Chas Adams

Total Post: 44

CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.

Everybody Wins When SLSO Rocks Out with Reimagined R.E.M. Songs

Everybody Wins When SLSO Rocks Out with Reimagined R.E.M. Songs


By CB Adams
It must have been a challenge trying to fill the Stifel Theater on April 5 for a program with the St. Louis Symphony and guest conductor Ward Stare playing backup band to The Music of R.E.M. Die-hard symphony goers might have resisted a hybrid program of orchestral interpretations of R.E.M. songs and the “Concerto for Violin, Rock Band and String Orchestra” by the band’s bassist, Mike Mills.

The program might have been overshadowed by the reputation of R.E.M., one of the most influential rock bands from the early 1980s to the early aughts, known for their melodic-yet-enigmatic sound, poetic lyrics and the distinctive vocals of frontman Michael Stipe.

On the other side of the spectrum die-hard R.E.M. fans who want nothing less than the band to reunite (good luck with that), might have resisted the program for softening and diluting R.E.M.’s potent oeuvre. Despite the challenges of such perceptions or expectations, St. Louisans delivered a respectable showing while the symphony Mills delivered a satisfying experience that beautifully integrated rock elements into classical structures.

The first half of the performance were two sets of “Orchestral Reconstructions” of R.E.M. songs by composers Carl Marsh and David Mallamud. It is these two composers who deserve the kudos for this portion of the program – come for the R.E.M., stay for Marsh, Mallamud and the SLSO.

Emphasizing a desire for originality, Mills expressed his preference for orchestral pieces that incorporated R.E.M. melodies in innovative ways rather than relying on conventional symphonic embellishments. And that’s exactly what was most interesting and intriguing about these works.

Other than the occasional recognizable phrase, they weren’t really recognizable as R.E.M. songs. Even if you knew nothing of R.E.M., these reconstructions stand alone as enjoyable experiences. For instance, you wouldn’t miss Stipe’s plaintive howl in “Cuyahoga” even if you knew the song – that’s how differently distinctive Marsh’s interpretation is.

Mills and McDuffie in concert with Winston-Salem Orchestra. J Farley Photography.

Several years ago, Mills approached Marsh with a commission, inviting him to “deconstruct” several R.E.M. songs (a mix of hits and personal favorites) and create new orchestral compositions from their elements. Marsh is known for his eclectic blend of classical orchestration and contemporary electronic elements, crafting immersive soundscapes that traverse genres with depth and innovation.

Mills tasked Marsh deconstructing five R.E.M. songs: “Pilgrimage” from Murmur (1983), “Cuyahoga” from Life;s Rich Pageant (1986), “Near Wild Heaven” from Out of Time (1991), and “Try Not To Breathe” and “Everybody Hurts” from Automatic for the People (1992). Marsh’s approach to “Everybody Hurts,” R.E.M.’s iconic song, involved exploring variations of the dominant piano line’s triplet patterns.

To complement Marsh’s contributions, Mills enlisted David Mallamud, a renowned composer and arranger, to deconstruct another set of R.E.M. songs. Mallamud’s selections included “Fall on Me” from Life’s Rich Pageant (1986), “It’s the End of the World as We Know It (and I Feel Fine)” and “The One I Love” from Document (1987), “Find the River” and “Man on the Moon” from Automatic for the People
(1992), and “Supernatural Superserious” from Accelerate (2008).

Mallamud’s approach differed from Marsh’s, resulting in a single long suite composed of his six deconstructed pieces that began that flowed from the Intro and Bargaining through Denial, Anger, Depression and Acceptance. All interpretations were strong, but the last song, a jaunty “It’s The End of the World As We Know It” was the clear crowd-pleaser.

The second half of the performance featured Mill’s own “Concerto for Violin, Rock Band, and Orchestra,” which is a hybrid of a song suite and a true concerto. The piece is a collaboration between Mills and lifelong friend and violin virtuoso Robert McDuffie, who is known for his appearances with prestigious ensembles like the New York and London Philharmonic Orchestras.

Debuting in 2016, the concerto has been performed a dozen times and explores a unique fusion of rock and classical elements. Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble.

Divided into six sections, the concerto resembles more of a diverse suite than a cohesive violin-centric composition. Notably, the orchestration and additional music contributions from David Mallamud underscore the collaborative nature of the piece. As you might expect, the rock influence predominated during this performance, with Mills assuming his role on bass alongside McDuffie, William Tonks on guitar and Gerry Hansen on drums.

Unlike previous attempts at blending these genres, the concerto stands out for its focus on melody, effectively marrying the raw energy of rock with the sophistication of a string ensemble. This was most evident in “Stardancer’s Waltz,” during which McDuffie fully explored a variety of riffs that could make the tune an enduring standard.

Mills in concert at another hall with this touring show.

He showcased remarkable confidence and strength in his rendition of melody lines and demonstrated mastery in precision, fluidity and speed. He also displayed skills that would challenge even the most adept electric guitarists, which contributed immensely to the success of this hybrid concerto.

Another crowd-pleaser was “A Little Nightswimming,” a poignant, piano-driven track from R.E.M.’s acclaimed 1992 album, Automatic For The People – and a personal favorite. “Nightswimming,” is one of the best songwriting achievements that Mills made with R.E.M. and the concerto’s version was a beautiful, graceful duet between Mills and McDuffie.

For those who took a chance on the SLSO’s R.E.M. performance (let’s call ourselves shiny, happy people), the experience demonstrated that the mutability of music is a big tent that can accommodate hybridizations among genres. After all, classical composers from Bartók and Dvořák to Copland and Williams have drawn folk songs and popular music, infusing classical compositions with the rich cultural
tapestry of their respective regions. And you can add Mills to that list.

Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

Dance St. Louis’ Ailey II Event Filled With Art, Rhythm and Passion

By CB Adams  

When Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center, it did more than provide a stage for the second company of the Alvin Ailey American Dance Theater. It created an Event.

It is important to remember that Dance St. Louis is one of the country’s oldest, and one of only four, non-profit dance-only presenters – so presenting Ailey II is the type of dance concert you would expect from an organization with this type of mission. And the Ailey II performance alone would have been more than worth the price of a ticket.

Yet, the experience was augmented with the type of pre-show program that I wish were offered at all cultural events. Rather than dash from the parking lot to my seat, there is much to be said for easing into a more relaxed, inspiring, receptive state of mind. I enjoy walking looking at the art in The Sheldon’s galleries and listening to the short lecture before performances at Union Avenue Opera, for instance.

Dance St. Louis is known for its pre-show “Speaking of Dance.” For Ailey II, Dance St. Louis artistic director Michael Uthoff provided the Q and Francesca Harper, artistic director of Ailey II, responded with the A.

She provided entertaining, anecdote-laced stories about the company, which is marking its 50th anniversary this year as a vital link between student aspirations and professional realities. Under Harper’s leadership the company maintains its commitment to fostering emerging talent while demanding rigorous dedication.

Revelations. Photo by Nir Arieli

Adding to the festival feel of the Ailey II performance was a student art exhibit with interesting and impressive works by students from Grand Center Arts Academy and Central Visual & Performing Arts High School. As a visual artist myself, I enjoyed seeing what the new generation of creators can do. The level of confidence and skills of the young artists was enviable.

In the half hour or so before the Ailey II dancers took the stage, as if to prime the audience, The Phil Woodmore Singers, with 27 singers, filled the lobby with a sometimes thunderous performance of jazz, gospel and spirituals.

Now, that’s what I call an Event – engaging, thought-provoking, inspiring, all with a bunch of like-minded folks. I normally eschew commenting on audiences, but this one was noteworthy. Maybe it was the undiminished vitality of the Ailey “brand.”

Maybe it was the impressive list of supporting civic, cultural and faith organizations that were thanked before the performance. Or maybe it was the anticipation for full experience of the Event. Whatever the reason, if there were any empty seats, I didn’t see them at the March 2 performance.

The evening began with “Luminous” (2023), choregraphed by Harper and danced by the company. As she explained during the pre-show interview, “Luminous” explores the company’s rich five-decade journey and is inspired by the cherished memories of Ailey II’s esteemed alumni and their commitment to innovation and social advocacy.

The work fosters a communal spirit among the dancers reminiscent of Alvin Ailey’s ethos. Through intimate conversations with past luminaries like Matthew Rushing and Sylvia Waters, Harper crafted a narrative that resonates with the current generation, enriching their understanding of the company’s legacy.

Championing Ailey II’s archival efforts, Harper underscores the importance of documenting Black narratives in dance history. “Luminous” beautifully honors its past and propels the company forward with continued excellence and opportunities for emerging talent.

Maya Finman-Parker in Judith Jamison’s “Divining.” Photo by Nir Arieli.

Next was choreographer Judith Jamison’s “Divining” (excerpt), spellbindingly danced by Maggy van den Heuvel. Her interpretation beautifully captured the essence of sky, flight, bow and ripple – all set against a backdrop of diverse rhythms from North African, Central African and Latin influences, “Divining” pulsated with a vibrant energy that was captivating and evocative.

Van den Heuvel’s commanding presence on stage and her flawless execution of Jamison’s choreography showcased her exceptional talent and brought a fresh perspective to this piece with its mysterious undertones suggesting a quest or search.

Also from 2023 was “John 4:20” with choreography by Baye & Asa, a company creating movement art projects directed by Amadi “Baye” Washington & Sam “Asa” Pratt. “John 4:20” is an interpretation of that passage from the Bible.

In this performance, the dance piece traditional boundaries to explore themes of shared history and divergent identities. Six dancers masterfully blended elements of hip hop, African, and contemporary modern styles, crafting a choreographic narrative that pulsed with intensity and intimacy.

Through a series of duets and group interactions, the dancers navigated the spectrum of human emotion, from the bustling streets to the intimate playground, deftly confronting the realities of violence while emphasizing the transformative potential of empathy.

“John 4:20” was perhaps my favorite piece of the evening, if only because it was new to me and so deftly performed with such athleticism and precision, engaging me with a visceral journey through love, hate, resilience and vulnerability.

Revelations. Photo by Nir Arieli.

Concluding the performance was Alvin Ailey’s “Revelations” (1960), the most iconic piece of the evening. Ailey II’s rendition of “Revelations” continues to solidify its historical significance, marking 60 years of continuous – and well deserved –  performance. As one of the most renowned American concert dances of all time, the dancers of Ailey II provided a performance that resonated deeply, its images and choreography leaving an indelible impression.

“Revelations” is more than just a dance; it’s a tapestry of voices, echoing the emotions and motivations of African American religious music. Langston Hughes aptly described it as an exploration of these rich traditions. Rooted in the rituals of Black South culture, the work serves as a cultural-political touchstone, offering a sense of shared history and collective identity.

As with other performances of “Revelations” I have attended over the years, dating all the way back to my college days, this one also felt like a spiritual experience, sweeping me up in the music and movement that affirmed the distinctiveness of its cultural expressions.

From the soulful rendition of “Fix Me, Jesus” by Maya Finman-Palmer and Corinth Moulterie to the electrifying energy of “Sinner Man” performed by Xhosa Scott, Moulterie and Alfred L. Jordan II, the dancers breathed renewed life into Ailey’s masterpiece.

“Revelations” ends with the song “Rocka My Soul In the Bosom of Abraham,” which always brings a pleasant childhood memory to light for me. The full company was on stage for this piece, and they left me (and the rest of the audience) with a feeling akin to going to church, where the spirit of the dance uplifts and inspires all who witness it. Ailey II’s performance did this classic – and all the rest of the pieces – proud.

Comprising a dozen dancers on two-year terms, Ailey II’s schedule of classes, rehearsals, and extensive tours offers a challenging immersion into the world of professional dance. Stemming from Alvin Ailey’s vision of a training ground for young artists, Ailey II continues its educational mission while serving as a breeding ground for future main company members.

Despite enduring hardships and tragedies over the years, Ailey II remains a cornerstone of the dance community, evidenced by its ongoing 50th-anniversary tour.

As the company celebrates this milestone, its enduring legacy underscores the transformative power of dance and the resilience of artistic dedication, and Dance St. Louis deserves thanks for bring it to town, along with all the pre-show festivities. Dance St. Louis presented Ailey II on March 1-2 at The Touhill Performing Arts Center.

Francesca Harper’s Luminous. Photo by Nir Arieli.

New Works Collective Delivers Three Outstanding Short Operas for All

New Works Collective Delivers Three Outstanding Short Operas for All

By CB Adams

During one of the two intermissions in Opera Theatre of St. Louis’s third annual, three-pronged New Works Collective, I pondered aesthetics. Can there be a defining aesthetic – or more accurately, aesthetics with an s – for the St. Louis region?

Is there a commonality of our terroir to be found from a cross section of artists who have hailed from here? Do we have the St. Louis equivalent of the Philly Sound or Motown, the Ashcan School or Hudson River School (or the Venice Biennale), Spoleto or Tanglewood, or even Burning Man or Bonnaroo?

There’s no such thing as a St. Louis Method of acting, that talents of John Goodman, Doris Roberts, Stirling K. Brown, Marsha Mason, Vincent Price and Phyllis Smith notwithstanding.

“The Glass Menagerie” may name check some St. Louis locations, but it does not define life here any more than “White Palace” (the novel or the movie) does. The Gateway Arch is the steel equivalent of a Route 66 roadside attraction, but architecturally the city should still embrace its old moniker as the Red Brick City.

If there is a St. Louis Sound, it would have to somehow include musicians Scott Joplin, Chuck Berry, Pokey LaFarge and Nelly (yes, there are many more) and performers including Josephine Baker, Willie Mae Ford Smith, Donny Hathaway and Tina Turner (I went with personal faves here; the list goes on). The list could also include the St. Louis Symphony, especially the Slatkin years.

If there is a St. Louis “Move,” it would include, but not be limited to, a ballet like the recently premiered “St. Louis Blues,” choreographed by Gen Horiuchi, executive and artistic director at St. Louis Ballet, or practically everything from the Big Muddy Dance Company.

Fun to ponder these cultural accomplishments, but St. Louis arts and artists are far too diverse to be reduced that way. To borrow a song title from Bob Dylan, St. Louis contains multitudes.

Like the Symphony, which has commissioned new works such as last year’s “Visions of Cahokia,” a new orchestral piece by James Lee III, Opera Theatre of St. Louis premiered three new 20-minute operas at this year’s New Works Collective performances, March 14-16 at Kirkwood Performing Arts Center. In its third year, the New Works Collective is committed to extending the range of what opera can – and should – be as a still-relevant artform addressing modern stories and issues faced by diverse characters.

New Works Collective achieves this in numerous ways. For instance, the operas were chosen by a local panel of representative artists and community leaders who brought a Studs Terkel-like approach to their selection. The panel voted to support three operas to be nurtured and matured during a year-long incubation process.

One of the most exciting aspects of the panel’s selection is a sense of wonderment that seems to ask, “You can make an opera about that?” “Mechanisms,” with music by J.E. Hernandez and libretto by Marianna Mott Newirth, is a chamber opera study of neurodiversity, “Unbroken,” music by Ronald Maurice and libretto by J. Mae Barizo, examines the issues of single parenthood, death, resilience and legacy, and “On My Mind,” music by Jasmine Barnes and libretto by Deborah D.E.E.P. Mouton, follows a cautious friendship that begins at a work conference and builds into a fulfilling sisterhood.

 On an application, each of these short operas and their creators show potential, but it’s the performance that ultimately decides their level of success. That’s where OTSL’s singers and production teams elevate them from concept to the reality of experiencing them.

There’s a scene in the television series “This Is Us,” when Mandy Moore’s Rebecca meets with record executives as she tries to launch her singing career. The execs tell her she’s good, but only “Philadelphia good.” There’s always a risk that homegrown achievements and talents might only be “good” at the local level. As with the previous two years, this year’s New Works Collective proves that St. Louis Good sets a standard as high as Made In Detroit … or even Made In America. It’s a badge of honor that can and should be applied to many of the region’s cultural achievements.

A 20-minute opera presents its own challenges that differ from a full-length production. The relationship is similar between short stories and novels. The best short stories are closer to poems than to novels. So, too, these shorter operas. All three felt complete and self-contained within the constraints of the medium. Each benefited from a tightly focused theme and narrative. None felt like a truncated version of a longer work, though “Unbroken” to some degree and “On My Mind” to a higher degree left me wanting to stay with the characters for a longer journey. They left me wondering what Barizo and Mouton could do with an expansion of their stories.

“Mechanisms” provided a more intense (and intensely interior) experience – and one that left me not wanting more because it felt so complete. One of my favorite descriptions of a successful short story ending comes from David Means, who wrote, “A good ending doesn’t answer a question. It opens up the deeper mystery of the story itself. There isn’t room in a short story to do anything but leave the reader alone with the story.”

That’s how “Mechanisms” satisfyingly ended for me – alone with the story and the 11-year old character, Roe, beautifully sung and acted by Helen Zhibing Huang. Hers was the virtuosic standout among all the other standout performances, including Maria Consamus as Roe’s mother, Lori, and Aaren Rivard as Dean, her father. Individually and together, Consamus and Rivard were engaging and believable as parents struggling to navigate their daughter’s journey and the world around them.

With diverse stories and characters, the New Works Collective operas benefited from the talents of diverse casts. As Grace in “On My Mind,” Meroë Kahalia Adeeb inhabited the role as the church-going, dying matriarch of her St. Louis family. The moment when she dies in a wheelchair, followed by the ending with a ghostly sort of resurrection – provided an emotional and deeply affecting one-two punch. John Godhard Mburu as Grace’s oldest son, Ezra, delivered a nuanced portrayal of a child maturing into a new role within the family and himself.

The heart of “On My Mind” were the two strangers destined to become sisters – Lyric, sung by Krysty Swann, and Melodee, sung by Adeeb. The success of these two performances reminded me of two things that other “funny women” have said. Jane Lynch has been quoted, “Making people laugh is a really fabulous thing because it means you’re getting deep inside somebody, into their psyche, and their ability to look at themselves.”

That’s a perfect description of what Swann and Adeeb achieved with the comedic libretto of “On My Mind.” They dug deep into their characters and projected them with pathos. Add to that something that Amy Sedaris has observed, “We’re all used to seeing pretty people. I want to see real people.” Opera is a highly distilled artform, but the best allows the audience to suspend their proverbially disbelief, and that is precisely what Swann and Adeeb accomplished.

Adding additional cohesion among the three operas were the talents of lighting Designer John Alexander, video designer David Murakami, stage director Kimille Howard and scenic designer Kim Powers. Using one basic set, lights and projections transitions seamlessly from a suburban home at Thanksgiving dinner to a hospital, a living room and a hotel ballroom in mid-convention (among others). One of the best uses of projection was in “Unbroken,” as the geometric back panels reveal a detailed interior of a church, then transition to a gauzy, impressionistic version of the same scene, followed by bright and sharp light streaming through a stained glass window. This same technique was used in the other operas, but worked most memorably in “Unbroken.”

At the risk of reducing the music to a footnote, the performance of the small orchestra, led by Darwin Aquino was perfectly balanced and supported the singers admirably. The music received a top-notch performance, but the performances could have benefited from something missing – projected supertitles. I’ve become accustomed to supertitles in the same way I enjoy the on-screen subtitles on my streaming services. It was difficult to understand many parts of the evening’s operas.

OTSL’s New Works Collective is no mere check-the-box community outreach effort. It is integral to the OTSL’s dedication to keeping opera vibrant, viable and accessible to all. As director Howard said in her Director’s Note, “Representation matters; it is the strongest invitation and catalyst for change…through initiatives like the New Works Collective, where incredible up-and-coming composers and librettists are empowered to experiment, collaborate and share their voices with the St. Louis Community.”

The 2024 New Works Collective was a complete success. It’s not too soon to start looking forward to the 2025 performance. It’s sure to be St. Louis Great.

Winter Opera’s Witty and Whimsical New Take on ‘Naughty Marietta’

Winter Opera’s Witty and Whimsical New Take on ‘Naughty Marietta’

David Taylor Little’s New Book Shines in Winter Opera’s 17th Season Finale

By C.B. Adams

What passed for a naughty narrative in 1910 would hardly raise an eyebrow (or much interest) in 2024, so it’s a good thing that David Taylor Little wrote a new book for Victor Herbert’s once-popular “Naughty Marietta.” Winter Opera staged this now-charming operetta on March 1 and 3, ending its 17th season with a delightful blend of wit, whimsy and musical allure.

In a lighthearted operetta like “Naughty Marietta,” the best parts are the songs. With Little’s retooling of the story and under the direction of John Stephens, the songs, including “Ah! Sweet Mystery of Life,” “Neath a Southern Moon,” “Tramp! Tramp! Tramp! (Along the Highway) “and “Falling in Love with Someone” really had the chance to shine.

All the songs benefited from the lively performance by the orchestra, conducted by Mark Ferrell. Choreographer Rachel Bodl added to the experience with lively dance numbers that enhanced the production’s charm.

Brittany Hebel. Photo by Peter Wochniak.

Any fans of “Young Frankenstein” and “Thoroughly Modern Millie” probably recognized “Ah! Sweet Mystery of Life,” which was repurposed in those films.

For “Naughty Marietta,” Winter Opera assembled a remarkable cast, including soprano Brittany Hebel who sparkled in the title role of Marietta, a spirited Italian Contessa who finds herself embroiled in a love triangle and a rebellion.

Hebel’s voice was rich and expressive, perfectly capturing the emotional depth of her character. Her performance of the “Italian Street Song” was a highlight and showcased her vocal agility and dramatic flair.

Opposite Hebel was tenor Zachary Devin as Captain Warrington, the gallant hero who captures Marietta’s heart. Devin’s warm tenor and affable charm made him a perfect match for Hebel, and their duets were a joy to experience.

Michael Colman brought a menacing presence to the role of Etienne, the villainous son of the Governor. Colman’s rich bass-baritone was well-suited to the role. His “You Marry a Marionette” was a highlight of his performance and of the entire show.

Mezzo-soprano Melanie Ashkar delivered another standout performance as Adah, a woman wronged by Etienne. Her rendition of “Under the Southern Moon” was hauntingly beautiful and showcased her rich, sultry voice. The supporting cast was equally strong, including Schapman as the bumbling Simon, Gary Moss as the comic puppeteer, Rudolfo, and Grace Yukiko Fisher as the lovelorn Lizette.

Grace Yukiko Fisher and Marc Schapman. Photo by Peter Wochniak

Under scene design by Scott Loebl, “Naughty Mariette” was perfectly scaled for the stage at the Kirkwood Performing Arts Center. In their heyday, operettas were known for their elaborate costumes and sets, and Winter Opera’s creative team further that tradition.

Loebl’s set design was beautiful and practical, including the standout Act II scene at Rudolfo’s puppet shop. Jen Blum-Tatara’s costumes were appropriately colorful and evocative of 18th-century New Orleans.

Winter Opera’s production of “Naughty Marietta” was a delightful romp that showcased the best of the operetta form in general and the best of this reborn operetta. With a talented cast, beautiful production design and unforgettable music, Winter Opera has set a high bar for itself in the coming years.

Winter Opera’s “Naughty Marietta” was performed at Kirkwood Performing Arts Center March 1 and 3.

Ensemble performs “Naughty Marietta.” Photo by Peter Wochniak, ProPhotoSTL.

Ballet and Music Unite in St Louis Ballet’s Captivating LOVEX3

Ballet and Music Unite in St Louis Ballet’s Captivating LOVEX3

By CB Adams
In ballet, tradition often reigns supreme. And like opera, ballet is sometimes (make that, often) misunderstood – as stuffy, fussy, and old-fashioned as your Aunt Minnie’s doilies.

St. Louis Ballet, under Gen Horiuchi, executive and artistic director, provides proof that the new and innovative can comfortably be performed with the traditional on the same program, providing the best of both of these dance worlds – especially when the pieces are thematically and resonantly linked.

St. Louis Ballet has created a distinct niche with its contemporary productions, such as LoveX3 (Feb.16-18 at the Kirkwood Performing Arts Center), that deliver a satisfying, captivating blend of the dance pieces. LOVEX3 was part of the company’s annual “Love” series. And by curtain call at the Feb. 17 (with Cast 2) performance, I was left with an enthusiastic, “What’s not to love?”

The well-curated and paced program included three parts that began with a classic then transitioned to a piece premiered by the company last year and concluded with the premiere of “St. Louis Blues.” This progression of choreographic style and approach, from Balanchine to Brian Enos and Horiuchi, was perfect – and perfectly enjoyable.

“St. Louis Blues” is an exuberant celebration of love through the transcendent language of ballet with direct ties and references to this city. “St. Louis Blues” was choreographed by Horiuchi, who collaborated with composer Atsushi Toya Tokuya to turn W.C. Handy’s six-minute song into a much longer narrative of passion and longing.

What distinguishes “St. Louis Blues” is its ability to seamlessly intertwine two distinct art forms, creating a visual and auditory experience
that is both captivating and immersive. Set against the backdrop of St. Louis’s rich musical heritage, the ballet unfolds as a dynamic
narrative that pays homage to the city’s cultural legacy while showcasing the technical prowess and emotive depth of the dancers.

Horiuchi’s choreography is a masterful blend of fluidity and precision, mirroring the improvisational nature of jazz while maintaining the grace and poise characteristic of classical ballet. Through intricate sequences and expressive movements, the dancers convey the raw energy and emotional resonance of the blues, transporting audiences to the vibrant world of jazz clubs and smoky dance floors.

Tokuya’s musical finesse was captivating, and his composition added an extra layer of depth and richness to the performance. His mesmerizing rendition of the “St. Louis Blues” showcased his versatility and mastery across genres, further enhancing the emotional resonance of Horiuchi’s choreography.

Tokuya’s composition and arrangement were brought to life by the soulful strains of an on-stage New York-based jazz ensemble and the vocal stylings of jazz luminary Denise Thimes, who is no stranger to our city. I have reviewed other performances of Thimes, and she’s a treasure.

Of the three pieces in LOVEX3, “St. Louis Blues” had the largest cast with four couples engaging singly and as an ensemble. Charles Cronenwett and Zoe Middleton were one couple prominently featured. Cronenwett is a native of St. Louis and currently a company artist for the St. Louis Ballet. He has been trained by renowned dancers and directors like Horiuchi, Devon Carney and Christopher Ruud, and that training showed with his unique and charismatic approach.

Middleton has graced the St. Louis stage in a variety of roles. Under the direction of Horiuchi, she has showcased her skills in performances such as “The Nutcracker” (as Coffee), “Classique, and “Cinderella” (as Winter Fairy). Middleton also performed in Brian Enos’s productions, including the 2023 premiere of “In Reel Time.” Her performance in “St. Louis Blues” shone with artistry and a captivating combination of grace and skill.

LOVEX3 began with George Balanchine’s classic “Square Dance,” a piece that has been part of the St. Louis Ballet’s repertoire for years and is a good showcase for the company’s commitment to artistic excellence and refined expression.

Balanchine’s choreography set the stage for LOVEX3’s exploration of tradition and innovation. In this performance, the Cast 2 dancers navigated Balanchine’s intricate spatial choreography that demands precise movements within geometric formations and delivered a delicate fusion of ballet technique with the spirited rhythms of square dancing.

“Square Dance” featured the performances of the two leads, Olivia Cornelius and Michael Burke. Cornelius’s portrayal of the iconic role was delicate and clear. Her en pointe balances were sustained and appeared remarkably light and effortless. Burke’s performance was marked by a confident technique, characterized by a razor-sharp line and remarkable ballon. His execution was meticulous, with every movement impeccably placed.

Sandwiched in the LOVEX3’s pieces was Brian Enos’s “In Reel Time,” which St. Louis Ballet premiered last year. It’s a contemporary gem that pulses with rhythmic energy provided by the ensemble and music by Philip Daniel, Nova, Outland and Spearfisher and arresting visual beauty.

Enos’s choreography pushes the boundaries of traditional ballet, offering a dynamic and innovative perspective on the art form. Berry’s lighting design made dramatic and effective use of projection and visual effects to create a stage where the physical and digital realms converge.

From intimate solos to dynamic ensemble sequences, each movement is executed with precision and grace, captivating viewers with its depth and complexity, though throughout the evening there were some inconsistent lines and synchronized movements among the dancers.

Ultimately, though, St. Louis Ballet’ s rendition of “In Reel Time” was satisfying and engaging with its blend of artistic innovation and storytelling. It definitely left me with an indelible impression.

The St. Louis Ballet presented LOVEX3 February 16-18 at Kirkwood Performing Arts Center.

A Spirited Romp Through ABBA’s Hits: ‘Mamma Mia!’ Returns to The Fox

A Spirited Romp Through ABBA’s Hits: ‘Mamma Mia!’ Returns to The Fox

By CB Adams

You cannot really review the current touring production of “Mamma Mia!” that made a stop at The Fox February 13-18 without acknowledging the power, musicality and earworm-iness of the source material – that is, the Swedish supergroup ABBA.

Inducted into the Rock and Roll Hall of Fame in 2010, ABBA’s diverse musical influences created a unique fusion of genres that continues to resonate with audiences. From their meticulous studio craftsmanship to their harmonic complexity and juxtaposition of melodies with poignant lyrics, ABBA set a standard that continues to resonate in contemporary pop.

Their ability to blend joy with melancholy and infuse authentic emotion into their music remains a testament to their enduring influence and cultural significance, transcending boundaries of time, genre and geography.

Consider the popularity of the current virtual concert “ABBA Voyage” in London, featuring virtual avatars called “ABBAtars,” resembling the group’s appearance in 1979 (just a few years before they disbanded), accompanied by re-recorded vocals from the original bandmembers, recorded. In these virtual resurrections, ABBA joins other influential performers, including Tupac, Michael Jackson, Elvis Presley, Maria Callas (opera diva) and Whitney Houston (pop diva).

L to R) Jalynn Steele (Tanya), Carly Sakolove (Rosie), and Christine Sherrill (Donna Sheridan)
Photo by Joan Marcus

So, mash up some of the best of ABBA’s song with a mostly forgotten 1968 comedy starring Gina Lollobrigida, “Buona Sera, Mrs. Campbell,” and you get a “supa-pa, troupa-pa” of a jukebox musical that has been a  chugging along since 1999. This latest touring production (celebrating the 25th anniversary!) opened in St. Louis at the Fox with another capacity audience.

The Gateway City has always had a thing for “Mamma Mia,” (along with “Wicked”), that is just one of those delightfully unexplainable things. Maybe it’s the strong women (most of them older) and unabashed girliness. Maybe it’s use of men as more or less silly set dressing. Maybe it’s because, as it gallops along, the musical never takes itself too seriously. Maybe it’s the spandex?

As opening night proved yet again – it’s a flat-out good time and designed to be an effective ABBA delivery system. From the moment Alisa Melendez belted out the opening notes of “I Have a Dream,” it was evident that this production lives up to its predecessors. Melendez’s portrayal was a testament to her talent and charisma, effortlessly carrying the audience through Sophie’s journey of self-discovery and the quest to uncover her father’s identity.

Christine Sherrill’s portrayal of Donna, Sophie’s fiercely independent mother, struck a perfect balance of strength and vulnerability, captivating the audience with her powerful vocals and authentic emotional depth. Joined by her loyal friends Rosie and Tanya, portrayed with impeccable comedic timing by Carly Sakolove and Jalynn Steele respectively, Donna’s journey is enriched by the genuine camaraderie and chemistry among the trio.

(L to R) Jim Newman (Bill Austin), Victor Wallace (Sam Carmichael), and Rob Marnell (Harry Bright)
Photo by Joan Marcus
 

The supporting cast, including the trio of potential fathers – Harry Bright (Rob Marnell), Bill Austin (Jim Newman) and Sam Carmichael (Victor Wallace) – each brought their own unique flair to the stage, infusing the production with humor and sincerity.

The Ensemble’s electrifying dance numbers and infectious enthusiasm were also standouts. Anthony Van Laast’s choreography is clever, fun and energetic. Even though the dance numbers continue to delight, they could use a bit of a refresh. However, in the spirit of “if it ain’t broke don’t fix it,” this may be asking for the unnecessary.  From the lively choreography of “Lay All Your Love On Me” to the nostalgia-inducing medleys, the ensemble’s energy was palpable, igniting the stage with every high kick and synchronized move.

The lighting and staging hew closely to the show’s overall aesthetic – simple, clever at times, and effective – and do not get in the way of the delivery of the tunes. The show suffered somewhat from acoustics. The sound was sometimes too loud, unbalanced and interfered with the clarity of the vocals.

(L to R)  L’Oréal Roaché (Lisa), Alisa Melendez (Sophie Sheridan), and Haley Wright (Ali)
Photo by Joan Marcus

As the performance drew to a close, it became evident that “Mamma Mia!” succeeds as a celebration of love, friendship and the enduring power of music to unite and uplift. If the show ended with the curtain, it would prove worthy of its ticket prices. Then the cast kept the party going with an anticipated, electrifying encore that ends up being one of the highlights of the show.

Donning vibrant costumes and exuding boundless energy, the cast launched into a bouncy, enthusiastic medley. It was fun to see the Ensemble dancers cut loose and strut their stuff – with the audience on their feet, clapping and singing along.

“Mamma Mia!” runs at The Fabulous Fox from Feb. 13-18. For ticket information, visit www.fabuloufox.com

The company. Photo by Joan Marcus.

Winter Opera’s Captivating ‘Manon Lescaut’ Filled with Passionate Memories

Winter Opera’s Captivating ‘Manon Lescaut’ Filled with Passionate Memories

By C.B. Adams

Giacomo Puccini’s first outstanding success was “Manon Lescaut,” the musical setting of Abbé Prévost’s renowned (and banned in France) novel’s tale of love, desire and betrayal set against the backdrop of 18th-century France and Louisiana. Premiering in 1893, this opera marked Puccini’s initial triumph and remains a timeless testament to his melodic mastery.

Winter Opera, under the direction of Gina Galati, continued to enchant audiences in its 17th season with its own captivating rendition of “Manon Lescaut” on  January 19 and 21. I have it on good authority this is the first staging of “Manon Lescaut” in St. Louis, though I can’t confirm that. But, even if it has been stage in St. Louis, it’s been a long, long time.

Puccini’s daring adaptation of the story underscores his commitment to infusing the narrative with genuine Italian passion. Despite the familiar theme of a classic love triangle, the richness of Puccini’s musical language elevates the emotional depth of the plot.

This production boasts exceptional vocal performances, notably Zoya Gramagin and Taylor Comstock, who breathe life into the titular characters of Manon Lescaut and Chevalier des Grieux, respectively. Gramagin’s soprano effortlessly commanded attention, imbuing Manon with a poignant blend of vulnerability and strength. Comstock’s powerful tenor captured the fervor of des Grieux’s ardor, soaring to majestic heights in moments of impassioned pleading.

Photo by Peter Wochniak, ProPhotoSTL

Joseph Park’s portrayal of Geronte, the wealthy older suitor, exuded a commanding presence complemented by a rich bass that added depth to the ensemble. Jonathan Stinson’s rendition of Manon’s brother, Lescaut, provided robust support to the narrative, while the ensemble cast delivered a varied tapestry of emotions—from merriment to despair—with finesse.

Under the baton of Edward Benyas, the orchestra delivered a seamless fusion of music and drama, guided by Geovonday Jones’s meticulous stage direction. Scott Loebl’s scenic design evoked the opulence and desolation of 18th-century settings, complemented by Michael Sullivan’s evocative lighting. This achievement was especially noteworthy considering the company’s modest budget for two performances (three if you count the dress rehearsal).

Jen Blum-Tatara’s costumes and Laura Skroska’s props enhance the production’s authenticity, transporting audiences to a bygone era.

Despite occasional inconsistencies in the libretto, Winter Opera’s production shines through its musical performance and cohesive direction. The company’s commitment to staging lesser-known works should be commended because it offers audiences a chance to discover/rediscover operatic gems like “Manon Lescaut.”

Winter Opera’s rendition of “Manon Lescaut” is a testament to the enduring allure of Puccini’s music. With satisfying performances, meticulous direction and lean-yet-evocative production values, this production should make a lasting impression on audiences and continue to warm local opera-goes in during the colder months.

Photo by Peter Wochniak, ProPhotoSTL

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

By CB Adams

Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations. 

“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour. 

Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances. 

To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell. 

As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.  

“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement. 

Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.

As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way. 

“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family. 

The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders. 

This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”

Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com   

Fox Touring Production of ‘Aladdin’ Delivers a Stage Full of Wonders

Fox Touring Production of ‘Aladdin’ Delivers a Stage Full of Wonders

By C.B. Adams

When my children were young, back in the days of VHS, I endured countless hours of Disney’s Aladdin playing as the main feature (“Sit, Daddy, and watch with me!”) and as background noise while I performed my parental duties (Dad! Quit vacuuming! We’re trying to waaatch!).

Even then, the segments featuring Robin Williams as the Genie held up to numerous viewings in the same way I can still watch and rewatch clips of him on the Tonight Show or elsewhere without experiencing the law of diminishing return. Like many of his other performances, Williams’s Genie was a tour de force that imprinted that film with a force so majeure that I turned off the Hoover – and only his voice was onscreen.

I didn’t then, nor do not now, much care for the story that knits together Aladdin’s other characters. The Aladdin/Jasmine love story, the bland villainy of Jafar and the father-doesn’t-know-best efforts of the Sultan closely hew to so many other caricaturistic Disney characters that I’m left feeling more than a little meh. The mileage of youngsters will, of course, differ, vary and supersede my own.

But, still, there’s something about that that Genie. It’s all about the Genie. And thus, my evaluation of the success of the stage adaptation hinges on who plays the Genie – and how. In the case of the second touring production (of the 2011 Broadway musical) that flew across the Fox Theatre stage for about as long as a good magic carpet ride (December 12-17), Marcus M. Martin delivers an outsized, turn-it-to-11 performance that deserves its place in some sort of Genie Hall of Fame.

Martin’s performance left me thinking, “Robin Williams, who?” He was antic and frantic, equal parts Falstaff and Madea, with the moves of Fat Albert crossed with a dancer from Les Ballets Trockadero de Monte Carlo. Martin has been given most of the best quips and quotes in the show – delivered with the same transgressive brio of Jim Carrey in The Mask: “Somebody stop me!”

Martin could probably work his magic naked on a bare stage, but, of course, that wouldn’t happen with a family-friendly Disney property. So, his performance (and that of all the other characters) was made so much the better and more dazzling thanks to the direction and choreography of Casey Nicholaw and costume designs by Gregg Barnes.

This lavish production had a colorful, “spare no expense” sheen throughout, especially the set design by Bob Crowley and projections by Daniel Brodie. A particular standout was the properly monikered Cave of Wonders with so many (and so many clever types of) treasures that would put Smaug’s Lair to shame – all blazingly illuminated by Natasha Katz’s lighting design.

“Aladdin” includes all of the songs of the original film as well as new songs — all beautifully orchestrated by Danny Troob. I was curious to see how the film’s iconic “A Whole New World,” the love ballad between Aladdin (played by an engaging Aaron Choi) and Jasmine (played by an equally engaging Senzel Ahmady), would be presented. In the film, this magic carpet ride high above the city was relatively easy to achieve. The laws of physics don’t apply in animation.

The staged version did not disappoint. Though perhaps not as impressive as the helicopter scene in Miss Saigon, this production uses a dark night sky and a meandering, dimly lit mechanical “carpet” upon which the two lovers sing their duet. It was as subtle and beautiful as the Cave of Wonders was brash and brilliant.

Choi and Senzel had a believable chemistry together, as did Aladdin’s gang admirably portrayed by Jake Letts as Babkak, Nathan Levy as Omar and Colt Prattes as Kassim.

Disney’s Aladdin ran December 12-17 at the Fox Theatre, 500 North Grand Boulevard.

Disney Theatrical Productions under the direction of Thomas Schumacher presents Aladdin, the North American tour, music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book and additional lyrics by Chad Beguelin, starring: Adi Roy (Aladdin), Marcus M. Martin (Genie), Senzel Ahmady (Jasmine), Jake Letts (Babkak), Colt Prattes (Kassim), Ben Chavez (Omar), Anand Nagraj (Jafar), Aaron Choi (Iago) and Sorab Wadia (Sultan) directed and choreographed by Casey Nicholaw

Cirque Du Soleil Swirls Through a Holiday Classic with ‘Twas the Night Before…’

Cirque Du Soleil Swirls Through a Holiday Classic with ‘Twas the Night Before…’

By CB Adams

The holiday zeitgeist feels different this year. Maybe it’s because we need some relief from the unrelenting news cycles filled with war, strife and discord. Or maybe we’re still emerging – chrysalis-like – from the lingering fog of the COVID pandemic. Or maybe it’s due to that fabulously fun new Christmas album that Cher just dropped.

No matter the reason, the feeling in the air is that “…we need a little music, need a little laughter / need a little singing ringing through the rafter / and we need a little snappy, happy ever after,” to quote Jerry Herman’s “We Need A Little Christmas.” Delivering more than “a little” Christmas is Cirque Du Soleil’s supersized, supercharged and super-athletic “’Twas the Night Before…,” running at the Fabulous Fox through December 10.

“Twas the Night Before…,” which debuted several years ago, is the first holiday show – make that spectacle – by Cirque du Soleil. It’s loosely based on Clement Clarke Moore’s chestnut, “A Visit from Saint Nicholas.” The show follows the poem’s storyline using Cirque’s creative interpretation of circus arts – aerobatics, gymnastics, tumbling, juggling, diabolo yo-yos, clown bike and the like. Of course, Cirque being Cirque (under the direction of senior artistic director, James Hadley), the show envelopes the performers with over-the-top staging that includes a stunning amount of tinsel, props and fake snow that creates an immersive, richly saturated experience.

The show’s recorded soundtrack is equally creative and pulse-pounding without being overwhelming. According to Jean-Phi Goncalves, the show’s musical composer, “My goal in creating this music was to introduce a little holiday surprise in every track. By taking the essence of these Christmas classics…and adding a modern twist with electronics, big drums and fat basses, we were able to reveal them in a completely new light. I like to think that the reconstructed pieces speak to Christmas music lovers as well as those who have yet to embrace the genre.”

The percussive soundtrack achieves all that – and more. It’s a major contributor to the propulsive nature of “Twas the Night Before…” The show is one the “fastest” ways to spent 90 minutes as it presents Cirque’s story about a jaded young girl who rediscovers the magic of the holidays.

The spectacular staging, lighting design (some of quite high-tech), shimmering costumes and music all serve the acrobatic athleticism of the performers.

Adorability-wise, the reindeer are the hands-down winners. In golden jockey costumes with satiny underbellies, they have their names emblazoned on their backs. Diving through hoops at increasing heights, they’re comical and impressive — and it’s charming somehow that Prancer (Jinge Wang), never the starriest member of Santa’s team, is the best of all.

“A Visit From St. Nicholas,”  introduced the world to Santa’s reindeers. You know, Dasher, Dancer, Prancer and the rest of the team? “Twas the Night Before…” transforms the reindeers into comic characters with jockey-inspired golden costumes and mannerisms like jockeys. Their big number, which involves diving through ever-higher hoops, occurs near the climax of the show.

There are no weak acts in this show, whether it’s the opening aerial pas de deux with two male performers, the tumbling antics of a bunch of mice or a mash up of ballet and contortion within a hotel cart. There’s even a roller disco act that is so good that it’s easy to forget to question what it has to do with the story.

“’Twas the Night Before…” is advertised as something for the whole family. Usually when I see that phrase, it means that it dumbs-down things to a child’s level. Not so with this show. Everyone, from the kiddos to their elders, can become enchanted by the performance. It’s diverting in all the best ways and delivers a big little Christmas, “right this very minute.”

“’Twas the Night Before…” at The Fabulous Fox runs through Dec.10. For tickets and information go to The Fabulous Fox website.