Broadway actor, director and choreographer Tony Parise with choreography by Yvonne Meyer Hare. For more information, fabulousfox.com.

Lindenwood Universty presents the Senior Showcase, featuring graduating actors and designers, on Monday, April 8, at 7:30 PM. The performance takes place in the Emerson Black Box Theatre at the J. Scheidegger Center on the campus at 2300 West Clay in St. Charles, MO. For more information: lindenwood.edu.

Photo by Stewart Goldstein

The Black Rep presents The Whipping Man by Matthew Lopez through April 13. “Just after the Civil War in Virginia during Passover, a wounded Confederate Officer returns to a ruined plantation to find only two former slaves to care for him. With a new and different social order, the three men must wrestle with the ties that bind them together and the secrets they share. A test of humanity and their Jewish faith.” Performances take place at the Grandel Theatre, 3610 Grandel Square. For more information, visit theblackrep.org or call 314-534-3810. Read the 88.1 KDHX review!

Saturday, April 06, 2013

TPTBT (The Place to Be Tonight): Saturday, April 6

Who: Keith Jozsef
What: Intimate Illusions
Where: The Gaslight Theatre
When: Tonight at 8
Why: "Prepare to be more than a spectator. With less than 100 seats in The Gaslight Theater, you'll become an integral part of Keith Jozsef's illusion cabaret. Sleight-of-hand, interactive mentalism and even a couple of grand illusions will dazzle the eyes, confound the mind and stir the soul! Leave your skepticism at the door, for nothing will be pre-arranged." As someone who got his start in showbiz as a magician, I have never lost my fondness for a good magic show. Alas, they're few and far between these days. I've never seen Mr. Jozsef in action, but the show description looks interesting. Look for my review at the KDHX web site on Sunday.

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Friday, April 05, 2013

TPTBT (The Place to Be Tonight): Friday, April 5

Who: The St. Louis Symphony Orchestra and Chorus conducted by Don Davis
What: The Matrix
Where: Powell Hall
When: Friday and Saturday at 7 PM
Why: "Enter the alternate reality of The Matrix as the STL Symphony performs the futuristic soundtrack of the science fiction thriller. Machine rebellions and raining computer code create a dream world that questions reality in this modern cult classic." No matter how good the sound system is at your local megaplex, there's nothing quite like the sound of a live orchestra and chorus accompanying the movie. Besides, conductor Don Davis also happens to be the composer of the score, so the performance will presumably be authoritative. These movie events are always great fun, with popcorn, drink specials, and permission to bring your drinks into the hall.

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Thursday, April 04, 2013

Chuck's Choices for the weekend of April 5, 2013

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

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New this week:

Photo by Tom Gannam

Photo by John Lamb

The West End Players Guild continues their 102nd season with the St. Louis premiere of Michael Hollinger's Opus by Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 5-14. There will also be a show on Thursday, April 11, at 8 PM. “Four chairs, five people. That's one way to describe the story of Michael Hollinger's Opus-only this game of musical chairs is played not at a children's party, but at the highest levels of musical art.” One-half hour before most performances patrons will be treated to a set by one of three talented local chamber music groups. On opening night, Friday, April 5, the Cahokia String Quartet will play. A Fifth Above Woodwind Quintet will play on Saturday, April 6. The Quartet Brioso will play before four performances, including the evening shows Thursday-Saturday, April 11-13, and the Sunday matinee on April 14. Patrons are encouraged to arrive early and enjoy the pre-show music. Yes, I'm on the board of this organization, but this is a show I wouldn't miss in any case for its glimpse at the not-so-beautiful reality behind beautiful music. 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.

Held over:

Photo by Stewart Goldstein

Wednesday, April 03, 2013

Humana Festival 2013: "Appropriate"

[The 37th Humana Festival of New American Plays runs through April 7 at the Actors Theatre of Louisville.]

“Appropriate” by Branden Jacobs-Jenkins
Directed by Gary Griffin
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 7, 2012

My video blog review

Synopsis: “The family that stresses together represses together. When the Lafayettes descend upon a crumbling Arkansan plantation to liquidate their dead patriarch’s estate, his three adult children collide over clutter, debt, and a contentious family history. But after a disturbing discovery surfaces among their father’s possessions, the reunion takes a turn for the explosive, unleashing a series of crackling surprises and confrontations. A play about the trouble with inheritance, memory loss, and the art of repression.”

The title of Mr. Jacobs-Jenkins’s play is nothing if not ironic. At one point or another nearly every member of the Lafayette family acts in ways that are not appropriate (the word we now use in place of “bad” or “wrong”). Resentful that she was left to deal with the family’s increasingly disturbed father and crumbling finances, sister Toni is hostile and judgmental towards nearly everyone—and possibly in denial about dad’s real nature. Frank (now calling himself Franz as part of his attempt to escape his past) has apparently still not gotten over the unhealthy interest in underage women that made that escape necessary. And Bo, while apparently the most rational of the bunch, is still willing to make a fast buck from a shameful family secret.

Larry Bull as Bo, Amy Lynn Stewart as Rachael,
Reese Madigan as Franz and Jordan Baker as Toni.
Photo by Alan Simons

Dysfunctional family dramas can be deadly in my experience, but Mr. Jacobs-Jenkins avoids the pitfalls of the genre, at least in the first act. Exposition is neatly and economically delivered, the characters are all credible and quickly established, and the dramatic tension builds plausibly from the semi-comic opening scenes to the dramatic explosion that results from the revelation that the clan’s father might have been something much worse than just emotionally disturbed. The first act of “Appropriate” is, in fact, one of the best I’ve seen in many years.

The second act is not quite as strong, partly because it never satisfactorily resolves some of the tensions in the first and partly because it strikes some false character notes, especially in the arguments over how to capitalize on an ugly artifact found in the attic (yes, I’m being vague in an effort to avoid spoilers). The final moments depicting the eventual fate of the house also struck me as a bit anticlimactic and tacked on. Still, the script as a whole is very compelling; it needs only a little tweaking, in my view, to make it the Lexus of dysfunctional family plays.

The cast is uniformly wonderful. Reese Madigan, Jordan Baker, and Larry Bull all shine as the siblings Frank/Franz, Toni, and Bo. Amy Lynn Stewart is very strong as Bo’s wife Rachel, especially in the final moments when Bo’s façade of reserve collapses. Natalie Kuhn is archly New Age as Frank’s very young fiancée Trisha.

There’s fine work as well from David Rosenblatt as Toni’s son Rhys (who has some ugly inappropriate behavior in his own past) and young Gabe Weible as Bo’s over-energized son Ainsley. Lilli Stein is remarkably credible as Bo’s prepubescent daughter Cassidy. Although Ms. Stein is a college graduate, she completely convinced me she was (at least) a good ten years younger.

Director Gary Griffin has nicely shaped the scenes, blocked it all intelligently, and served the script very well. He and stage manager Michael D. Domue also designed a redressing of Antje Ellermann’s amazingly detailed set in the second act that was executed so swiftly and artfully that it actually got applause.

That set, it should be noted, is quite a marvel, especially when you consider that it has to be struck and rebuilt repeatedly because it shares the Pamela Brown auditorium with “Gnit”. With the addition of Matt Frey’s lights and Bray Poor’s sound, the illusion of a decaying Southern mansion was perfect.

Taken as a whole, “Appropriate” was one of the best things I saw at Humana this year—right up there with “Cry Old Kingdom”. And that’s high praise indeed.

Tuesday, April 02, 2013

Humana Festival 2013: "The Delling Shore"

[The 37th Humana Festival of New American Plays runs through April 7 at the Actors Theatre of Louisville.]

“The Delling Shore” by Sam Marks
Directed by Meredith McDonough
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 7, 2012

My video blog review with Leslie Wobbe

Synopsis: “Eminent novelist Thomas Wright has invited fellow writer Frank Bay and his daughter Adrianne to stay the weekend at his country house. From the moment the Bays arrive, though, Thomas and his daughter Ellen are out to get them. The shared love of books that should unite these characters instead becomes a battleground where words become weapons.”

Maybe I’m just getting grumpy in my old age, but I think I’ve really seen my quota of acerbic comedy/dramas about dysfunctional middle class (and above) New Yorkers in the arts slicing and dicing each other and agonizing over their failures to make the Big Time. In a nation slowly sliding into third-world status, with millions of citizens facing unemployment, underemployment, and/or crippling debt, these concerns are looking increasingly trivial.

I could also do without plays that use a parlor game as the means to bring out Big Truths about the characters, but that’s probably just me being a curmudgeon.

Bruce McKenzie as Frank, Catherine Combs as Adrianne,
Meredith Forlenza as Ellen, and Jim Frangione as Thomas.
Photo by Alan Simons

I understand that struggling artists are of great interest to folks like playwright Marks, who grew up in the theatre and, according to Kathryn Zukaitis’s biographical sketch in the press kit, “is intimately acquainted with the risks and rewards of pursuing a career in the arts.” But in order for their struggles to matter to the rest of us, the characters have to be something more than just bundles of ambition and resentment. The father/daughter teams in “Delling Shore” just don’t pass that test.

Frank starts off with a chip on his shoulder that would make Atlas shrug and only becomes more abrasive as the evening progresses. Adrianne is so tightly wound from the moment she walks on stage that she’s ready to snap (and eventually does). Thomas is unprincipled and arrogant, and his daughter Ellen seems more interested in clubbing than anything else. It’s an indication of how unpleasant and ultimately uninteresting these characters are that Ellen eventually turns out to be the most fully realized of the lot.

That’s not to say that there aren’t laughs and some decent dramatic tension created during the eighty very long minutes of “The Delling Shore”. It’s just that they’re not enough to compensate for having to spend time with a quartet that you wouldn’t invite to your house on a bet. Worse yet, the play starts at such a high pitch of hostility that there’s ultimately nowhere for it to go without tipping into absurdity—which it eventually does, in a thoroughly unbelievable scene between Frank and Ellen towards the end.

The best things about “The Delling Shore”, in my view, are Daniel Zimmerman’s strikingly realistic set and the solid work by the actors. Catherine Combs’s Adrianne is a bundle of nervous tics from the get-go, tipping us off that she’s not as collected as she seems. Meredith Forlenza nicely manages Ellen’s transition from superficial to sympathetic. Bruce McKenzie is the very picture of resentment and Jim Frangione’s smug complacency is just right for Thomas.

Meredith McDonough’s direction mostly serves the playwright well, although I think she might have found ways to dial down the intensity a bit early on.

Some years ago Scott Adams authored a Sunday “Dilbert” strip titled “Seven Habits of Highly Defective People”. I won’t say that these characters have them all, but they have plenty and (to quote The Bard), “’tis enough, ‘twill serve.”

Humana Festival 2013: "Cry Old Kingdom"

[The 37th Humana Festival of New American Plays runs through April 7 at the Actors Theatre of Louisville.]

“Cry Old Kingdom” by Jeff Augustin
Directed by Tom Dugdale
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 7, 2012

My video blog review with Leslie Wobbe

Synopsis: “Haiti, 1964. Beneath the watchful eyes of François ’Papa Doc‘ Duvalier’s government, revolution is brewing. Words of rebellion against his repressive regime flood the nation’s radio waves, even as the Tonton Macoutes death squads prowl the villages, killing or imprisoning anyone who speaks ill of the dictator. The people of Haiti face a stark choice: to join the fight or to flee.”

Edwin, a painter, is a kind of self-made zombie. Years ago he faked his own death and now works, appropriately, out of an underground studio. Or he tries to work, anyway. Since his bogus death his inspiration has suffered a real death. Worse yet his wife Judith is witnessing the slow death of her own former vivacity and love of dancing at Carnival, killed by the need to work in an open market all day to sustain her and Edwin.

Jonathan Majors as Henri and Andy Lucien as Edwin.
Photo by Alan Simons

When Edwin stumbles across Henri Marx, “a scarred but beautiful young man” (to quote the program notes) gathering wood to build the boat he hopes will take him to America, he’s fascinated by the young man’s lust for life. Edwin offers a bargain: Henri can build his boat safely in Edwin’s studio if Edwin can paint him. As the two men get to know each other, Edwin finds his inspiration returning, but the estrangement from Judith increasing. When Judith announces her intention to join the rebels, Edwin faces difficult choices—with tragic results.

“Cry Old Kingdom” is profound on so many levels that it’s hard to articulate them. From a purely polemic perspective, it’s a dramatic illustration of the way political repression undermines and corrupts human relationships. It’s also a forceful illustration of both the futility of attempting to remain apart from life and the cost of doing so. Edwin’s self-inflicted burial doesn’t insulate him from having to make choices because, as Henri Marx observes, “Being alive is having to choose.”

Andy Lucien brings the repressed Edwin to vivid life. He’s nicely matched by Jonathan Majors as Henri, still optimistic despite horrific persecution from the regime. Natalie Paul’s Judith is a masterpiece of body language, forcefully illustrating the gradual revival of her character’s spirit as the revolution seems to bring her hope—however briefly. The Haitian accents of the cast are (at times) a bit too heavy, though. When actors were facing away from me, I often lost lines—a pity with a script this literate.

Scenic designer Daniel Zimmerman smartly conjures up the beach, Edwin’s studio, and Edwin and Judith’s home with only a few set pieces and some piles of sand. The lights, sound, Tom Dugdale’s direction, and the fine work of the actors do the rest.

“Cry Old Kingdom” was one of the best things I saw at Humana this year. Its illustration of the horrors faced by so much of the world on a regular basis is so vivid, though, that it makes the angst of some of the characters in the other four plays I saw feel trivial by comparison. Not being able to find yourself, for example, looks like pretty small beer compared to not being able to prevent the Tonton Macoutes from finding you. That’s an invidious comparison, perhaps, but it’s hard to avoid those thoughts when you see five plays in three days.

Monday, April 01, 2013

Humana Festival 2013: “O Guru Guru Guru or why I don’t want to go to yoga class with you”

[The 37th Humana Festival of New American Plays runs through April 7 at the Actors Theatre of Louisville.]

“O Guru Guru Guru or why I don’t want to go to yoga class with you” by Mallery Avidon
Directed by Lila Neugebauer
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 7, 2012

My video blog review with Leslie Wobbe

Synopsis: “Lila does not want to go to yoga class with you. Not because she doesn’t like stretching or has no discipline or worries she might be bad at it. Not because she doesn’t like you. The reason Lila doesn’t want to go to yoga class is not easy to explain, but that doesn’t mean she isn’t going to try… When you discover that the system of belief in which you once found meaning no longer holds currency for you; when you find yourself a little older, but not necessarily wiser; when the question of ‘where do I go from here’ feels impossibly high-stakes, but impossible to answer, what do you do? Lila is hoping to figure it out today—and she has brought notes.”

Rebecca Hart as Lila. Photo by Alan Simons

“O Guru” is really three interconnected plays in one long (80-minute) act. In the first one, Lila attempts to explain to the audience, with notes and slides, why she can’t do yoga anymore, despite growing up in an ashram. But she can’t show any slides because everything about that ashram is copyrighted, the notes don’t stop her from digressing, and she eventually leaves the stage in frustration—at which point the theatre is suddenly transformed into a yoga studio, complete with an instructor and assistants in colorful saris. They invite audience members to take off their shoes and chant with them. They share personal stories about what yoga means to them. They present a cleverly executed shadow puppet story about the origin of Ganesh. Then they invite everyone to close their eyes and meditate. When the audience opens their eyes, though, the scene has shifted again.

At which point I have to stop summarizing, because much of the charm of the third play lies in the way it messes with the audience’s sense of reality. Let’s just say it neatly brings us back to Lila’s original issues in a way that provides satisfying dramatic closure and a bit of a life lesson.

Rebecca Hart heads a solid ensemble cast as Lila, so convincingly in the moment that when she momentarily lost her place in the script, it looked like Lila was confused and not the actress. Just as impressive, as the yoga instructors and other roles, were Daphne Gaines, Maya Lawson, Kristin Villanueva, Gisela Chípe, and Khrystyne Haje.

Lila Neugebauer’s direction manages the shifts in tone and perspective nicely. Technically everything is beyond reproach (although there was a minor glitch with the slide projector when we saw the show). The running crew shifts Andrew Liberman’s minimal sets with cinematic ease. Ásta Bennie Hostetter’s costumes are well chosen, with the saris for the yoga instructions being particularly attractive. Jay Tollefsen gets credit for the beautiful shadow puppets.

The bottom line on “O Guru” is that while it might not be a profound work, it’s unfailingly charming, entertaining, and creative. And that, to quote a famous song lyric, “is all right with me.”

Sunday, March 31, 2013

Humana Festival 2013: "Gnit"

[The 37th Humana Festival of New American Plays runs through April 7 at the Actors Theatre of Louisville.]

“Gnit” by Will Eno
Directed by Les Waters
The Humana Festival of New American Plays at Actors Theatre of Louisville
Through April 7, 2012

My video blog review with Leslie Wobbe

Synopsis: “Meet Peter Gnit, the recklessly aspiring, self-deluded anti-hero of Will Eno’s ’Gnit‘—a so-so specimen of humanity whose problem-causing skills may well be his most pronounced ability. Today he’ll disappoint his ailing mother, arriving painfully late at her bedside, full of excuses as usual. Then he’ll get distracted, careening out of the house to disrupt the wedding of an ex-girlfriend, absconding with the bride as an angry mob chases him out of town and into the mountains. So begins a lifetime of bad decisions, for Peter Gnit can’t stay put for long: he believes he’s on a mission to discover his Authentic Self.”

If that sounds a bit familiar, it’s because Will Eno’s “Gnit” is intended as a contemporary comic gloss on Ibsen’s “Peer Gynt.” And, in fact, many of the Ibsen-based jokes work. I especially liked turning the trolls into a family of real-estate brokers, for example. Unfortunately, many of those gags assume a familiarity with the plot of Ibsen’s play that most theatergoers aren’t likely to posses, at least here in the USA, so some of them fall flat.

Dan Waller as Peter and Kate Eastwood Norris as Stranger 2.
Photo by Kathy Prehyer

That’s not the biggest problem with “Gnit,” though. The real issue is the rapidity with which the title character’s self-centered cluelessness stops being funny and starts becoming annoying. After two and one-half hours (including intermission), I found myself just wishing Peter Gnit would shut the hell up. When the play takes a serious turn in the final scene, I no longer cared about Gnit enough to care that he had finally found something that looked a little like insight.

There’s enough comic material in “Gnit” for a good one-act, but at its present length the jokes revolving around Gnit’s selfishness start to get a bit stale. Worse yet, Gnit behaves with such callousness in a scene towards the end with a disabled beggar that he becomes actively repulsive.

Script issues aside, though, “Gnit” benefits from a top-drawer cast. Dan Waller’s Peter has the sort of wistful confusion I associate with the character of Joel in “Mystery Science Theatre 3000,” Linda Kimbrough is acerbically self-aware as Mother, and Hannah Bos is sweetly self-sacrificing as Solvay. Kris Kling and Kate Eastwood Norris display quick-change artist stills as a variety of Strangers and Danny Wolohan has a virtuoso turn as Town, playing multiple characters at once with nothing more than shifts in vocal tone and emphasis. It’s a great example of theatrical illusion in action.

Les Waters’s direction moves everything along nicely and makes the most of the many gags. Technically the show is fairly solid, although there were apparently some lighting and—judging from the offstage banging—set repair issues the night we saw it.

“Gnit,” in short, might need to go back to the workshop. As it is, this is a very long evening at the theatre in which tedium ultimately overcomes the comedy.

St. Louis theatre calendar for the week of April 1, 2013

[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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The Florissant Fine Arts Council presents the Montana Rep production of Neil Simon's Biloxi Blues on Thursday, April 4, at 8 PM at the Florissant Civic Center Theatre at Parker Road at Waterford Drive in Florissant, MO. For more information, call 314-921-5678.

The Pub Theater Company presents Bye Bye Liver: The St. Louis Drinking Play, a comedic romp through the joys and pitfalls of The Gateway to the West's favorite pastime. Performances take place on Saturdays at 9 PM at Maggie O'Brien's, 2000 Market Street. For more information, you may call 314-827-4185, email stlouis at byebyeliver.com, or visit byebyeliver.com/stlouis.

OnSite Productions presents Childcare by Margaret Stamell Fridays at 8 PM and Saturdays at 5 and 8 PM through April 13. Performances take place at Downtown Children’s Center, 607 North 22nd Street. For more information, visit onsitetheatre.org or call 314-686-0062.

New Jewish Theater presents Oren Neeman's Conviction April 4-14. “In 1486, during the time of the Spanish Inquisition, Catholic priest Andrés Gonzalez committed the unthinkable - he fell in love with and secretly married a Jewish woman. In the process, he begins the journey back to his true identity as a Jew.” Performances take place in the Marvin and Harlene Wool Studio Theater at the Jewish Community Center, 2 Millstone Campus Drive in Creve Coeur. For more information: www.newjewishtheatre.org or call 314-442-3283.

The Repertory Theatre of St. Louis presents Double Indemnity, based on James M. Cain's 1930s noir thriller, through April 7. “Is it possible to commit the perfect crime? The beautiful and seductive Phillis Nirlinger is willing to try. Aided by smitten insurance agent Walter Huff, Phyllis sets out to murder her husband and collect on a giant insurance claim. Caught in the femme fatale's sinister web of guilt and betrayal, Huff finds himself on a deadly journey that may be more than he bargained for.” Performances take place 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 Conservatory of Theatre Arts at Webster University presents Sarah Ruhl's Eurydice Friday through Sunday, April 5-7. Performances take place in the Emerson Studio Theatre at the Loretto-Hilton Center on the Webster University campus. For more information, call 314-968-7128.

Photo by Tom Gannam

Stray Dog Theatre presents the Jule Style/Stephen Sondheim musical Gypsy, based on the memoirs of Gypsy Rose Lee, Thursdays through Saturdays at 8 PM, April 4-20. There will be a matinee on the closing Saturday at 2 PM in addition to the evening show. Performances take place at The Tower Grove Abbey, 2336 Tennessee. For more information, visit straydogtheatre.org or call 314-865-1995.

The Touhill Performing Arts Center presents Second City: Laughing Matters on Friday and Saturday, April 5 and 6. 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.

The COCA Family Theatre Series presents Little Nemo in Slumberland Friday at 7 PM and Saturday at 2 and 7 PM, April 5 and 6. “The piece is based on Winsor McCay's cartoon series from the early 20th century Little Nemo in Slumberland and combines physical theatre, clowning and circus elements with scripted language and multimedia components.” COCA is at 524 Trinity in University City. For more information, call (314) 725-6555 or visit www.cocastl.org.

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

The Bissell Mansion Murder Mystery Dinner Theatre presents Nursery Crimes through April 30th. The Bissell Mansion is at 4426 Randall Place. For more information: bissellmansiontheatre.com

The West End Players Guild continues their 102nd season with the St. Louis premiere of Michael Hollinger's Opus by Fridays and Saturdays at 8 PM and Sundays at 2 PM, April 5-14. There will also be a show on Thursday, April 11, at 8 PM. “Four chairs, five people. That's one way to describe the story of Michael Hollinger's Opus-only this game of musical chairs is played not at a children's party, but at the highest levels of musical art.” One-half hour before most performances patrons will be treated to a set by one of three talented local chamber music groups. On opening night, Friday, April 5, the Cahokia String Quartet will play. A Fifth Above Woodwind Quintet will play on Saturday, April 6. The Quartet Brioso will play before four performances, including the evening shows Thursday-Saturday, April 11-13, and the Sunday matinee on April 14. Patrons are encouraged to arrive early and enjoy the pre-show music. 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.

Peabody Opera House presents the musical Peter Pan Tuesday and Wednesday, April 2 and 3, at 7:30 PM. For more information, visit peabodyoperahouse.com or call 314-622-5420.

The St. Louis Writers' Group presents a reading of The Son of the Bar Walker's Daughter or A Long Nigth's Journey Into Day by Joel M. Littman on Monday, April 1, at 6:30 PM at Big Daddy's, 1000 Sidney in Soulard. There's no admission charge; refreshments and food may be purchased from restaurant. For more information, visit www.stlwritersgroup.com, call 314-865-1296, or send an e-mail to farwemar at aol.com.

Photo by Stewart Goldstein

The Black Rep presents The Whipping Man by Matthew Lopez through April 13. “Just after the Civil War in Virginia during Passover, a wounded Confederate Officer returns to a ruined plantation to find only two former slaves to care for him. With a new and different social order, the three men must wrestle with the ties that bind them together and the secrets they share. A test of humanity and their Jewish faith.” Performances take place at the Grandel Theatre, 3610 Grandel Square. For more information, visit theblackrep.org or call 314-534-3810. Read the 88.1 KDHX review!

Stage Left

Sunday, April 14, 2013

St. Louis theatre calendar for the week of April 15, 2013

Saturday, April 13, 2013

TPTBT (The Place to Be Tonight): Saturday, April 13

Friday, April 12, 2013

TPTBT (The Place to Be Tonight): Friday, April 12

Thursday, April 11, 2013

Chuck's choices for the weekend of April 12, 2013

Wednesday, April 10, 2013

TPTBT (The Place to Be Tonight): Wednesday, April 10

Tuesday, April 09, 2013

Magic to do

Monday, April 08, 2013

You gotta get a gimmick

Sunday, April 07, 2013

St. Louis theatre calendar for the week of April 8, 2013

Saturday, April 06, 2013

TPTBT (The Place to Be Tonight): Saturday, April 6

Friday, April 05, 2013

TPTBT (The Place to Be Tonight): Friday, April 5

Thursday, April 04, 2013

Chuck's Choices for the weekend of April 5, 2013

Wednesday, April 03, 2013

Humana Festival 2013: "Appropriate"

Tuesday, April 02, 2013

Humana Festival 2013: "The Delling Shore"

Humana Festival 2013: "Cry Old Kingdom"

Monday, April 01, 2013

Humana Festival 2013: “O Guru Guru Guru or why I don’t want to go to yoga class with you”

Sunday, March 31, 2013

Humana Festival 2013: "Gnit"

St. Louis theatre calendar for the week of April 1, 2013

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