Saint Louis Dance Theatre’s (RE)BUILD Captivates with an Emotional Journey in Four Parts

Saint Louis Dance Theatre’s (RE)BUILD Captivates with an Emotional Journey in Four Parts

By CB Adams

With winter waning and March’s “in like a lion, out lamb” (or its inverse) in mind, thoughts turn to what spirit animal could best represent the experience of Saint Louis Dance Theatre’s (RE)BUILD, February 27-March 2?

To represent the excellence created and curated by the company’s artistic director, Kirven Douthit-Boyd, the butterfly is an apt spirit animal because it is associated with sensitivity and transformation, as well as lightness and freedom associated with playfulness. The  delicate and whimsical nature aligns with an artistic, fluid spirit that embraces change with joy and beauty—expressed individually in the four pieces presented as well as the collective narrative told across the performances.

A group of butterflies is called a kaleidoscope that is an apt description of the Program B (one of four in the series of performances) on March 1: “Unfold” by Robert Battle, “Good Grief” by Jamar Roberts, “For Love’s Sake” by Douthit-Boyd and “Sechs Tӓnze” by Jiří Kylián.

Serving almost the same role of a symphony or opera overture, Battle’s 10-mnute “Unfold” (2007) set the early tone for the performance. “Unfold” is a powerful and evocative contemporary dance duet that explores the complexity of a romantic relationship. The work is set to Leontyne Price’s emotional rendition of “Depuis le jour” from Charpentier’s opera “Louise,” enhancing the emotional intensity of the piece.

The duet follows the journey of two individuals navigating a deep, poignant connection. Lily Cong, in her performance, stood out with a remarkable display of flexibility and control, particularly in her extreme backbends, which added a layer of vulnerability to her character. Her graceful, arching movements created a visual contrast to her partner, Keenan Fletcher, who portrayed a man lost in his memories, clinging, perhaps, to a past love.

Fletcher’s performance complemented Cong’s with a sense of longing and melancholy, as his slow, deliberate movements evoked the feeling of someone caught between holding on and letting go. One striking moment came when Cong, in a slow développé, lifted her toes to the sky in perfect synchronicity with Price’s high note. This moment of convergence highlighted the delicate connection between the dancers, and Battle’s careful choreography avoids overstating the emotional resonance.

Next was “Good Grief” by choreographer Roberts, recognized for his tenure with the Alvin Ailey American Dance Theater and described in “Dance Magazine” as “a choreographic voice of uncommon force and originality.” Roberts is known for skillfully incorporating jazz elements into his choreography, blending them with modern dance to create emotionally resonant performances.

“Good Grief” is set against a rich and diverse musical landscape, featuring the evocative music of Oded Tzur, Petros Klampanis and Nitai Hershkovits. One of the recurring strengths of Saint Louis Dance Theatre is the superb and noteworthy music choices. Numerous songs and compositions have made their way from the program notes to my personal playlists and never fail to stand alone as well as conjure the vibe of the dances with which they are paired.

The music of “Good Grief” is no exception, featuring “Tzurkauns,” “Miniature 3,” “Miniature 1” and “Miniature 2” from the album “Here Be Dragons” by Oded Tzur, an Israeli tenor saxophonist who integrates Indian classical music with jazz. Tzur uses microtonal techniques and fluid transitions to craft introspective, storytelling compositions. His phrasing often—and pleasingly—resembles that of a flutist—not surprising because he studied Hindustani classical music with Bansuri flute master Pandit Hariprasad Chaurasia.

The piece also included “Single Mother,” performed by Tzur, joined by  Petros Klampanis, a Greek bassist and composer, and Nitai Hershkovits, an Israeli pianist. Their music blends jazz, classical and world influences, creating a deeply emotional and resonant soundscape that enhances the choreography’s themes of sorrow, resilience and transformation. Klampanis infuses his jazz foundation with Mediterranean and Balkan folk elements, creating intricate, melodic arrangements rich in texture and rhythm. Hershkovits brings a dynamic and versatile touch, blending jazz, ambient, fusion and funk with technical precision and emotional depth.

The ensemble of Saint Louis Dance Theatre dancers for “Good Grief” featured Angel Khaytyan, Demetrius Lee, Jada Vaughan, Spencer Everett, Jessie Yero, AJ Joehl, Megan Rancour, Madalyn Bailey, Sergio Camacho and Will Brighton. Together, the dance’s flowing narrative—delivered in a seamless, almost hypnotic progress of group and solo scenes—is a deeply expressive journey, guiding the movement with waves of reflection, tension and catharsis.

“For Love’s Sake,” choreographed by Douthit-Boyd is a contemporary dance piece that premiered during the (RE)CLAIM: concert in fall 2024. This work is a profound exploration of love as a form of resistance, highlighting the transformative power of human connection amidst adversity. Through a blend of movement, music and visual storytelling, the piece delves into themes of intimacy, vulnerability and the enduring strength found in unity.

Douthit-Boyd’s choreography masterfully combines fluid, expressive movements with moments of intensity and stillness, reflecting the complexities of love in its various forms—romantic, platonic and communal. Dancers for the March 1 performance were Fletcher, Lee Nyna Moore, Khaytyan, Joehl, Brighton, Cong and Rancour. They vividly portrayed the struggle, resilience and ultimate triumph of human connection, delivering a poignant and immersive experience.

Another key element of “For Love’s Sake” is its carefully curated soundscape, featuring samples from a diverse array of artists, including Imani Uzuri, Zero 7, Heather Clark and Mark Isham. This eclectic mix of soul, electronica, ambient and cinematic sounds enriches the piece, providing a textured auditory backdrop that enhances the emotional impact of the performance. The piece also draws inspiration from Hum, a sound work by Montreal-based artist Hajra Waheed, known for its layered voices and meditative sonic textures.

These influences are intricately woven into the dance, evoking a sense of longing, resilience and solidarity. Having experienced this piece multiple times since its premiere, I can state confidently and accurately that, by integrating these musical and conceptual elements, Douthit-Boyd has created a multidimensional experience by creating a space of reflection and emotional engagement. In a world often divided by struggle and discord, the piece serves as a powerful reminder that love, in all its forms, remains a revolutionary force.

(RE)BUILD concluded with a delightful shift in tone delivered by Kylián’s witty “Sechs Tänze,” a 1986 piece set to Mozart’s lively and humorous “Six German Dances” (KV 571). The piece was a company premiere and marked the first time that a work by Kylián has been performed in St. Louis.

Kylián, born in Prague in 1947, is a renowned contemporary dance choreographer known for his innovative and expressive works. The artistic director of Nederlands Dans Theater since 1976, his choreography often requires dancers to possess a high level of technical precision and emotional depth. His works blend minimalist movements with moments of intense emotional release, challenging dancers to explore new ways of expressing themselves physically.

To the company’s credit and growing reputation and credibility within the dance world, Shirley Esseboom, a ballet master for Kylián Productions, was in St. Louis to work  with Saint Louis Dance Theatre’s dancers—Fletcher, Camacho, Khaytyan, Lee, Jessie Yero, Molly Rapp, Cong, Arpège Lundyn, Brighton, Isaiah Valentin, Spencer Everett, Vaughan and Joehl. The company dancers proved—one in all—that they were adept at both classical and contemporary techniques and capable of executing Kylián’s complex movements while conveying deep emotional narratives.

“Sechs Tänze” subtly explores deeper themes about life and performance and features eccentric, whimsical movements, alternating between joyful group dances and sudden pauses. This blend of absurdity and stillness kept the audience engaged and laughing, perfectly complementing Mozart’s playful music. The unpredictable nature of the performance, with its physical comedy and unexpected juxtapositions, created a fun and infectious atmosphere.

“Sechs Tänze,” performance should be essential viewing for anyone who perceives modern dance as enigmatic or exclusive. While the piece exudes a playful atmosphere, it also subtly echoed the entire program’s theme of life’s absurdity, a thread that connected all three works in the program. It was a fitting conclusion to a program that consistently returned to the themes of life’s brevity, beauty, impermanence and complexity.

Saint Louis Dance Theatre’s (RE)BUILD was performed at the Catherin B. Berges Theatre at the  Center of Contemporary Arts (COCA’s) February 27 through March 2.

All photos by Pratt and Kreidich

Winter Opera’s ‘Magic Flute’ Delivers Elegance, Humor and Timeless Charm

Winter Opera’s ‘Magic Flute’ Delivers Elegance, Humor and Timeless Charm

By CB Adams

Mozart’s “The Magic Flute” balances fairy-tale whimsy with deeper allegory, and Winter Opera’s production embraces that duality with refreshing sincerity. Without gimmicks, forced interpretations or distracting modern flourishes, it trusts the material, the creative team and the performers to deliver warmth, humor and a thoroughly satisfying experience. It’s just Mozart’s music and Emmanuel Schikaneder’s libretto—presented with clarity and respect.

The story unfolds in a mythical realm where beasts lurk, magic reigns and two young lovers—Prince Tamino and Princess Pamina—are ensnared in a cosmic struggle between the vengeful Queen of the Night and Sarastro, the High Priest of the Sun.

Schikaneder’s libretto is layered with the unmistakable symbolism of Freemasonry (and not a small amount of mumbo jumbo). Winter Opera’s production, however, softens the esoteric elements. Although sung in the original German, the dialogue is delivered in English (including some modern vernacular) making for a more accessible production.

Winter Opera assembled a fine cast that balances local vocal prowess and theatrical charm. Tenor Alexander Scheuermann embodies Tamino with the kind of heroic presence that makes the role (and his voice) soar. As Papageno, bass-baritone Steve Valenzuela balances comedy and warmth, never overplaying his good-natured buffoonery.

Leeann Schuering, Steve Valenzuela. Photo by Peter Wochniak.

Soprano Maggie Kinabrew delivers a formidable Queen of the Night, her coloratura razor-sharp, slicing through the air with precision in her Act II aria. Bass Bert Johnson’s Sarastro exudes gravity, his deep obsidian tones lending the character an air of tangible authority.

Elena Galván’s Pamina is as spirited as she is sweet-voiced. Her performance delivers dramatic depth and vocal elegance. Leann Schuering charms as Papagena and baritone Joel Rogier lends a commanding presence as the Spokesman of the Temple.

Marc Schapman’s Monostatos, though lecherous in intent, plays more as comic relief—his comedic timing enhancing rather than detracting from his vocal performance.

The supporting cast is equally well-assembled. Karen Kanakis, Brittany Moleski and Emily Moore—playing the Queen’s Three Ladies—are visually striking in jewel-toned costumes, each creating her own distinct character.

The Three Spirits, performed by Anna Edwards, Chloe Haynes and Calista Goldwasser, bring a graceful presence to their ethereal roles.

Rounding out the fine casting is the chorus. Even two guards enjoy a satisfying, if small, moment in the second act—exemplifying the overall quality of the production. Under Mark Ferrell’s light baton, the small orchestra delivers a full and at times powerful performance of Mozart’s beautiful score. The extended overture was one of the many enjoyable moments in this production.

Maggie Kinabrew, Elena Galvan. Photo by Peter Wochniak.

Jen Blum-Tatara’s 18th century-inspired costumes are as period-appropriate as they are, at times, opulent. Scott Loebl’s minimal-but-evocative set design provides just the right amount of atmosphere without calling too much attention to itself. Loebl’s set and Michael Sullivan’s lighting design deliver another of this production’s best moments.

Late in the second act, Tamino plays his flute and he and Pamina pass through fire and water. To convey their journey, they pass behind a patterned screen (red for fire and blue for water) in a shadow play that stretches the width of the stage. The approach works well for this turning point in the opera.

“The Magic Flute” is a fitting end to Winter Opera’s 24-25 season (their 18th) and sets a good precedent for next season.

Karen Kanakiss Emily Moleski, Alex Scheuermann; and Steve Valenzuela. Photo by Peter Wochniak.

Winter Opera’s “The Magic Flute” was presented at Kirkwood Community Center Feb. 28 through March 2.

Opera Theatre of Saint Louis’ 2025 New Works Collective: Innovation, Inclusion, and the Future of Opera

Opera Theatre of Saint Louis’ 2025 New Works Collective: Innovation, Inclusion, and the Future of Opera

By CB Adams

To discuss Opera Theatre of Saint Louis’ New Works Collective in 2025 is to engage with a program that is, at once, an artistic initiative, a social experiment and a statement of intent.

The project, now in its third year, represents a quiet but deliberate recalibration of the operatic landscape, a gesture toward a more inclusive and participatory model of commissioning and production.

If Peter Gelb, General Manager of the Metropolitan Opera, is correct in asserting that “the future of opera lies in the creation of new works that speak to contemporary audiences,” then OTSL’s New Works Collective is both a response and a challenge to that claim. The initiative does more than merely generate new operas because it also interrogates the mechanisms by which they come into being.

The Collective’s methodology is notable: rather than relying on the insular world of opera professionals to dictate artistic output, it assembles a committee of St. Louis-based artists, advocates and local leaders to guide its commissions. The result is an inherently communal aesthetic, one that seeks to reflect the multiplicity of voices within its reach.

Black Coffee, with Taylor-Alexis DuPont and Paul Chwe Minchul An). Photo by Philip Hamer.

The productions have explored a diverse array of themes and settings, including explorations of female empowerment, free speech, Black queer joy, and neurodiversity. 

This year’s cohort—three short operas bound by the thematic thread of parent-child relationships—extends the program’s tradition of eclecticism and social engagement.

The evening opened with Black Coffee, a collaboration between librettist Alicia Revé Like. At its core, the opera is a meditation on displacement and belonging, following Makena, a young woman newly arrived in St. Louis, as she navigates the nebulous terrain of community and self-definition. Taylor-Alexis DuPont’s portrayal of Makena was imbued with a light, airy lyricism that lent warmth to the character’s uncertainties.

The supporting cast, including Martin Luther Clark as Makena’s father and Emilie Kealani in dual roles as Blake and Allegra, demonstrated impressive versatility, particularly in a score that demanded an interplay of humor and poignancy. Concert Black’s music, characterized by its understated charm, was complemented by a nimble use of projections, evoking the shifting spaces of bookstores and cafés with a disarming sense of whimsy.

Makena ITaylor-Alexis DuPont) meets Allegra (Emilee Kealani) in ‘Black Coffee.” Philip Hamer photo.

The second opera, Family Style, offered a tonal shift. Librettist Melisa Tien and composer Meilina Tsui construct a world in which familial duty and personal aspiration collide with an almost operatic inevitability.

Mia, played with luminous sensitivity by Emilie Kealani, finds herself at an impasse: her father, Ping (Paul Chwe Minchul An), dreams of opening a Taiwanese restaurant, while she wrestles with the financial and emotional weight of her own ambitions.

Tsui’s score, laced with Chinese tonalities and instrumentation, shaped the opera’s emotional contours with an evocative depth.

A moment of levity—an exuberant ode to broccoli, featuring dancing vegetable stalks—was an unexpected delight, evidence of the production’s ability to balance gravity with playfulness. The chemistry between Kealani and An was particularly affecting, their voices intertwining in moments of shared longing and resignation.

Family-Style. Photo by Philip Hamer.

The evening concluded with Kandake, perhaps the most traditionally operatic of the three in scope and subject matter. Written by librettist Jarrod Lee and composer Tim Amukele, Kandake recounts the true story of Amanirenas, the warrior queen of Kush who defied the Roman Empire. Cierra Byrd, in the title role, delivered a performance of striking authority, her rich, full-bodied voice channeling both the grandeur and vulnerability of Amanirenas.

The opera’s climactic moment—a visual and musical spectacle in which Amanirenas, clad in Angelique Newbauer’s resplendent gold costume, ascends to her final triumph amidst a cascade of shimmering confetti—was among the evening’s most indelible images. If any of the works on offer seemed poised for expansion into full-length form, Kandake was the clear candidate, its narrative ambition and dramatic breadth demanding a longer canvas.

Kandake. Photo by Philip Hamer.

Under the assured musical direction of Darwin Aquino and the deft staging of Richard Gammon, the 2025 New Works Collective was executed with a coherence that belied its tripartite structure.

Yuki Izumihara’s scenic and projection designs, Newbauer’s costumes, Kaitlyn Breen’s lighting, Brandon Fink’s choreography, and Kelley Jordan’s wig and makeup design all contributed to a production that felt polished and deeply considered.

Three years into its existence, the New Works Collective has carved out a space that is at once generative and disruptive, honoring opera’s traditions while challenging its insular tendencies. It has become a platform not only for emerging composers and librettists but for an evolving vision of what opera can and should be.

Whether it continues beyond this cycle remains to be seen, but if the 2025 performances are any indication, the project is far from exhausted. One can only hope for its continuation, as a program and as a provocation to the wider operatic world: who gets to create opera, and for whom is it created?

Kandake. Photo by Philip Hamer.

The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

The Muny, Stages’ ‘Ragtime,’ and STL Shakespeare Fest Lead Theater Circle Awards Nominations

THE MUNY, WITH 30 NOMINATIONS, IS TOP CONTENDER FOR 12TH ANNUAL  ST. LOUIS THEATER CIRCLE AWARDS; “RAGTIME,” “AS YOU LIKE IT” LEAD INDIVIDUAL SHOWS WITH 10 NOMINATIONS EACH

Event March 24 Will Honor Outstanding Work in Local Professional Theater in 2024

The Muny, with 30 nominations covering all seven of the productions in its 2024 season, is the top contender at the 12th annual St. Louis Theater Circle Awards. Individual shows “Ragtime” at Stages St. Louis, and “As You Like It” at St. Louis Shakespeare Festival, with 10 nominations apiece, lead the list of 53 productions to receive at least one nomination.

The annual gala will take place on Monday, March 24 at the Loretto-Hilton Center for the Performing Arts, 130 Edgar Road on the campus of Webster University, home of The Rep.

Tickets at $23 apiece ($20 plus a $3 processing fee) are available at The Rep’s web site www.repstl.org ticket link: https://repstl.my.salesforce-sites.com/ticket/#/events/a0SVI0000040h4J2AQ

The Rep’s box office number is 314-968-4925. Tickets will also be available at The Rep’s box office one hour before the ceremony, which will start at 7:30 p.m. Doors will open at 6:30 p.m. for a one-hour ‘Happy Hour,’ with beverages and snacks available for purchase.

Nominees in 34 categories, including a new category “Outstanding Projections or Special Effects,” will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the calendar year 2024. Approximately 112 productions were considered for nominations for this year’s event.

Additionally, Joe Hanrahan, founder and artistic director of The Midnight Company, and Ron Himes, founder and producing director of the St. Louis Black Repertory (The Black Rep), will be honored with Lifetime Achievement Awards.

The eighth annual award ceremony, which was to have been held at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event, honoring outstanding local theater productions for the year 2019, was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel and web site.

A ninth annual ceremony similarly was streamed on HEC Media for the combined years of 2020 and 2021, before the gala returned to the Loretto-Hilton in 2023 for the 10th annual awards.

The nominees for the 12th annual St. Louis Theater Circle Awards are:

Jasmine Cheri Rush, Caroline Amos and Ricki Franklin, all nominees for “As You Like It.” Photo by Philip Hamer.

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role 

Ricki Franklin, “As You Like It,” St. Louis Shakespeare Festival
Amy Loui, “Steel Magnolias,” Stages St. Louis
Jasmine Cheri Rush, “As You Like It,” St. Louis Shakespeare Festival
Zoe Vonder Haar, “Steel Magnolias,” Stages St. Louis
Susan Wylie, “Woman in Mind (December Bee),” Albion Theatre

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role 

Danny Brown, “Woman in Mind (December Bee),” Albion Theatre
Joseph Garner, “Woman in Mind (December Bee),”” Albion Theatre
Isaiah Di Lorenzo, “Woman in Mind (December Bee),” Albion Theatre
Joel Moses, “As You Like It,” St. Louis Shakespeare Festival
Spencer Sickmann, “Trayf,” New Jewish Theatre

Outstanding Performer in a Comedy, Female or Non-Binary Role 

Caroline Amos, “As You Like It,” St. Louis Shakespeare Festival
Emily Baker, “Woman in Mind (December Bee),” Albion Theatre
Claire Coffey, “Bell, Book and Candle,” Stray Dog Theatre
LaWanda Jackson, “Don’t Be a Hero, Thank You,” Prison Performing Arts
Kelley Weber, “The Roommate,” Repertory Theatre of St. Louis

Spencer Sickmann, Jason Schmidt and Bryce Miller, all nominees for “Trayf.” Photo by Jon Gitchoff.

Outstanding Performer in a Comedy, Male or Non-Binary Role 

Alan Knoll, “We All Fall Down,” New Jewish Theatre
Bryce A. Miller, “Trayf,” New Jewish Theatre
Ben Ritchie, “Red Jasper,” Michael Madden Productions
Jacob Schmidt, “Trayf,” New Jewish Theatre
Joel Wilper, “Bell, Book and Candle,” Stray Dog Theatre

Outstanding Lighting Design in a Play 

Denisse Chavez, “All My Sons,” New Jewish Theatre
Denisse Chavez, “As You Like It,” St. Louis Shakespeare Festival
Minjoo Kim, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
William C. Kirkham, “Moby Dick,” Repertory Theatre of St. Louis
Sean Savoie, “Hold On!,” The Black Rep

Outstanding Sound Design 

Kareem Deanes, “The Roommate,” Repertory Theatre of St. Louis
Chuck Harper, “Wolf Kings,” YoungLiars
Rick Sims, “Moby Dick,” Repertory Theatre of St. Louis
Amanda Werre, “All My Sons,” New Jewish Theatre
Amanda Werre, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis

Marcy Wiegert nominated for “Romanov Family Yard Sale” among ERA’s 6 nominations. Photo by Joey Rumpell.

Outstanding Costume Design in a Play 

Dorothy Marshall Englis, “As You Like It,” St. Louis Shakespeare Festival
Colleen Michelson, “The Mousetrap,” Stray Dog Theatre
Carolyn “Sully” Ratke, “Moby Dick,” Repertory Theatre of St. Louis
Michele Friedman Siler, “Life Is a Dream,” Upstream Theater
Marcy Wiegert, “Romanov Family Yard Sale,” ERA Theatre

Outstanding Set Design in a Play 

Andrea Ball, “We All Fall Down,” New Jewish Theatre
Scott C. Neale, “As You Like It,” St. Louis Shakespeare Festival
Courtney O’Neill, “Moby Dick,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Dial ‘M’ for Murder,” Repertory Theatre of St. Louis
Margery and Peter Spack, “Red,” New Jewish Theatre

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role 

Evann De-Bose, “Hold On!,” The Black Rep
Kari Ely, “Wedding Band,” The Black Rep
Margery Handy, “The Inheritance,” Tesseract Theatre Company
Nadja Kapetanovich, “The Whale,” St. Louis Actors’ Studio
Claire Karpen, “August: Osage County,” Repertory Theatre of St. Louis

“August: Osage County” received six nominations for The Rep, among its 19. Photo by Jon Gitchoff.

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role 

J. Samuel Davis, “King Hedley II,” The Black Rep
Gary Glasgow, “Life Is a Dream,” Upstream Theater
Jayson Heil, “All My Sons,” New Jewish Theatre
Alan Knoll, “August: Osage County,” Repertory Theatre of St. Louis
Peter Mayer, “Cat on a Hot Tin Roof,” Tennessee Williams Festival St. Louis

Outstanding Performer in a Drama, Female or Non-Binary Role 

Nicole Angeli, “Lungs,” Albion Theatre Company
Amy Loui, “All My Sons,” New Jewish Theatre
Ellen McLaughlin, “August: Osage County,” Repertory Theatre of St. Louis
Jacqueline Thompson, “Wedding Band,” The Black Rep
Maggie Wininger, “Molly Sweeney,” Albion Theatre

Outstanding Performer in a Drama, Male or Non-Binary Role 

Christopher Harris, “Red,” New Jewish Theatre
Greg Johnston, “All My Sons,” New Jewish Theatre
Joel Moses, “Lungs,” Albion Theatre
Gabriel Paul, “The Inheritance,” Tesseract Theatre Company
William Roth, “The Whale,” St. Louis Actors’ Studio

Kristen Joy Linvendt, and nominees Greg Johnston, Jayson Heil and Amy Loui in NJT’s” All My Sons.” Photo by Jon Gitchoff.

Outstanding New Play 

“Am I Dangerous?,” by e.k. doolin, Contraband Theatre
“Longing,” by Lize Lewy
“Love in the Time of Nothing,” by Jayne Hannah, St. Louis Actors’ Studio
“Romanov Family Yard Sale,” by Courtney Bailey, ERA Theatre
“Tempest in a Teapot,” by Shualee Cook, SATE Ensemble

Outstanding Achievement in Opera 

Justin Austin, “The Barber of Seville,” Opera Theatre of Saint Louis
Daniela Candillari, “Julius Caesar,” Opera Theatre of Saint Louis
Sarah Mesko, “Julius Caesar,” Opera Theatre of Saint Louis
Elise Quagliata, “Carmen,” Union Avenue Opera
Laura Skroska, “Into the Woods,” Union Avenue Opera

Outstanding Production of an Opera 

“Carmen,” Union Avenue Opera
“Galileo Galilei,” Opera Theatre of Saint Louis
“H.M.S. Pinafore,” Winter Opera St. Louis
“Julius Caesar,” Opera Theatre of Saint Louis
“The Barber of Seville,” Opera Theatre of Saint Louis

The company of the 2024 Muny production of “Les Misérables.” Photo by Phillip Hamer

Outstanding Musical Director 

E. Renee Gamez, “Ragtime,” Stages St. Louis
Khalid McGee, “Blues in the Night,” The Black Rep
James Moore, “Les Miserables,” The Muny
Zach Newman, “Anastasia: The Musical,” Tesseract Theatre Company
Andra Velis Simon, “Waitress,” The Muny

Outstanding Choreographer 

William Carlos Angulo, “In the Heights,” The Muny
Jared Grimes, “Anything Goes,” The Muny
Sylvia Hernandez-Distasi, “Moby Dick,” Repertory Theatre of St. Louis
Mike Hodges, “Xanadu,” Stray Dog Theatre
Lindsay Joy Lancaster, “Disney’s Newsies,” Stages St. Louis

Outstanding Projections or Special Effects

Zach Cohn, “Hold On!,” The Black Rep
Zachary Grimm, “Longing,” Lize Lewy
Kylee Loera, “Anything Goes,” The Muny
Joe Taylor, “Romanov Family Yard Sale,” ERA Theatre
Mike Tutaj, “Waitress,” The Muny

Sarajane Clark and Sarah Gene Dowling are nominated for “Ruthless.” Photo by John Lamb.

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role 

Rachel Bailey, “[title of show],” Prism Theatre Company
Sarajane Clark, “Ruthless,” Stray Dog Theatre
Lissa deGuzman, “Waitress,” The Muny
Kimmie Kidd, “Anastasia: The Musical,” Tesseract Theatre Company
Shereen Pimentel, “Ragtime,” Stages St. Louis

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role 

Will Bonfiglio, “First Date,” New Jewish Theatre
Kevin Chamberlin, “Anything Goes,” The Muny
Matthew Cox, “Ragtime,” Stages St. Louis
Fergie L. Philippe, “Disney’s The Little Mermaid,” The Muny
Lara Teeter, “Anything Goes,” The Muny

Outstanding Lighting Design in a Musical 

Tyler Duenow, “Nevermore,” Stray Dog Theatre
John Lasiter, “Fiddler on the Roof,” The Muny
Jason Lyons, “Les Miserables,” The Muny
Sean M. Savoie, “Disney’s Newsies,” Stages St. Louis
Sean M. Savoie, “Ragtime,” Stages St. Louis

Outstanding Set Design in a Musical 

Ann Beyersdorfer, “Disney’s Newsies,” Stages St. Louis
Ann Beyersdorfer, “Les Miserables,” The Muny
Wilson Chin, “Waitress,” The Muny
Edward E. Haynes Jr., “Anything Goes,” The Muny
Arnie Sancianco, “In the Heights,” The Muny

Ann Beyersdorfer’s set design is one of her two nominations, and “Disney’s Newsies” received 5 nominations. Photo by Philip Hamer.

Outstanding Costume Design in a Musical 

Leon Dobkowski, “Dreamgirls,” The Muny
Sarah Gene Dowling, “Anastasia: The Musical,” Tesseract Theatre Company
Sarah Gene Dowling, “Nevermore,” Stray Dog Theatre
Robin L. McGee, “Disney’s The Little Mermaid,” The Muny
Brad Musgrove, “Ragtime,” Stages St. Louis

Outstanding Performer in a Musical, Female or Non-Binary Role 

Sarah Gene Dowling, “Ruthless,” Stray Dog Theatre
Tiffany Mann, “Dreamgirls,” The Muny
Marissa McGowan, “Ragtime,” Stages St. Louis
Jessica Vosk, “Waitress,” The Muny
Sarah Wilkinson, “Anastasia: The Musical,” Tesseract Theatre Company

Outstanding Performer in a Musical, Male or Non-Binary Role 

Jordan Donica, “Les Miserables,” The Muny
Aaron Fischer, “Anastasia: The Musical,” Tesseract Theatre Company
Tamar Greene, “Ragtime,” Stages St. Louis
Adam Heller, “Fiddler on the Roof,” The Muny
John Riddle, “Les Miserables,” The Muny

“Steel Magnolias” at Stages St. Louis. Photo by Philip Hamer.

Outstanding Ensemble in a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Spirits to Enforce,” The Midnight Company
“Steel Magnolias,” Stages St. Louis
“Woman in Mind (December Bee),” Albion Theatre

Outstanding Ensemble in a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Hold On!,” The Black Rep
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company

Outstanding Ensemble in a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Anything Goes,” The Muny
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
Ragtime,” Stages St. Louis

The company of the 2024 Muny production of “Fiddler on the Roof.” Photo by Phillip Hamer

Outstanding Director of a Comedy 

Robert Ashton, “Woman in Mind (December Bee),” Albion Theatre
Nancy Bell, “As You Like It,” St. Louis Shakespeare Festival
Lucy Cashion, “Romanov Family Yard Sale,” ERA Theatre
Lucy Cashion, “Spirits to Enforce,” The Midnight Company
Aaron Sparks, “Trayf,” New Jewish Theatre

Outstanding Director of a Drama 

Gary Wayne Barker, “All My Sons,” New Jewish Theatre
David Catlin, “Moby Dick,” Repertory Theatre of St. Louis
Alan Knoll, “Red,” New Jewish Theatre
Stephen Peirick, “The Inheritance,” Tesseract Theatre Company
Amelia Acosta Powell, “August: Osage County,” Repertory Theatre of St. Louis

Outstanding Director of a Musical 

Lili-Anne Brown, “Waitress,” The Muny
Marcia Milgrim Dodge, “Anything Goes,” The Muny
Deidre Goodwin, “Ragtime,” Stages St. Louis
Brittanie Gunn, “Anastasia: The Musical,” Tesseract Theatre Company
Rob Ruggiero, “Fiddler on the Roof,” The Muny

Outstanding Production of a Comedy 

“As You Like It,” St. Louis Shakespeare Festival
“Romanov Family Yard Sale,” ERA Theatre
“Steel Magnolias,” Stages St. Louis
“Trayf,” New Jewish Theatre
“Woman in Mind (December Bee),” Albion Theatre

The cast of “Wedding Bank” at The Black Rep, which received 3 nominations.

Outstanding Production of a Drama 

“All My Sons,” New Jewish Theatre
“August: Osage County,” Repertory Theatre of St. Louis
“Moby Dick,” Repertory Theatre of St. Louis
“The Inheritance,” Tesseract Theatre Company
“Wedding Band,” The Black Rep

Outstanding Production of a Musical 

“Anastasia: The Musical,” Tesseract Theatre Company
“Disney’s Newsies,” Stages St. Louis
“Fiddler on the Roof,” The Muny
“Ragtime,” Stages St. Louis
“Waitress,” The Muny

Joe Hanrahan.

Special Award for Lifetime Achievement

Ron Himes.

Joe Hanrahan, founder and artistic director, The Midnight Company
Ron Himes, founder and producing director, The Black Rep

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Active members of the St. Louis Theater Circle include Chas Adams (PopLifeSTL.com, STL Stage Snaps, St. Louis Arts Scene on Substack); Mark Bretz (Ladue News); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Scene on Substack); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi ( St. Louis Arts Scene on Substack, Stage Left blog, Chuck’s Culture Channel on YouTube); James Lindhorst (Broadwayworld.com, St. Louis Arts Scene on Substack); Lynn Venhaus (PopLifeSTL.com, KTRS); and Bob Wilcox (Two on the Aisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.

For more information, visit www.stltheatercircle.org, contact stltheatercircle@gmail.com, or ‘like’ the St. Louis Theater Circle on Facebook.

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Bach Society of St. Louis’ Christmas Candlelight Concert Delivers a Sublime Holiday Experience

Bach Society of St. Louis’ Christmas Candlelight Concert Delivers a Sublime Holiday Experience

By CB Adams

There’s a reason that “BBC Magazine” named the Bach Society of St. Louis’ Christmas Candlelight Concert as one of their top-20 live holiday events in North America and why I named it one of the top-five 2024 recommendations for my STL Stage Snaps Recommends.

In contrast to all the hustle and bustle and jingle and jangle of holiday entertainment options, the Candlelight Concert stands out as a sublime respite, a reminder of the powerful analogue combination of human voices singing songs with rich depth and emotion, accompanied by a talented orchestra.

It is not hyperbole to call the Candlelight Concert a St. Louis holiday tradition. It has secured its place since 1951 with a Christmas event distinguished by fine musicianship and an intelligent, well-curated program of music old and new, familiar and should-be-familiar. With a sell-out on its second performance and nary an empty seat in the first, it’s proof positive that there’s interest and support for concerts filled with something more substantial than the sugar rush of holiday pop tunes (no shade on Mariah Carey, but she’s not all I want for Christmas).

There were approximately 90 singers and orchestra musicians filling the stage of the beautiful 560 Music Center in University City. As they do every year, the chorus surrounds a venue, electric candles in hand, and processes to the stage singing (this year) “Come, Thou Long-Expected Jesus.” This is a simple and effective way to begin this immersive performance – immersive without stagecraft, special effects or amplification – and is a hallmark of the annual performance that balances contemplative and celebratory music.  

Guest soloist Josefien Stoppelenburg, Photo by ProPhotoSTL.

A highlight and the centerpiece of this year’s program was Antonio Vivaldi’s “Gloria in Excelsis Deo,” one of his most celebrated sacred works. A. Dennis Sparger conducted the orchestra and elicited from the orchestra the 28 minutes of exuberance and lyrical beauty in this Baroque classic’s 12 movements.

Renowned for its dynamic contrasts, rich harmonies and virtuosic demands, Vivaldi’s “Gloria” is rightly celebrated for its evocation of celestial majesty and human devotion – and Bach Society’s choir and orchestra delivered it with excellence.

The piece featured the talents of two soloists: Josefien Stoppelenburg, soprano, and Kate Tombaugh, mezzo-soprano. Their performances individually and together were remarkable for their seamless interplay of virtuosic precision and expressive phrasing that captured the joy and devotional intensity of the piece, even if sometimes overwhelmed by the orchestra.

The highlights were Stoppelenburg’s radiant solo in the lyrical “Domine Deus,” a tender dialogue between voice and oboe (beautifully performed by Eileen Burke) and Tombaugh’s solo in “Domine Deus, Agnus Dei.” Tomabaugh delivered with nuance and passion the rich alto line set against a somber backdrop of strings. The two soloists were well-paired for the effervescent “Laudamus te” duet that brimmed with agility and charm.

Guest soloist Kate Tombaugh. Photo by ProPhotoSTL.

After an audience sing-along of “Joy to the World,” (no review necessary), the second “half” of the program of approximately 90 minutes comprised a world-tour with eight carols from Ireland, England, Italy, Ukraine, Poland and Wales. This portion began with the delightful “Noel!” from Karen Marrolli’s “Light of Peace” album. The choir, backed with a rich orchestration, delivered a joyful, uplifting rendition with an elegant, spirited blend of classical and contemporary influences.

Also noteworthy was the arrangement by Elaine Hagenberg of the well-worn “Wexford Carol.” Hagenberg beautifully reimagined this traditional Irish carol with lush harmonies, sensitive orchestration and intricate counterpoint. The choir’s performance provided a serene, reflective quality to the piece, capturing its historical roots and timeless beauty.

For “Gesu Bambino,” Tombaugh and Stoppelenburg retook the stage to perform Pietro Yon’s arrangement. His lush and expressive setting showcases the Italian carol’s emotive melody, and the singers fully captured his lyrical choral writing with an authentic reverence and celebration of the nativity.

Conductor Sparger introduced the pairing of David Mooney’s “Dublin Bells Carol” with the better-known “Carol of the Bells” by Mykola Leontovich. Sparger described how, on Christmas Eve, all the bells of Dublin’s more than 200 churches and two cathedrals ring out. Mooney was inspired by the sounds of 36 of those bells to create his lively, captivating “Dublin Bells Carol” that blends Irish folk influences with traditional Christmas themes. The choir was up to the challenge of creating the sounds of the rhythmic and vibrant melody.

Photo by ProPhotoSTL.

The orchestra then segued seamlessly into Peter Wilhousky’s arrangement of “Carol of the Bells.” Wilhousky’s dynamic and exhilarating setting intensifies the original Ukrainian carol with rapid, cascading choral phrases and vibrant harmonies.

The Bach Society’s Candlelight Christmas performance shares a similar sense of reverence and holiday spirit with the renowned Christmas at King’s College. Both offer a captivating evening of choral excellence and festive beauty. Both performances showcase stunning vocal harmonies and intricate orchestration, evoking a sense of peace and joy that resonates deeply. And both are – or should be – cherished holiday traditions.

The Bach Society of St. Louis Christmas Candlelight Concert was performed on December 18-19 at 560 Music Center.

Sold–out audience at the Bach Society of St. Louis’ Candlelight Christmas Concert. Photo by ProPhotoSTL.

IN UNISON Christmas Delivers Gift-Within-Gift Holiday Magic with SLSO, Take 6 and Inspired Performances

IN UNISON Christmas Delivers Gift-Within-Gift Holiday Magic with SLSO, Take 6 and Inspired Performances

By CB Adams

If you’ve ever eagerly unwrapped a gift and found it filled with many other wrapped gifts, that’s the sort of Matryoshka doll experience delivered by the St. Louis Symphony Orchestra’s IN UNISON Chorus, which celebrated its 30th anniversary on Dec.13 with a sold-out performance at Stifel Theatre.

The gift-within-gift was witnessed by an audience of more than 3,000 who received a night of festive music that featured the SLSO, the IN UNISON Chorus and Grammy-winning vocal group Take 6.

The concert program showcased the chorus’s unique connection to St. Louis’s Black church community and spotlighted the unique synergy between the orchestra and the IN UNISON Chorus (always worthy of its all-cap moniker). The show highlighted – as it always does – a well-curated program of traditional holiday classics and innovative interpretations and arrangements that collectively reflect the chorus’s deep roots in gospel and spiritual music.

While Take 6 was no doubt the big-name draw for this year’s program, the absolutely most heartfelt, soul-stirring and roof-blowing performances were delivered by the chorus’ own Mary Moorehead and De-Rance Blaylock. Everything else, although excellent, was bonus in comparison.

IN UNISON Chorus member Moorehead delivered a standout, heartfelt performance of Norman Hutchins’ “Emmanuel,” richly arranged by Loehrs. Alto Moorehead’s powerful, nuanced voice commanded the arrangements layered harmonies and soaring modulations with a grounding rhythmic pulse.

Her soulful performance, paired with the arrangement’s dynamic shifts and luminous crescendos, delivered profound emotional depth to this classic, capturing the power and intimacy of its message. Her moving rendition was exceptional for its emotional authenticity and reverent energy.

During the second half of the program, IN UNISON Chorus member Blaylock belted out a stunning performance of Walter Hawkins’ “Thank You,” a gospel masterpiece that expresses profound gratitude for divine grace, blending heartfelt lyrics with a lush, uplifting arrangement. As arranged by Cymbalta, this version introduces dynamic shifts and intricate vocal layering to enhance the song’s emotional resonance and spiritual fervor.

This song and arrangement exemplified why the IN UNISON Christmas concert perennially stands prominently in the St. Louis calendar of holiday entertainment. It’s always noteworthy for the performance as well as the curation of the richly varied program by conductor and chorus director Kevin McBeth and the SLSO’s artistic team, especially the inclusion of lesser known compositions, especially for those not immersed in the world of gospel and spiritual.

Backed by the chorus, alto Blaylock truly earned the tag showstopper with her performance of “Thank You.” Blaylock’s intense performance soared effortlessly above the choir’s richly textured harmonies and the arrangement’s dramatic crescendos. That combination created a powerful blend of intimacy and exaltation.

Also impressive was the wide range of ways she projected the two words – thank you – to deliver new and expanding meaning to the song’s message. Blaylock’s performance was so emotional, moving and powerful that it earned its own well-deserved (one-verse) encore.

The concert opened with an orchestral rendition of “Joy to the World,” which set a jubilant tone, then the chorus joined for Dan Forrest’s “Gloria in Excelsis” from “LUX: The Dawn from On High.” This song was a dazzling choral and orchestral celebration of light and divine glory, and indicated the level of performance promised by the rest of the program.

Among the pleasing mix of works, the program reprised a crowd favorite – Handel’s “Hallelujah” chorus, a song composed for Easter celebrations that has nonetheless elbowed its way in the Christmas repertoire. This program delivered the Warren/Jackson/Kibble/Hey/Chinn arrangement made famous in the Grammy-winning 1992 album “Handel’s Messiah: A Soulful Celebration.” McBeth paid tribute the producer of that album – Quincy Jones.

McBeth introduced Take 6 as “those jazzers” and announced this was the fourth time the group had collaborated with IN UNISON. Midway through the first half, the a cappella group jingled, jangled and jazzed their way through Christmas favorites, including a swing version of “Do You Hear What I Hear” in their defining style.

As the master showmen that they are, Take 6 could have carried an entire show all by themselves, yet they wove their songs into the program as seamlessly and tightly as their harmonies. The group returned in the second half to light up the final segment of the concert. Their humorous take on Tchaikovsky’s “Dance of the Sugar Plum Fairy,” which they titled “Sugar Plum Dance,” was a tasty aural treat with inventive vocal mimicry of orchestral instruments.

A Celebration of Tradition and Innovation

This year’s IN UNISON Christmas concert was a powerful reminder of the chorus’s enduring impact over three decades. Founded in 1994, the SLSO’s IN UNISON Chorus brings together talented volunteer singers from more than 30 local Black churches. Since then, it has become a vital cultural institution, blending community traditions with musical excellence. This year’s IN UNISON Christmas concert honored its enduring legacy with a joyous celebration of faith, collaboration and the transformative power of music.

The SLSO IN UNISON Christmas concert was performed at Stifel Theatre on Dec. 13.

Photos courtesy of St. Louis Symphony Orchestra.

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

Winter Opera’s 18th Season Sets Sail With a Buoyant ‘H.M.S. Pinafore’

By CB Adams

Timing, as they say, is everything. And Winter Opera’s sprightly production of Gilbert and Sullivan’s “H.M.S. Pinafore” succeeds thanks to all sorts of good timing.

First, Winter Opera’s timing was perfect – after the intensity of the recent elections – for anyone in need of a good laugh combined with catchy, rhythmic melodies. Yet, it was more than merely a distraction from the news cycles. It was an engaging and fulfilling experience starting from the first notes of the overture.

“Pinafore,” which debuted in 1878, endures because it offers both entertainment and a clever commentary on British social class and the workings of the naval hierarchy – a commentary that is relevant and nearly universal. The combined talents of conductor Scott Schoonover and director John Stephens delivered fresh vitality to “Pinafore.”

That’s a double dip of timing to Sullivan’s lively score and Gilbert’s witty lyrics – delivered with panache. Schoonover in particular captained this production’s consistent buoyancy, bright tempos and lively orchestrations.

Stephens injected contemporary energy into the operetta’s classic routines and underscored how bureaucratic absurdities and class distinctions are still relevant today.

Photo by ProPhotoSTL.

This production’s success relied on performances that combined vocal robustness with affection and irony. Brittany Hebel, as Josephine, and Brian Skoog, as Ralph, gave particularly charming performances, delivering their roles with vocal clarity and comic finesse. Hebel’s expressive soprano made Josephine’s role memorable with her strong top notes and flexibility – essential traits for Gilbert and Sullivan heroines.

Skoog’s warm tenor and cheery portrayal of Ralph added depth to their onstage romance. Jacob Lassetter’s Captain Corcoran was dignified and fatherly, effectively balancing authority with warmth. Gary Moss, playing Sir Joseph Porter, embodied the absurdity of his character with flair, delightfully showcasing Sir Joseph’s inflated self-importance as a government figure who commands the Royal Navy despite never having set foot on a ship.

More good “timing” was casting Emily Harmon in the role of Little Buttercup. She delivered playful mischief to the character, particularly in her duet “Things Are Seldom what They Seem” – a standout from the entire performance. Another was Tyler Putnam’s portrayal of the cynical seaman, Dick Deadeye. Putnam was immensely entertaining, vocally hearty, and ably added a touch of gritty realism to the otherwise farcical narrative.

Scenic designer Scott Loebl created a straightforward – and perfectly sized – quarterdeck set that captured the essence of a Victorian ship, allowing the performers’ comedic interactions to shine. Costume designer Jen Blum-Tatara and lighting designer Michael Sullivan enhanced the production’s ambiance, with era-appropriate attire and crisp lighting that brought out the unique personalities of each character.

Photo by PhotoProSTL.

Especially noteworthy were the performances of the ensemble songs that bookend the operetta: “We Sail the Ocean Blue” and “Oh Joy, Oh Rapture Unforeseen.” The first featured the chorus of sailors in a performance with definite “Anything Goes” vibes. The latter was a triumphant and celebratory rendition in which a stage full of characters happily rejoice in the resolution to the operetta’s romantic entanglements and class conflicts.

The combination of skilled musicianship, clever staging and talented vocal performances made this rendition of “H.M.S. Pinafore” a humorous, musically satisfying experience that exemplified why this operetta endures – time and again.

Winter Opera’s production of “H.M.S. Pinafore” ran November 8 and 10, 2024 at the Kirkwood Performing Arts Center.

Photo by PhotoProSTL.

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

By CB Adams
Union Avenue Opera’s production of “Into The Woods,” stage directed by Jennifer Wintzer, is a rich tapestry. From the set design through the final song, you (figuratively) want to run your hands over the texture and enjoy its quality.

Stephen Sondheim and James Lapine are the weft and weave, but it’s way UAO finely stitches the musical’s balance of humor and humanity with death and disillusionment that delivers a sumptuous and reassuring tapestry – like a Bayreux or Unicorn come to life.

UAO earns these accolades for its season-ending production of “Into the Woods” with excellence in all the theatrical components: direction, staging and set design, costumes and cast performance. If you’re a Sondheim fan but have never attended a UAO performance, don’t let the word opera scare you off. They deliver a traditional interpretation of this classic without any elaborate or ornamental operatic embellishments.

If you’re an opera fan, UAO always ends its season with an operetta or musical. Last year, they concluded the season with a fine production of “Ragtime.” Many opera companies do this, such as the storied New York City Opera, and it’s a way to demonstrate how opera set the stage for subsequent musical theater iterations. It’s also a way to fill the seats.

 Stephanie Tennill as Jack’s Mother and Matthew Greenblatt as Cinderella’s Prince, Photo by Dan Donovan.

The first – and one of the most impressive – aspects of this “Into The Woods” is the stage design by Laura Skroska, whose work on UAO’s production of the moody, atmospheric “Turn of the Screw” set was one of last year’s best. For “Into The Woods,” Skroska’s vision evoked the magical and eerie atmosphere of this fairytale world.

She, along with scenic artist Lacey Meschede and set decorator Cameron Tesson,  maximized the use of the Union Avenue Church’s modest stage by filling it with mossy tree trunks that serve as posts to multiple, rising platforms. The set extended into the sanctuary with the balcony festooned with moss and other elements from the main stage. The balcony also served as Rapunzel’s tower and the home of the heard-but-not-seen giants of Jack and Beanstalk fame.

Before the show began, the set created the ideal visual preparation for the rest of the performance. Skroska’s design elements  — expertly and effectively illuminated by Patrick Huber – underscore the timeless and complex nature of Sondheim’s work, ensuring that the woods felt both enchanting and foreboding, perfectly complementing the story’s themes.

Further enhancing the production are the outstanding costumes by Teresa Doggett. Appropriately tatty and fairytail-ish, Doggett’s costumes play a pivotal role in elevating “Into The Woods” by enhancing the visual storytelling and deepening the understanding of each character’s journey through the intertwined storylines. They reflect the dark, whimsical aspects of the show while paying homage to the traditional fairytale origins.

The movie adaptation of “Into the Woods” could use Disney magic to conjure the special effects. On stage, it’s a bit more challenging. UAO’s production makes fine use of the talents of puppeteer Jacob Kujath to portray Milky White, the emaciated cow, and a flock of birds. The use of these puppets adds a whimsical and imaginative element to the production. Kujath brings them to life through expressive manipulation and playful interactions that seamlessly integrate with the live action.

Rebecca Hatlelid as Lucinda, Gina Malone as Florinda, Debra Hillabrand as Cinderella’s Stepmother. Photo by Dan Donovan.

The cast of 21 showcases the depth and versatility across the roles with performances that rise from solidly good to exceptional. That latter response is earned by mezzo-soprano Taylor-Alexis Dupont for her Witch. Clad in a wickedly good mask, which is almost a character unto itself, Dupont intensely inhabits the character of the Witch and delivers an impressive performance.

It is a sheer delight witnessing Dupont – through powerful song and acting – deliver a full transformation of the Witch, exemplifying the duality of her character. Her believable duality turns “Children Will Listen” into an emotional, cautionary swan song delivered by a once-menacing – but now tragic – figure.

“Into The Woods” isn’t all serious and dark. At the other end of the spectrum from the Witch are Rapunzel’s and Cinderella’s respective, rather vacuous princes, played by tenors James Stevens and Matthew Greenblatt. Their duet “Agony” is usually one of the top-three most favorited songs, and Stevens and Greenblatt do not disappoint in their delivery of this biting, satirical tune.

Sidenote: “Into the Woods” debuted in 1986, and Cinderella’s dum-dum prince with his “I was raised to be charming, not sincere” attitude is definitely a precursor, if not the model, for the Ken character in the recent “Barbie” movie.

Soprano Brooklyn Snow’s portrayal of Cinderella her vulnerability with a growing strength, effectively conveying her journey from innocence to self-awareness through both subtle acting and dynamic vocals. Likewise, soprano Leann Schuering’s Baker’s Wife successfully merges the character’s fairy-tale origins with the weight of her decisions.

Lauren Nash Silberstein as Rapunzel and Taylor-Alexis DuPont as the Witch. Photo by Dan Donovan.

Schuering’s performance is marked by its depth and emotional resonance. Soprano Laura Corina Sanders performance of Little Red Ridinghood [sic] captures the character’s innocence and curiosity and skillfully transforms from naive cheerfulness to a deeper understanding of the dangers and complexities of the world.

Baritone Brandon Bell bakes into his performance as the Baker a balance of warmth with emotional complexity. Like the Witch, he too undergoes a transformation. Bell’s expressive acting and strong vocals make transition from reluctant hero to a more self-assured character both relatable and compelling.

Another baritone – a base baritone – Eric McConnell, delivers another highlight performance as the Wolf, with a blend of seductive charm and menacing undertones. McConnell’s deep voice projects exceptionally well into the sanctuary and masterfully balances the Wolf’s allure and danger with “Hello Little Girls” – a song that could come off as “pervey” with a less skilled performance.

Christopher Hickey plays both the Narrator and the Mysterious Man. Perhaps because the demands of each character are different, the Mysterious Man is the better of Hickey’s performances because there is more opportunity for him to inhabit the character, which he does by subtly weaving together intrigue and depth to create a profound and haunting presence.

Cameron Tyler as Jack. Photo by Dan Donovan.

On opening night, the weakest element of this otherwise satisfying performance was the imbalance of the sound, especially during the first half. The unamplified voices, especially those of the female performers, were repeatedly overwhelmed by the orchestra.

This performance includes supertitles, but with a musical in English, they shouldn’t be necessary to hear what’s going on. This made for a frustrating experience, leaving one wishing to “turn up” their volume a click or two to better enjoy the quality of the singing and dialogue.

This feeling was further exacerbated because the orchestra, under the direction Scott Schoonover, superbly performed the score. It would have been a shame to miss a single note. Perhaps because adjustments were made during the intermission, the sound issue was almost eliminated in the second half.

Another side note: From Greek myths to Joseph Campbell’s “The Hero’s Journey,” Carl Jung’s psychology and the fairytales of the Brothers Grimm, the “dark woods” are often inhabited by archetypal patters and are a place of confusion, danger or the unknown where the hero or heroes confront trials and their shadow selves.

Sondheim and Lapine created a masterful musical that hews closely to the cautionary purpose that fairytales were designed to convey. This cannot be a musical with an empty, happily-ever-after ending. UAO’s production effectively – and accurately – delivers an ending that should leave the audience feeling reflective, with a palpable poignancy that underscores the idea that while fairy tales may end, the journey of growth and understanding continues. It takes two acts and a lot of songs to reach that point.

Union Avenue Opera’s “Into The Woods” plays August 16-24. Visit unionavenueopera.org for more information.

Christopher-Hickey-as-the-Narrator-and-Brandon-Bell-as-the-Baker. Photo by Dan Donovan.

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

Union Avenue Opera’s Pared Down ‘Aida’ Soars on Vocal Performances

By CB Adams

Union Avenue Opera’s concert version of Giuseppe Verdi’s “Aida” seems to have taken its cue from George Bernard Shaw when he wrote: “An opera may be allowed to be extravagantly expensive in its ornament, but its foundation must be plain and simple.” The key words are foundation, plain and simple –  and that’s where this “Aida” shines.

Instead of the traditional fully staged production – replete with costumes, props and lighting effects – the concert format puts the singers. voices and the orchestra in the spotlight. With minimal staging, the singers focus more on their vocal delivery, leading to stronger vocal performance from the chorus to the leading characters. It’s all about the voices, and this production delivers a satisfying, intimate and powerful hybrid rendition of Verdi’s masterpiece.

And with fewer distractions from sets and costumes, the audience is freer to concentrate on the orchestration and musical nuances – both of which conductor Scott Schoonover delivers exquisitely. This concert format relies on vocal performances, and this production delivers the best in the cast and the orchestra.

“Aida” is work of great musical sophistication and this production elevates Verdi’s innovative instrumentation, such as his use of the oboe d’amore and the bass trumpet to add distinctive tonal colors that are unique to this opera.

Principals Limmie Pulliam, Todd Payne, Melody Wilson. Photo by Dan Donovan.

It also highlights his complex orchestration that blends instruments in unexpected ways to create rich textures, including the delicate string passages and the interplay between woodwinds and brass in the Prelude that set the tone for the opera’s dramatic narrative.

The pared down concert also reveals Verdi’s dynamic and rhythmic variations such as the sudden changes from pianissimo to fortissimo that transition from dramatic moments, such as the transitions between Aida’s introspective arias and the bombastic public scenes.

The role of the chorus is often overlooked or mentioned late in a review, but the chorus for this “Aida”  deserves first mention. The large ensemble is on stage throughout the performance and serves as both an imposing physical and vocal backdrop to the goings on of the main tragic love triangle between Aida, an Ethiopian princess enslaved in Egypt, Radamès, the Egyptian military commander she loves, and Amneris, the Egyptian princess who is in love with Radamès.

The chorus often punctuates the performance with a full-throated, impressive punch with an impressive contrast to the solos and quieter moments.

Impressive, too, are the secondary parts of Ramfis, the High Priest, Amonasro, King of Ethiopia and father of Aida, and Gran Sacerdotessa, sung by Jacob Lassetter, Lloyd Reshard and Danielle Yilmaz, respectively. Among these excellent performances, Yilmaz’s is especially noteworthy for the relatively small role that plays a crucial part in setting the scene for the opera’s grand ceremonial moments.

Marsha Thompson and Melody Wilson. Photo by Dan Donovan.

Yilmaz’s vocal purity and clarity, her expressive delivery and vibrant stage presence all combine to enhance the spiritual and mystical dimensions of the production. She intones her lines with a crystalline quality, providing a contrasting texture to the more robust voices of the principal characters. Her delivery of lines like “Immenso Fthà” felt otherworldly and imbued with a sense of ritualistic importance.

Bass-baritone Reshard commands the stage as Amonasro, with a powerful and still soft-edged voice that effectively conveys his anger. As Ramfis,  Lassetter delivers his character with resonant vocal authority and depth, strong dramatic presence and gravitas.

For instance, in the Act 1 temple scene, he delivered Ramfis’s invocations and blessings with solemnity and a sense of ritualistic importance, which set the spiritual tone of the scene. In the final judgment scene, his calm, authoritative demeanor contrasted with the emotional turmoil of the other characters.

In the title role, soprano Marsha Thompson delivers a rich and satisfying performance of Aida with a powerful-yet-lyrical voice that conveys the character’s deep emotional turmoil, torn between love for Radamès and loyalty to her homeland. Her nuanced portrayal (including some theatrical hand and eye movements) captures Aida’s inner strength and vulnerability, delivering her arias with tenderness and intensity, particularly in the poignant “O patria mia.”

Tenor Lemmie Pulliam displays an impressive range as Radamès. Wearing a dramatic sash, he has a commanding stage presence and vocal power that delivers a profound depth to the role. His ability to convey Radamès’s inner conflict and heroic stature with both emotional intensity and technical precision, makes his performance a standout with an effective blend of dramatic prowess and lyrical beauty.

Lloyd Reshard and Marsha Thompson/ Dan Donovan Photography.

Amneris is the archetypal jealous diva with a heart of ice, and Melody Wilson weaves that personification seamlessly with the other characters. Wilson invites the audience to love to hate her as a royal drama queen whose idea of a fun includes thwarting her rivals and flaunting her power.

Wilson brings emotional complexity to Amneris, capturing her conflicted feelings of jealousy, power, and vulnerability. This adds layers to the character, making her more than just a scheming antagonist.

Beneath these characters – physically and aurally – is the orchestra, which shines with Schoonover’s adept and subtle directing. The orchestral accompaniment often provides a subtle underscoring that enhances the emotional context without overpowering the singers.

Although there are moments when the orchestra sonically overshadowed the singers (it must be difficult not to become overly enthusiastic when performing Verdi’s music), mostly it supports and enriches the vocal lines and confidently delivers Verdi’s score.

This can be particularly noted in the quieter, more introspective moments of the opera, where the orchestra’s role is to support and enrich the vocal lines.

The opera concert format was a good choice for Union Avenue. The modestly sized venue at Union Avenue Christian Church would have been challenging to put on a full production of “Aida.” The concert format is a nice change of pace that placed a premium on the singers. performances.

The result is an intimate and powerful interpretation of the opera that is distinguished by  vocal artistry and dramatic expression with just the right amount of costuming and theatrically.

Union Avenue Opera’s “Aida” runs July 26, 28, and through Aug. 3 at Union Avenue Christian Church. Visit  https://unionavenueopera.org for ticket information.

The company of “Aida in Concert.” Photo by Dan Donovan.

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

Union Avenue Opera’s ‘Carmen’ Delivers Compelling Moments Tempered by Contemporary Issues

By CB Adams

Poor Carmen. As the protagonist in George Bizet’s 1875 opera, she’s sometimes reduced to being the poster person for critical analysis of gender dynamics and relationships.

Carmen’s character is often presented as some mixture of her as a free-spirited and independent woman who is simultaneously objectified and demonized (and ultimately murdered) for her sexuality. Then there are the issues related to Romani cultural representation and exoticism.

As a result, poor “Carmen.” As long as opera companies continue to mount productions of “Carmen,” they are going to beg these issues, including the normalization of toxic relationships like the one between Carmen and Don José that is marked by possessiveness, obsession and violence.

Oh, and add to these issues the way Bizet’s vibrant tapestry of unforgettable melodies and rich orchestration has been the victim of its own success. The drama and passion of Bizet’s dynamic and emotionally resonant soundscape, with evocative themes like the “Habanera” and the “Toreador Song” and their fusion of Spanish folk influences with classical operatic elements, have been hijacked by countless films, cartoons, commercials and television shows from “Looney Tunes” to “Bad Santa,” “The Simpsons” and “Gilligan’s Island.”

A lot has happened since 1875, and Carmen’s dual portrayal can be problematic in a contemporary context that seeks to dismantle harmful stereotypes and promote respect for women’s autonomy. Yet “Carmen” continues to be one of the most popular and frequently performed operas worldwide.

Elise Quagliata as Carmen and Brendan Tuohy as Don Jose. Photo by Dan Donovan.

Its enduring appeal is reflected in the regular inclusion of “Carmen” in the repertoires of major opera houses and festivals, consistently drawing large audiences and receiving critical acclaim for its compelling music and dramatic storyline.

As someone who generally accepts John Ruskin’s notion that “art is in the expression, not the subject matter,” I can’t discount “Carmen” solely on the basis of some of its problematic attributes. Its emotional and imaginative qualities are part of opera’s DNA in particular and Western cultural heritage in general, and I believe that most opera-goers can see that the opera was of its time.

Modern productions of “Carmen” often attempt to address these issues through reinterpretation and modern settings. Directors and performers may emphasize Carmen’s agency and critique Don José’s behavior more explicitly. Some productions have even changed the ending to subvert the narrative of female victimization.

Not so with Union Avenue’s production, directed by Mark Freiman, and sung in the original French with English super-titles. This “Carmen” is a traditional interpretation that encourages a critical approach to understanding  how the characters navigate a narrative fraught with jealousy, cultural clashes and fatal consequence.

Freiman, whose previous productions of “Carmen”  have infused modern elements with fresh and contemporary elements, provides Union Avenue Opera with a more classic interpretation that remains true to the Bizet’s work and offers a restrained yet still poignant commentary on love, passion and the societal pressures that shape the characters’ destinies.

It achieves this by placing a bit more emphasis on the downfall of a straightforward Don José, torn between the sincere affection of his mother and his hometown sweetheart, Micaëla, and the seductive temptation of the morally unconventional Carmen.

Joel Balzun as Escamillo. Photo by Dan Donovan.

Elise Quagliata in the role of Carmen brings a compelling and nuanced portrayal to Bizet’s iconic character. Known for her powerful mezzo-soprano voice, Quagliata’s interpretation of Carmen emphasizes her character’s boldness and independence and captures the character’s magnetic allure and defiance against societal norms.

Quagliata has tremendous stage presence filled with charisma and restrained dramatic flair. The same could be said for Brendan Tuohy as Don José, Joel Balzun as Escamillo, Joel Rogier as Moralés and Jacob Lassetter as Zuniga, but their individual performances do not cohere into a palpable chemistry, which is too bad.  

This is one of this production’s significant weaknesses despite Freiman’s direction that explores the complexities of the characters’ interactions while attempting to clarify the psychological and emotional underpinnings of their actions. This is difficult to achieve when the main characters remain self-contained in their individual performances, not matter how well sung.

Quagliata is also this production’s choreographer. A good production of “Carmen” should enhance the storytelling and atmosphere of the opera. Quagliata’s choreography effectively conveys, with a light Spanish flair, the personalities and emotions of the characters, particularly Carmen.

In one moment, she confidently plants her leg on a chair. This is small but potent gesture. I haven’t seen a leg used to such great effect since the leg lamp scene in “A Christmas Story.” Another delightfully staged moment is the “cigarette girl” scene (played to great effect by the women of the chorus) as the factory workers puff and prance.

Marc Schapman, Jacob Lassetter, Xavier Joseph, and Elise Quaglata. Photo by Dan Donovan.

Quagliata’s choreography effectively synchronizes with Bizet’s music (performed vivaciously by the orchestra conducted by the always-excellent Scott Schoonover) and the stage design. Patrick Huber’s stage design provides an appropriate (if somewhat generic) backdrop that complements the characters’ movements across Union Avenue’s modestly sized stage.

Huber is also the lighting designer. During one of the two intermissions, the set’s two doorways were modified for the smugglers’ scene with what appeared (in the bright lights) to be vagina-like pelts. As the scene began, Huber’s atmospheric low light effectively created a subdued atmosphere – and the furry openings transformed into cave entrances. Oooh, what a little light design can do!

Tuohy presents a compelling Don José that highlights the character’s transformation from a dutiful soldier to a man consumed by obsessive love and jealousy. Tuhoy is strong but not brutish and presents his emotionally conflicted character with a palpable sense of longing and desperation.

Tuohy’s portrayal is characterized by a powerful tenor voice that effectively conveys Don José’s emotional turmoil and ultimately unacceptable violence. His stage presence and dramatic intensity bring depth to the character, even if not to the ensemble as a whole.

Meroe Khalia Adeeb as Micaela. Photo by Dan Donovan.

One of the standout performances is provided by Meroë Khalia Adeeb as Micaëla. Adeeb delivers a character that embodies innocence and fidelity while navigating the opera’s moral landscape with her steadfast love for Don José. Adeeb’s rich and resonant voice captures the character’s gentle nature and inner strength, and the rest of performance hits all the right notes: flexibility and emotional range, expressiveness and technical skill that is precise and controlled.

Her performance of Micaëla’s most famous aria, “Je dis que rien ne m’épouvante” (I say that nothing frightens me), was heartfelt, determined and poignant.

Also commendable is the performance by Xavier Joseph as the smuggler Le Dancaïre. The role is a secondary character, but Joseph delivers his character with physicality, wit and bonhomie.

And while on the topic of fun, this production includes two scenes with controlled mayhem and exuberance provided by a delightful children’s chorus.

Lassetter presents his Zuniga with a big-throated blend of authority and moral ambiguity and a performance that captures the character’s commanding presence and underlying conflict. Rogier’s Moralés is equally strong. Rogier exudes a robust and confident demeanor that emphasizes his steady, grounded nature and his role of Moralés’ as a foil to Don José.

Balzun provides an acceptable Escamillo, the bullfighter. The role of Escamillo demands a charismatic singer who embodies traditional masculinity through physicality and social admiration and serves as a foil to Don José. Balzun delivers a Escamillo who is a pompous yet effete man.

“Carmen” continues at Union Avenue Opera through July 13. For more information, visit: www.unionavenueopera.org


Youth Ensemble : Lucca Badino *, Bryce Cleveland *, Blaise Magparangalan *, Chloe Melton, Nora Moss *, Lila Treuiller *, Louis Wang *, Tristan Williams * (not in order). Photo by Dan Donovan.

Cover photo: Holly Janz, Marc Schapman, Elise Quagliata, Xavier Joseph, and Gina Galati/ Photo by Dan Donovan.