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

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

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

By C.B. Adams

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

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

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

Brittany Hebel. Photo by Peter Wochniak.

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

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

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

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

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

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

Grace Yukiko Fisher and Marc Schapman. Photo by Peter Wochniak

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

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

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

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

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

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.

Variety’s Best Yet ‘Little Mermaid’ Sparkles and Shines

Variety’s Best Yet ‘Little Mermaid’ Sparkles and Shines

By Lynn Venhaus
Managing Editor
Radiant performers in a shimmering production of “The Little Mermaid” chased the gloom away on a chilly, gray day, as their contagious joy on the Touhill stage was a sight to behold.
The 10th anniversary musical by Variety – the Children’s Charity of St. Louis — Theatre celebrated their special achievement as the only production of this kind in the U.S. in royal fashion Friday evening, their third of six performances Thursday through Sunday, Oct. 18 – 21.
What Variety Theatre has done in the past decade is truly remarkable – involving an inclusive children’s ensemble who learns theater mechanics, confidence and performing skills alongside a professional adult cast – in a first-rate production. The good cheer that emanates from everyone involved is something special – and it’s one of the high points of my theater-going every year.

Director and Choreographer Lara Teeter’s vision for this anniversary revival was inspired, especially emulating ocean movement and boosting minor roles.  He kept everything bright and breezy.
This year’s production designs are of highest quality, with a breathtaking fantasy seascape set by Dunsi Dai that incorporated ethereal views from the scrim. Nathan Scheuer’s lighting design enhanced the warm, wonderful make-believe world under the sea – and simulated storms and the dangers down below as well.  Rusty Wandall’s sound design astutely captured sounds of sea, sand and sky.
With superb aerial work, Berklea Going, as spunky Ariel, appeared to be swimming, and her realistic rescue of a sinking Prince Eric (David Bryant Johnson) was a stunner.
The 18-piece orchestra, expertly led by musical director Mark Schapman, pulled us into Menken and Ashman’s lush musical score, and the peppy calypso beat ramped up the fun.
That island vacation sound is personified by the lively Sebastian, the red-suited crab who tries to keep headstrong Ariel out of trouble. In a star-making performance, newcomer Michael Hawkins was a delight in song, dance and showmanship – and very funny.
With his lead on the show-stopping number, “Under the Sea,” the vibrant characters swirling in action were so splendid that they received an enthusiastic – and lengthy – standing ovation.
This year’s high-spirited cast portrayed Disney’s enchanting animated characters with great verve, from the vivid sea creatures, chefs and maids to the principals in familiar roles they made their own. Their glistening outfits from Kansas City Costume burst with color and imagination.
When Disney transformed the 1837 Hans Christian Andersen fairy tale about a young mermaid who wants to live as a human into a full-length animated musical film in 1989, it was the start of a new era.
Composer Alan Menken and lyricist Howard Ashman, who died in 1991, wrote Broadway-caliber songs for their original movie score of “The Little Mermaid,” so adapting it for the stage seemed like a logical step. However, it didn’t make it to Broadway until 2008, with additional songs by Menken and lyricist Glenn Slater, and book by Doug Wright.
Ashman and Menken’s 1991 Oscar-nominated “Beauty and the Beast” came first to Broadway, in 1994 and enjoyed a 13-year run. As a special treat, Variety is fortunate to have the original “Beast,” three-time Tony nominee Terrence Mann, anchoring this production as King Triton.
With his glorious rich voice and commanding stage presence, the six-foot-tall Mann is sensational as the passionate and powerful ruler of the underwater kingdom, helping to make this show unforgettable.
His robust and regal performance is captivating, and even though he’s the marquee draw, Mann doesn’t allow himself to be center of attention, becoming an intrinsic part of the large ensemble as if it were his family.
A tip of the hat to the man who first became a star as Rum Tum Tugger in “Cats,” originated Javert in “Les Miserables,” and earned his third Tony nomination as Charlemagne in the Tony-winning 2013 revival of “Pippin.”
Along with the seamless integration of disabled youth in a children’s ensemble, as well as top-notch teens and adults, and dazzling production values, this is the best Variety musical yet. They feel like a family, for there is such warmth and affection expressed throughout the show.
From the adorable Ian Nolting as Flounder to the comical Alan Knoll as loyal Grimsby, the characters fit in both worlds.
The innovative flourishes to stand-out characters made them particularly memorable here. The agile Drew Humphrey, dandy as Scarecrow last year, charmed everyone as the wacky sidekick seagull Scuttle, and the nimble dance number “Positoovity” was a highlight in a show filled with them.
Joy Boland is a formidable villainess as wicked octopus Ursula, and her impressive sidekicks, Brandon Fink and Mason Kelso as evil electric eels Flotsam and Jetsam, were nimble foes.
Ariel’s lively Mer-Sisters were particularly strong, in songs and their comical family bickering – I looked forward to their appearance every time they sashayed out in their sequined outfits. complete with moving tails, and big-haired wigs.  The six spry siblings Chandler Ford as Aquata, Larissa White as Andrina, Corbyn Sprayberry as Arista, Dena DiGiancinto as Atina, Caitlyn Witty as Adella and Allison Newman as Allana were a hoot.
John Kinney as Chef Louis is another crowd-pleaser in madcap dinner number, “Les Poissons.”
Berklea Going was a likable Ariel, sweet-voiced and sincere, and she paired well with David Bryant Johnson as equally likable Prince Eric.
With its bright tempo, romantic story and charming characters, “The Little Mermaid” is a bubbly confection for children and adults alike. Variety’s production, infused with heart and humor, sparkled and shined.
Variety Theatre presents “The Little Mermaid” at 7 p.m. Oct. 18, 19 and 20, and also at 10 a.m. Oct. 19, 1:30 p.m. Oct. 20 and 1:30 p.m. Oct. 21 at the Touhill Center for the Performing Arts on the UMSL campus. For tickets or more information, visit www.touhill.org and www.varietystl.org.