Union Avenue Opera Offers a ‘Falstaff’ Full of Mirth and Girth

Union Avenue Opera Offers a ‘Falstaff’ Full of Mirth and Girth

By CB Adams

There’s a moment in the “classic” 1989 movie “Fletch Lives” when Chevy Chase as Fletch says it takes a big man to admit when he is wrong. To which he adds, “I am NOT a big man.” It takes the comedic instincts and delivery of Chase to get laughs from that line, and it takes baritone Robert Mellon as the title character in Union Avenue Opera’s production of Giuseppe Verdi’s “Falstaff” to elicit that reaction for 2 ½ hours of witty, plus-sized, boozy merriment.

Mellon has big shoes to fill as Falstaff, a beloved barfly who appears in four plays by William Shakespeare (if you count the one in which he is eulogized). Plumped up in a hunchbacked fat suit, Mellon fills his Falstaff as a big man (literally) who gets big laughs while working his wiles with the merry wives of Windsor and their various and sundry significant others. As one of the “holy trinity” of comic operas, “Falstaff” may reside with the likes of “The Marriage of Figaro” and “The Master-Singers of Nuremberg,” but it’s Mellon and the rest of the cast who make this production flat-out fun.

Union Avenue Opera’s production of Falstaff on July 27, 2022.

This may be Falstaff’s show, but he, like Mellon, needs comedic foils who provide equal helpings of wit and charm, and this production has them. “Falstaff” is a concentrated opera without long arias, but with melodies that practically fly by. That’s well-suited to the talents of Marc Schapman and Mark Freiman as Falstaff’s scheming henchmen, Bardolfo and Pistola, respectively, who bounce off each other amusingly. As does Anthony Heinemann as Dr. Caius and Jacob Lassetter as Ford.

Also up to Falstaff’s formidable foibles is the trifecta of Karen Kanakis, who sings Mrs. Alice Ford, Melody Wilson as Mrs. Meg Page and Janara Kellerman as Dame Mistress Quickly. This triumvirate were delightful – individually and collectively – as they work to counter Falstaff’s schemes with a refreshing equality of the sexes. A subplot involves the young lovers, Nannetta and Fenton, and their best scene concludes Act I. As sung by soprano Brooklyn Snow and tenor Jesse Darden, it’s one of the opera’s best moments.   

Under the baton of conductor Stephen Hargreaves, the music of Verdi’s final opera and only second comedy is frothy, splendid and connects deeply with the performers. Teresa Doggett’s costumes were not only tailored for the overall period of the opera, they also elevated the visual presence of each character.

The stage at Union Avenue Christian Church poses certain creative challenges, but its modest size is well-suited to this opera. Scenic designer Lex Van Blommestein makes maximum use of the stage by going “old school” and using cloth panels to set the scenes, including Falstaff’s favorite haunt, the Garter Inn. Under the direction of stage manager Megan-Marie Cahill, the crew openly raise and lower the panels, replete with squeaky pulleys. As the crew elevated the panels for the final act (during the July 30th  performance), set in a forest, they created the impressive spread of a massive oak tree. It’s not often that a scene change elicits ooo’s, ahh’s and applause.  

Union Avenue Opera’s production of Falstaff on July 27, 2022.

So, loosen your belt – or sash or waistline – and prepare to be served an effervescent treat ala Verdi, Shakespeare and Union Avenue Opera.

Union Avenue Opera Union presents “Falstaff” July 29 and 30 and August 5, 6 at 8 p.m. at Union Avenue Christian Church. For more information, visit www.unionavenueopera.org

Union Avenue Opera’s production of Falstaff on July 27, 2022.

Union Avenue Opera Offers Solid Production of ‘Eugene Onegin’

Union Avenue Opera Offers Solid Production of ‘Eugene Onegin’

By C. B. Adams
“Eugene Onegin,” the opera based on Alexander Pushkin’s verse novel of the same name, inspired another great writer, Anton Chekhov, to write a short story-cum-homage to the opera, “After the Theatre.” In it, Chekhov observed, “There was something beautiful,
touching and romantic about A loving B when B wasn’t interested in A. Onegin was attractive in not loving at all, while Tatyana was enchanting because she loved greatly. Had they loved equally and been happy they might have seemed boring.”

Good point. And, as we all know from yet another member of the Russian literati, Leo Tolstoy, “All happy families are alike, but every unhappy family is unhappy in its own way.”

This is a review of Union Avenue Opera’s production of “Eugene Onegin,” not a Russian Lit course. But, as the opera builds to its final act, one must decide whether the lead characters’ unhappiness resonates in a fulfilling way. Do we cheer Tatyana as she finally
spurns Onegin after he ungraciously spurned her two acts earlier?

Do we feel Onegin’s misery and despair at his impending loneliness? Do we cheer his comeuppance? Or do we embrace that tragic ambiguity?

It’s the players more than the libretto that help shape any (or none) of those answers. This year has been an interesting St. Louis opera season for strong women. Opera Theater of St. Louis put forth a tough-gal “Carmen,” sung by Sarah Mesko, and Union Avenue
offered a resilient Tatyana sung by the Russian-born-and-trained Zoya Gramagin, making her Union Avenue debut.

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.

Even in Act I, when Tatyana is a young and naïve country woman writing a gushy love letter to Onegin, Gramagin used her clear soprano to imbue Tatyana with innocence and undercurrent of strength. This Tatyana was no Cinderella, and this was most evident by Act III when she is now married to a prince. Onegin finally becomes smitten and she spurns him. Of all the characters in this “Onegin,” Gramagin’s Tatyana was the only one who seemed to have truly changed, placing her at the emotional core of this production.

Balancing the youthfulness of Tatyana was baritone Robert Garner as Eugene Onegin. Garner’s voice was rich, emotive and a pleasure to experience, though it was a challenge to identify with his narcissism and dismissiveness. Some “bad guys” you learn to like
(think Walter White in “Breaking Bad”), others you just have to endure. Garner’s Onegin was handsome, rakish and self-centered – qualities that he neither shed nor eschewed.

The only reward for his inability to change seemed to be the lonely life that awaits him. Onegin may have been the last character on stage, but Tatyana had the best last word as she operatically and metaphorically dropped the mic. This being a Russian opera, with libretto by Pytor Ilyich Tchaikovsky no less, it’s appropriate to liken it to a matryoshka doll, with production elements nestled inside production elements.

Tatyana and Onegin may be the protagonists in the story, but they also require equally strong performances from the ensemble, which they certainly had in Union Avenue’s production. In fact, other than Garner’s Tatyana, tenor William Davenport as Lensky provided the
most engaging and relatable performance. His superb voice, especially during the “friendship” aria in Act II, was a highlight, and his ability to reveal Lensky’s character was well matched to Onegin’s shallowness.

Rounding out the solid cast was Melody Wilson as a Tatyana’s younger sister/bestie, Olga, and basso Isaiah Musik-Ayala as Tatyana’s princely husband, Prince Gremin, who delivered a powerful area about her. Also nestled inside this matryoshka was a solid supporting cast and chorus and the always-fine orchestra under the direction of Scott Schoonover.

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.

Union Avenue’s modestly sized stage provides challenges for large casts – a challenge that stage director Octavio Cardenas successfully surmounted. When the stage was full to the gills, it never felt constricted or distracting, not even during a peasant dance or polonaise, choreographed by Jennifer Medina.

One of the weakest elements of this matryoshka was Patrick Huber’s scenic design that included a series of tall, birch-like trees that worked well in Act II, but less so in later acts. The costumes by Teresa Doggett were superb, but some of the props appeared a bit
tired.

“Eugene Onegin” was a fine way for Union Avenue to return to its home stage after two years in the pandemic hinterlands. And at the conclusion of the performance, with Gramagin’s Tatyana still pleasantly in mind, one might remember of something from
Boris Pasternak in another tragic Russian love story, “Doctor Zhivago,” “If it’s so painful to love and absorb electricity, how much more painful it is to be a woman, to be the electricity, to inspire love.”

Union Avenue Opera presents “Eugene Onegin” July 8, 9, 15, 16 at 8 p.m. at Union Avenue Christian Church. For more information,
visit www.unionavenueopera.org

Dress rehearsal for Union Avenue Opera’s production of Eugene Onegin on July 5, 2022.

Delayed Gratification: 8th Annual LaBute New Theater Festival Delivers First of Two Sets of Wonderful Acts

Delayed Gratification: 8th Annual LaBute New Theater Festival Delivers First of Two Sets of Wonderful Acts

By CB Adams
Before the lights dimmed and the 8th annual LaBute New Theater Festival began, this reviewer felt pity instead of anticipation – pity for the nine playwrights who had to endure a two-year, pandemic-induced delay for their works to be fretted and strutted upon the intimate performance space at the Gaslight Theater.

During the festival’s four-week run, the St. Louis Actors’ Studio presents two sets of five one-act plays selected in 2020 – a Whitman’s Sampler (something for everyone!) of short dramas. Each slate includes “St. Louis,” written by the festival’s founder and namesake, the Tony-nominated, acclaimed writer and director Neil LaBute.

Two years may have felt like an eternity to playwrights and public alike, but the first set of one acts, running from July 8–17, delivers a collectively gratifying experience resonating with relevance to the current zeitgeist.

The first set includes Aren Haun’s “What Else is New,” John Doble’s “Twilight Time,” Willie Johnson’s “Funny Thing,” and Fran Dorf’s
“Time Warp,” as well as LaBute’s “St. Louis.”

Experiencing this evening of one acts is like reading a short-story collection. You might not enjoy every play (not all in the first set are one-hit wonders), but taken together, they are engaging, thought-provoking and satisfying. When soliciting for one acts, the LaBute
Festival seeks plays that feature no more than four characters. They should be crafted specifically to exploit the Gaslight’s intimate, 18-foot square performance space with quick changes in scenery, setting and set moves.

For theater-goers who love plays that focus on the fundamentals of dramaturgy – plot, character and theme – the LaBute Festival is a must-see, based on this first slate.

The plays presented this year are diverse, yet share a common thread, if not a common theme, of human connectedness:

“What Else is New,” set in a diner, involves Bruno (and his suitcase), an unhoused loner (replete with an annoying need for conversation and more tics and twitches than Brad Pitt in the film “12 Monkeys”) and Mark, a disinterested college art student who works the counter. t’s a marvel to watch the two characters circuitously connect.

“Twilight Time,” concerns a chance encounter between Benjamin and Geraldine, two disaffected youths who discover they are both planning their suicides. Though not as humorously death-drenched as “Harold and Maude,” they connect over common political and other opinions and soon make plans to live, perhaps happily ever after.

“Funny Thing” is anything but funny as the four-month relationship between Older Man and Younger Man is stuffed into a blender and set to frappe. The resulting, non-chronological plot makes frequent pivots that are easy to follow, thanks to fine acting and effective lighting changes.

No one dances in “Time Warp,” but, as the song goes, “…With a bit of a mind flip / You’re into the time slip / And nothing can ever be the same…” For those of us who like stories that explore the possibilities presented by punctures in the time- space continuum, “Time Warp” delivers a mind-bending – and ultimately harrowing – tale involving Brian, a Vietnam War army psychiatrist, his wife, Beth, a curiosity shopkeeper, CG Young, and a specter-like painter and fellow soldier, Joey Passarelli. The warping of time and circumstance ensues, though not in a science fiction sort of way.

LaBute’s “St. Louis” (presented in both sets of the festival) could have been titled Stand and Deliver because that’s what this play’s three characters do: they stand and deliver (as does the entire play itself). St. Louis does not concern itself with Ted Drewes, the Arch or any other tourist destinations. There are a few compass- point references to St. Louis, such as the Central West End, but the true location
of this one act is the triangulated world and relationships of the three monologists, She, Her and Him. The climax of the relationship – the connection – among these characters is too good to spoil.

But, climax aside, the most noteworthy achievement is how the story is unfolded by the three characters, each in a pool of
light and each speaking as if to their own offstage interlocutor. Separately, and yet collectively, they stand and deliver their part of a shared, very personal history. Under the deft direction of Spencer Sickmann (himself a seasoned actor), the actors collectively embrace their characters and deliver these short plays with confidence, believability and chemistry.

And, in the case of “Twilight Time,” they surpass the play itself. Mitch Henry Eagles plays triple duty in “What Else is New,” “Funny Thing” and “Time Warp.” All are fine performances, but the standout is as the Younger Man in “Funny Thing.” His character is whiplashed by the on-again/off-again relationship he shares with Older Man and Eagles easily flips between “should I stay” or “should I go?”

Bryn McLaughlin does double duty as Geraldine in “Twilight Time” and She in “St. Louis.” Her performance in the former is the strongest in that play, and in the latter, she’s even better as she projects a strong, confident counterpoint to the bro-ish Him. As Him, Brock
Russell plays a character one loves to hate, or vice versa, and that dichotomy is testament to his ability to fully reveal the complexities of Him.

Eric Dean White demonstrates tremendous range playing the twitchy chatterbox Bruno in “What Else is New” and, a couple of one acts later, as the sensitive psychiatrist and husband in “Time Warp.” The nervous energy he pours into his Bruno is as exhausting as it is exhilarating.

In the case of these one acts, to call the sets, lighting and costumes bare bones is a compliment. As in most literary short stories, there’s nothing extraneous and everything must serve a purpose in black-box one acts. In this first slate of plays, that’s exactly what Patrick Huber achieves with the flexible sets and lighting, as does Carla Landis Evans with the costume designs.

Set One of the LaBute New Theater Festival runs July 8-17 at at the Gaslight Theater, 358 N Boyle Ave. Set Two runs from July 22–31. Times are 3 p.m. on Sundays and 8 p.m. Friday and Saturday. For more information, www.stlas.org
All photos by Patrick Huber

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

Muny’s ‘Sweeney Todd’ Is Fulfilling Slice and One of Sondheim’s Greatest

By CB Adams

 Whether you’re a die-hard Muny season ticket holder, a Stephen Sondheim devotee, someone attracted to a dark Dickensian tale about a murderous Victorian barber, someone seeking a great night of musical theater, or anything in between, “Sweeney Todd: The Demon Barber of Fleet Street” is a must-see.

Fresh off the heels (or should we say umbrella) of “Mary Poppins” comes a show with a wholly different cut. It’s populated with hordes of the great unwashed, a steampunk-inspired set, love songs sung to razors and more dead bodies on stage than a Greek tragedy. And if that’s not enough, add in the music and lyrics by Sondheim (one of his greatest showpieces). Who else could have created a toe-tapping sing-along about meat pies made with human flesh?

“Sweeney Todd” originally opened in 1979 and, after sweeping the Tony Awards, has since grown into one of Broadway’s top-ten musicals – emphasis on musical because 80 percent of this show is sung. It is just now making its Muny premiere after a two-year pandemic-induced delay. It is definitely worth the wait.

Photo by Julia Merkle

This a muscular “go big or go home” production. Rob Ruggiero, director, and Mike Isaacson, artistic director and executive producer, leveraged their many talents and definitely chose the go-big option. They take full advantage of the Muny’s automated stage with its performer lifts, turntable and scenery wagons. A tip of the hat also goes to Jessica Hartman, associate director and musical staging, and James Moore, musical director, for their talents.

One of the challenges of “Sweeney Todd” is presenting the violence and carnage, which includes numerous throat slashings. The bloodletting is cleverly and effectively portrayed through lighting (thanks to design by John Lasiter) rather than with fountains of fake blood.  

As befits the big production values, this “Sweeney Todd” requires – and delivers – a powerful principal cast. Tony nominee Carmen Cusack, an audience favorite, plays the crafty, ambitious Mrs. Lovett. Cusack’s voice is equal to Ben Davis’s booming Sweeney Todd. Davis achieves a Todd who is complex, wounded and angry, and can still fill the stage with a larger-than-life presence. Julie Hanson’s bawdy Beggar Woman weaves throughout the scenes like an annoying fly with a Cockney accent, while Stephen Wallen’s corpulent The Beadle waddles about like an officious toady in service to Robert Cuccioli’s imperious, love-struck lech, Judge Turpin.

Photo by Phillip Hamer

Even a slasher show like “Sweeney Todd” has a love story at its heart. Riley Noland plays Johanna with a thin high voice that befits her role as captive and victim. Her duet with Jake Boyd as sailor boy/love interest Anthony Hope is an extended highlight of this production. Though the two interact mostly from afar, their love and attraction is palpable.

Lincoln Clauss’s Tobias Ragg is a standout. The Ragg character evolves from wig-wearing hawker of snake-oil hair tonic to sprite-like table server and finally to traumatized avenger. Clauss has the acting and vocal range to match.

This production also makes full use of a large ensemble chorus with a panoply of tatty, bedraggled characters who introduce and frame Sweeney Todd’s descent from a cruelly treated barber into a lusty lasher and ultimately tragic victim of his own revengeful scheming. And, there haven’t been this many raised fists on the Muny stage since “Les Misérables” was in town.

The ensemble sings the last chorus at the conclusion of “Sweeney Todd,” but it’s the audience, walking toward the exits and excitedly talking about this production’s wow factor, that gets the last word and best positive review.

Photo by Phillip Hamer

The Muny presents “Sweeney Todd” July 16 – 22 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets or more information, visit: www.muny.org.

Photo by Phillip Hamer
The cast of Sweeney Todd. Photo by Phillip Hamer

Opera Theater’s Overhauled ‘Harvey Milk’ Is Overwhelmingly Good with Understudy’s Debut

Opera Theater’s Overhauled ‘Harvey Milk’ Is Overwhelmingly Good with Understudy’s Debut

By CB Adams

Opera Theatre of St. Louis has concluded a successful and altogether satisfying 48th festival season. But it would be a shame to look forward to the next season without first taking note of a cast change for five of the six performances of this year’s premiere of the performing edition of “Harvey Milk” (music by Stewart Wallace and libretto by Michael Korie).

When the original tenor in the role of Dan White had to withdraw after the premiere, Cesar Andres Parreño provided a two-of-one performance. Not only did he nail the role of White, the real-life nemesis/assassin of civil rights hero Harvey Milk, Parreño also made his principal role debut at Opera Theatre.

This was a busy season for Parreño. His principal role debut occurred on the heels of his performance of the supporting role of Remendado in the company’s production of Bizet’s Carmen his debut role for Opera Theatre. And that after being accepted into Opera Theatre’s Gerdine Young Artist Program, which is committed to discovering, nurturing and launching emerging young artists such as Parreño. Like other young artists in the program, he was offered opportunities to be featured in featured in supporting roles, cover all roles in mainstage productions and perform as featured soloists in the annual Center Stage concert.

Parreño hails Manabí, Ecuador and started his voice studies with Beatriz Parra at Colegio de Artes Maria Callas. He was named a Kovner Fellow in Darrell Babidge’s studio at The Juilliard School, where he was the first Ecuadorian ever to attend. In 2016, Parreño performed as a soloist with the University of Cuenca’s Orchestra and with Guayaquil’s Symphonic Orchestra. Since then, his performances have included his debut role as Lysander in Benjamin Britten’s “A Midsummer Night’s Dream,” in Chautauqua, New York, his soloist debut with the Juilliard Orchestra in Stravinsky’s “Pulcinella” and his Peter Jay Sharp Theater opera debut as Momo in Luigi Rossi’s “L’Orfeo.”

Parreño definitely had credible potential to step into the role of Dan White in “Harvey Milk.” Kudos to Opera Theatre for nurturing young talent of his caliber. Anything can happen in live theater – and regularly does – and it is gratifying to know that the show will go on. There’s no way to compare Parreño’s performance with his predecessor’s, but after experiencing his performance, there’s no reason to. Parreño was that good, not only with his beautiful, classic Irish tenor moments, but for his ability to humanize what could otherwise have been a one-dimensional “bad guy.” He may not physically resemble the real-life Smith (a sandy-haired WASP), but that doesn’t – and shouldn’t – matter.

Parreño’s performance can, however, be compared to those of his fellow singers: baritone Thomas Glass (making his own Opera Theatre debut) as Harvey Milk and tenor Jonathan Johnson as Scott Smith, Milk’s lover. During a performance filled with memorable and moving arias by all three men, the best was certainly the deeply affecting love duet between Glass and Smith. It set a high standard for love duets in the future.  

This talented triumvirate were the epitome of the best ensembles – excellent voices, engaging characterizations and spot-on dramatic timing. In other words, Parreño, with his bright tenor, was in very good company.

With its 48th festival season now completed, all the reviews having been published and hoping COVID cancellations are a thing of the past, it’s good to know that young talent is being nurtured, fostered and encouraged through programs like Opera Theatre’s Gerdine Young Artist Program. And that, live theater being live theater, that young talent may unexpectedly get the chance to step into a principal or supporting role. As W. H. Auden once observed, “Drama began as the act of a whole community. Ideally, there would be no speculators. In practice, every member of the audience should feel like an understudy.”

Opera Theatre’s ‘Awakenings’ Is a Dream

Opera Theatre’s ‘Awakenings’ Is a Dream

By C.B. Adams

I hold it true, whate’er befall;
I feel it, when I sorrow most;
‘Tis better to have loved and lost
Than never to have loved at all.

– “In Memoriam:27”, Alfred Lord Tennyson

To key off Tennyson’s philosophical proposition, Opera Theatre of St. Louis’s “Awakenings,” at the Loretto-Hilton Center’s Virginia Jackson Browning Theatre through June 25, explores a similar notion. If you were a patient trapped for decades by encephalitis lethargica , spending your waking moments in constant stupor and inertia, would you agree to allow a doctor like the neurologist Oliver Sacks to experimentally administer a drug called levodopa, or L Dopa, that could alleviate the disease’s debilitating effects? And, would you consent if you knew the risks – that the effects might not last long and that you would still suffer, like a sort of Rip Van Winkle, from spending decades isolated from the world’s events and your own maturity and development?

Is it better, then, to have been awakened than not at all?

 That’s a powerful philosophical question dreamed up in Sack’s book “Awakenings” that presented a series of fascinating case reports of patients trapped by encephalitis lethargica. It was also dreamed up into the eponymous Hollywood film (starring Robert DeNiro and Robin Williams), a documentary, a ballet and a play by Harold Pinter. Sacks himself dreamed it could even be this opera, a pandemic delayed premiere by OTSL this season. 

Andres Acosta and Jarrett Porter. Photo by Eric Woolsey.

This production draws the audience into the clinical but dreamlike world even before the score begins. The opening set evokes an impersonal, sterile hospital setting as nurses slowly wheel in slumped patients behind a series of moveable glass walls. Though not “pretty,” the harsh, set design by Allen Moyer is visually affecting and well-matched to the opera’s melancholic intensity (including a fantastic use of video projections by Greg Emetaz), especially as illuminated by Christoper Akerlind’s lighting designs.

The “Awakenings” score, performed by the St. Louis Symphony Orchestra and conducted by Robert Kalb, is excellent if not exactly memorable. The music weaves around the characters and action without calling attention to itself.

Baritone Jarrett Porter sings Dr. Sacks, and his rich voice is well-matched to the demands of the role as a deeply empathetic caregiver. Porter’s voice is well-matched to  the bass-baritone of  David Pittsinger, who voices Sacks’s naysaying boss, Dr. Podsnap. Pittsinger’s presence and deep voice provide believable authority.

One of the key reasons “Awakenings” shines is the opera’s balancing of multiple “awakenings” by Sacks, who grapples with his sexuality in a subplot, as well as three patients that representing the 20 in real life. They provide more than yeoman’s work as they must sit in wheelchairs – all trembles and contortions – and then transform into walking/talking human beings then return to their un-awakened states.

Susannah Phillips and Jarrett Porter. Photo by Eric Woolsey.

Marc Molomot, tenor, plays a middle-aged Leonard, whose aging mother (sung beautifully and dutifully by Katherine Goeldner) has been reading to him every day since he succumbed to his condition. Molomot confidently provides a Leonard who hasn’t emotionally matured since adolescence. He’s a boy in a man’s body, which makes life exciting, challenging and ultimately disturbing. Molomot plays Leonard with aplomb.

One of the highlights of “Awakenings” is Leonard’s duet with Rodriguez, his male nurse, sung by the tenor Andres Acosta. Acosta proves there are no parts too small to stand out.

Another of the trio of patients is Rose, engagingly sung by Susannah Phillips. Rose is an optimistic yet dreamy character, still living in an interrupted past that includes a long-gone love. Phillips’s performance and engaging voice make it easy to start identifying with her fairytale outlook and then mourn as she returns to her former state.

Completing the trio is Miriam H, sung by soprano Adrienne Danrich. Miriam’s story is as unique and ultimately tragic as her cohorts. Like Rose, Miriam’s story moves from silence to astonishment as she discovers that her family considered her dead and that she has a daughter and even granddaughter. Danrich’s performance and beautiful voice elevate the tragedy of her return to silence.

As directed by James Robinson, “Awakenings” is a compelling experience – one that calls to mind Bob Dylan’s Series of Dreams:  “…Thinking of a series of dreams / Where the time and the tempo drag, / And there’s no exit in any direction…”

Long after the performances fade, the philosophical and ethical questions posed by “Awakenings” linger. Would have the lives of Mirian, Rose and Leonard (and perhaps even Sacks himself) have been better if they hadn’t been intervened by L Dopa? And who should be allowed to make that choice? One person’s dream may be another’s nightmare.

Jarrett Porter as Dr Oliver Sacks. Photo by Eric Woolsey.

One Ring to Rule Them All – Never a Dull Moment Under the Circus Flora Big Top

One Ring to Rule Them All – Never a Dull Moment Under the Circus Flora Big Top

By CB Adams

According to Charlotte’s Web author E.B. White, “The circus comes as close to being the world in microcosm as anything I know. In a way, it puts all the rest of show business in the shade.”

With the launch of its 36th season, Circus Flora continues its dedication to providing St. Louis with an entertainment that is equal parts circus arts and theatrical performance. If your idea of a circus is limited to men driving around in small cars dressed as clowns or a lion tamer snapping whip, then you are more than ready for the Circus Flora experience.

Circus Flora, with shows through July 3, is a one-ring circus, and that’s one of its best attributes. The action close and intimate, and the performers engage the audience from above, around the ring and in the aisles. Unlike the circuses of yore, Circus Flora is presented theatrically, with a plot that changes each year. This year’s is “The Quest for the Innkeeper’s Cask.” It involves the antics of the Spirit Sleuths as they seek the fabled ghost of an Innkeeper and her cask of stolen human spirits in the caves beneath St. Louis.

The plot incorporates world-renowned acts like the Flying Wallendas, local acts like the St. Louis Arches and original music, ala Django Reinhardt, performed live. The show begins with an introduction by the clown, Yo-Yo the Storyteller, played with gravitas, wit and just the right amount of spookiness by Cecil MacKinnon.

As an exquisitely costumed clown, MacKinnon keeps the plot (which she co-created with Artistic Director Jack Marsh) and performances briskly moving throughout the show. She has performed with and created shows for Circus Flora since its founding in 1986 and currently serves as the theater director – and that experience shows. She’s one of the best parts of this production.

The Spirit Sleuths are a fun mélange of Ghostbusters, Scooby Doo and Our Gang. The troupe is led by the excellent featured performers: Ambrose Martos and Britt Lower. Ambrose is an actor, clown and host who has performed with Cirque du Soleil’s Joya as well as The Marvelous Mrs. Maisel, The Good Cop and Gotham. Lower can currently be seen as the lead role of Helly in the Apple TV+ show Severance. In “Innkeeper’s Cask, “ the Heyworth, IL native acts, sings and plays the ukulele.

One of the gems of this show is the lively music, with traces of klezmer, gypsy and flamenco, that enhances the action and humor in the ring. This superb soundtrack is thanks to Janine Del’Arte, musical director, composer and arranger, as well as Miriam Cutler, composer.

Acrobats, daredevils, aerialists and tumblers are creatively woven into the “Innkeeper’s Cask” story. Returning for 2022 are The Flying Wallendas (highwire), The Flying Cortes (trapeze) and The Daring Horseman (equine companions). Also returning are The St. Louis Arches, a troupe composed of performers 11 to 18 years old, with an impressive floor show. The Arches hail from Circus Harmony, St. Louis’s only social circus school. Circus Harmony also offers recreational classes and preprofessional training. Circus Harmony uses the teaching and performing of circus arts to motivate social change.

New to this year’s Circus Flora Big Top are Sam & Louis, who perform a “Russian cradle” aerial act and Trio Black Diamond, a three-person balancing act from Ethiopia.

Circus Flora in general and “The Quest for the Innkeeper’s Cask” particular packs more for a family’s entertainment dollar while also maintaining a high level of artistic and theatrical integrity (not to mention face painting and pony rides on the midway).

The Colombian artist Fernando Botero once said, “The circus leaves a sweet memory.” “The Quest for the Innkeeper’s Cask” certain does.

Circus Flora’s “The Quest for the Innkeeper’s Cask” runs through July 3, including new theme nights: Baseball Night (June 15), Hockey Night (June 22) and Pride Night (June 29).

OTSL Offers a ‘Carmen’ as Motorcycle Mama with – Alas, the Same Tragic Ending

OTSL Offers a ‘Carmen’ as Motorcycle Mama with – Alas, the Same Tragic Ending

By CB Adams

“Carmen” is no stranger to controversy. As far back as its premiere in 1875, audiences and reviewers were put off by the opera’s depiction of the lifestyles of commoners and bohemians, and their supposed immorality and lawlessness – not to mention the onstage death of Carmen herself. Flash forward to Opera Theatre of St. Louis’s 47th season opener, “Carmen,” at the Browning Theatre in the Loretto-Hilton Center, and there may be a bit of operatic controversy afoot as well.

That’s because Director Rodula Gaitanou has updated the setting and Carmen herself to appeal to more modern sensibilities. Gaitanou has moved the mid-19th century Spanish setting to the 1950s and, correspondingly, uniformed the original army into Franco’s Guardia Civil. 

But it is Carmen herself, initially seen dragging a bloody bull’s head across the stage, who is distinctly reimagined in OTSL’s production. Carmen is often presented as a stereotypical, exotic, Spanish seductress – as hot as the “Habanera” she sings early in the opera. Not so in this production. Gaitanou provides a headstrong, independent Carmen – one that doesn’t need to prove her ability to turn a man’s heart and head with a flashy red dress, a provocative sashay or even stiletto heels. The audience is challenged to accept Carmen’s ability to inspire the men around her, as well as to witness her fatal attraction to the ideals captured in her final duet with Don José: “But whether I live or die / No! No! No! I will not give in.”

That idealistic inflexibility leads, even in this interpretation, to her inevitable demise.

Yunuet Laguna. Photo by Eric Woolsey

Gaitanou’s Carmen, as sung by Sarah Mesko, is more formidable, though no less unforgettable. She even rides through some scenes on a motorcycle, like a sort of Daughter of Anarchy. In other scenes, she sports a matador jacket, a visual metaphor for a woman who – ultimately fatally – runs and fights with men rather than the bulls.

To spend more time explaining Gaitanou’s artistic choices for the presentation of Carmen is to risk providing a lopsided review of the rest of this fine production. To Gaitanou’s credit, this production elevates and balances the role of Carmen with her love interests, Don José, sung by Adam Smith, and Escamillo, sung by Christian Pursell. Both are strong, masculine and believable – and Mesko’s Carmen is up to the challenges posed by these two males.

The standout performance among this strong cast is provided by Yunuet Laguna as Micaëla. Clad throughout as a dowdy, frumpy (and even pregnant by Don José) village maiden, Laguna’s “Je dis que rien m’epouvante” shines forth as a potent, if plaintive, Jiminy Cricket counterpoint to Carmen’s shinier persona. That a supporting role can rise to such showstopping prominence proves this production’s overall high quality and integrity.

Under the baton of Daniela Candillari, Opera Theatre’s new principal conductor, the Saint Louis Symphony impressively projects as if it were a larger ensemble of musicians and more than does justice to Bizet’s score.

Also noteworthy is the subtle-yet-profound sets and costumes by Cordelia Chisholm and lighting by Christopher Akerlind. “Carmen” is often associated with a fiery red and other brash, bullfighty colors. In contrast, this production evokes a Spain dusted in a drab desert palette, which is perfect for the most important splash of red at Carmen’s culminating death scene.

Opera Theatre’s “Carmen” continues at 7:30 p.m. on Jun 8, 12, 16, and 25 and at 12:30 p.m. on Jun 4 and 22. For more information on the 2022 Festival Season or for tickets, visit: https://opera-stl.org/

The ensemble of “Carmen.” Photo by Eric Woolsey.

‘The Lion King’ Roars On at the Fox

‘The Lion King’ Roars On at the Fox

By CB Adams

One of the key achievements of successful fast food chains is that no matter where you travel, an entrée tastes consistently the same. Although it may seem unfair to compare the latest tour of Disney’s The Lion King to a hamburger, it’s actually both a compliment and a testament to the quality of this theatrical adaptation of one of the franchise’s most successful animated features.

There’s no question that The Lion King the musical is equally successful on its own terms. In fact, compared to most jukebox musicals, it’s practically Shakespeare. As the house dimmed at The Fox Theatre for The Lion King’s current run (through June 19), it was clear within minutes that the show has lost neither its luster nor its appeal. First there was the cry of Rafiki, the show’s guide played by Gugwana Dlamini. From the audience’s response, it was clear that many in the audience had seen the show before. Later, even the laugh by one of the hyenas received enthusiastic, anticipatory cheers.

As Pride Rock rotates into place on an African savanna and an ark-worth’s of animals strolled the aisles of the theater and ascended the stage as “The Circle of Life” began to play. All of this plus the creatively stunning African masking and puppetry that audiences have come to know, love and expect.

The opening is one of the best of any musical – ever – and thus expectations were high. This Lion King still delivered. Like that hamburger, the audience knew what it was going to get – and it got it from the opening to the curtain call.

For many, the family-friendly songs of the show are this Lion’s heart. The show’s aural world adds more depth to the experience, thanks to Steve Canyon Kennedy’s sound design and James Dodgson’s musical direction.

The quality of this musical extends beyond any one element like the music, however. One could make the case that the artful visual storytelling may be its most potent part. It’s possible to cover one’s ears and just “watch” this musical with its beautiful set (Richard Hudson), lighting (Donald Holder), choreography (Garth Fagan) and costumes/masks/puppets (original director Julie Taymor and Michael Curry) and still feel satisfied. There aren’t many musicals that deliver more punch per square inch, or per square pound, of stage – no small feat.

The Lion King’s cast includes approximately 50 members. There wasn’t a weak performance on opening night. Many were audience favorites, such as Jurgen Hooper as Zazu and Nick Cordileone as Timon. Also noteworthy was the nuanced performance of Diamond Essence White as Simba’s mother, Sarabi, and Kayla Cyphers as Nala.

Opening night was a bit like attending The Rocky Horror Picture Show and a sing-along screening of The Sound of Music. The audience included a plentiful number of children, many of whom sang along to the most well-known songs – along with their adult companions. It was often a participatory experience – one that can be highly recommended. You know what you’re going to get.

The current national tour of “The Lion King”

Performances of  DISNEY’S THE LION KING at the Fabulous Fox run June 1 – June 19. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com

Opera Theatre of St. Louis Puts A Cerebral Trill On This ‘Magic Flute’

Opera Theatre of St. Louis Puts A Cerebral Trill On This ‘Magic Flute’

By C.B. Adams

As Stage Director Omer Ben Seadia writes of “The Magic Flute” in this season’s gorgeously designed program for Opera Theatre of St. Louis (OTSL), “We come back to ‘The Magic Flute’ in every generation, so that we too can look around and decide for ourselves what the world should look like and who we want to be in the world.”

And like its balletic counterpart cum cultural chestnut, “The Nutcracker,” Mozart’s opera is indeed wide, magical and appealing enough to invite interest, interpretation and relevance from generation to generation since it premiered in 1791. As Paul Simon more recently put it, “…every generation throws a hero up the pop charts /  Medicine is magical and magical is art…”

Jeni Houser as The Queen of the Night

It’s tempting to play the wonk and dwell on how and why this singspiel in two acts has enjoyed such a long run. But the more pressing question is whether OTSL’s 2022 production is up to the demanding challenge and delivers a Flute that is as relevant as it is magical and. The short answer is yes.

If you were at the May 28th performance and seek outside validation of why you and almost everyone else – across several generations – laughed, clapped and all-but sang along to the Queen of the Night’s famous aria (if only we were all coloratura sopranos), then consider yourself validated. 

A closer look, however, reveals a subtle, cerebral interpretation of this classic – one that takes some interesting risks and rewards the careful observer. As film director/writer/producer Alan Parker once said, “It’s just as hard to make a bad film as a good one…” The same holds true for opera productions.

The pros at OTSL faced a million decisions that coalesced into this take on a canonical opera. One would have loved to have listened to the discussions between Seadia, Set Designer Ryan Howell and Lighting Designer Christopher Akerlind as they explored how to create the set, which is deceptively simple.

It was anchored by the twisted trunk of a tree – shades of Keebler Elves – that served as the synecdoche for the entire enchanted forest. The tree was flanked by an elevated, wood-toned walkway and staircase that was so ordinary as to become essentially ubiquitous, if not invisible.

The set’s standout element is the busy-patterned, bi-color, batik-like back wall. At first glance, the wall seems more fitting for “The Lion King” than an enchanted forest. But cue the lights. Throughout the opera, the use of light brings some of the no-so-random shapes to life as owls, heads or all-seeing eyes.

Clever in the best sense of the world, and never so obvious as to detract from the overall performance. The use of suspended light bars in Act II was spectacularly effective, especially since this half of the opera relates to light relative to Act I’s focus on darkness.

Jessica Jahn, costume designer, and Tom Watson, wig and make-up designer, created costumes that hinted at a disparate variety of influences. The costume for Sarastro, the High Priest of the Sun, for instance, enveloped Adam Lau in a spectral cape that was part David Bowie in “The Man Who Fell To Earth” and part Balok from the “The Corbomite Maneuver” episode of “Star Trek.”

Johnathan McCullough and Angel Riley

It would have been easy to rely on a more traditional, Egyptian-theme for Sarastro. At Sarastro’s first entrance, his costume was slightly off-putting, but as Lau stiffly moves about, his costume’s next-generation pharaonic vibe makes sense. Again, this is a cerebral production of  the Flute.

The three Workers also sported spacey costumes that are a mash-up of brown Carhartt overalls and bowel-shaped hoods reminiscent of the Jawas in “Star Wars.” Not quite as effective was The Queen of the Night’s second act costume that included a lighted iconographic halo. Using lights to depict a character associated with darkness seems a bit gimmicky, but not overly detracting thanks to the powerful performance of Jeni Houser.

 The Flute’s story is simply silly by today’s standards. Its magic lies in the music by Mozart. And the magic in this production is the cast. With a smooth assist from the orchestra led by Rory Macdonald, they almost make the set, costumes and lighting superfluous.

It’s easy to emphasize Johnathan McCollough’s Papageno because the character has all the best, funniest lines and he gets to romp through his scenes – so much Falstaffian id mucking about with all the other Flutian egos. The world of opera could use more laughter like this. McCollough plays his Papageno as a well-rounded, hedonistic nature boy. Angel Riley was the perfect counterpoint and foil with her Papagena as his devilish, spunky love-interest.

Balancing Papageno’s comic antics is the more serious, eyes-on-the-prize prince, Tamino, sung by tenor Joshua Blue. As the central character, Blue’s performance was silky, entrancing and believable.

Equally strong was Houser as The Queen of the Night – part Borg Queen and part Wicked Stepmother (lighted headdress notwithstanding.) Houser’s coloratura “Vengeance Aria” is a show-stopper, as it is intended to be.  

Erica Petrocelli sings Pamina, the Queen’s daughter. Pamina is both vulnerable in a girl-tied-on-the-tracks sort of way and fiercely strong-willed like Elsa in “Frozen.” Petrocelli pulls off that balance with a performance equal to, if not surpassing, her queen mum.

The basso Lau convincingly and captivatingly sings Sarastro. Lau’s coldly controlled presence paired with his deep, resonate, voice imbues Sarastro with gravitas and other-worldliness.

The art of opera is a gestalt, composed of all of the theatrical arts, and especially music and voice. Magical is art. OTSL’s 2022 production of “The Magic Flute” joins the ongoing lineage of productions that precede it. And if anyone of this generation questions the need for another, borrow the title from the second volume of Elvis’s gold hits and say, “50,000,000 Flute Fans Can’t Be Wrong.”

Erica Petrocelli and Joshua Blue

“The Magic Flute” is presented in repertory by Opera Theatre of St. Louis June 8-26 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. It is performed in English with projected English subtitles and runs 2 hours, 30 minutes. Members of the St. Louis Symphony Orchestra accompany the performance. For dates, tickets and more information, visit: https://opera-stl.org/whats-on/the-magic-flute/