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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
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 Sceneon Substack); Mark Bretz (LadueNews); Rosalind Early (St. Louis Post-Dispatch); Tina Farmer (Mound City Messenger); Michelle Kenyon (snoopstheatrethoughts.com, St. Louis Arts Sceneon 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 theAisle, HEC Media). Eric Kenyon, director of The Chapel venue, is group administrator.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
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.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
Waiting for Winter Opera’s production of “Don Giovanni,” I was reminded of the forward to Milton Cross’ “Complete Stories of the Great Operas,” in which he begins, “This is a book of stories – the stories of the great and enduring operas…Some of them have become so familiar that I return to them each year, almost as one returns each season to the Christmas story.” Just a week or so before Thanksgiving and the holiday season, Winter Opera’s timing for a production of “Don Giovanni” seemed perfect for a return – Christmas-like – to one of opera’s (and Mozart’s) great and (and greatly rendered) stories.
Before the opening notes of the overture, it was clear that this production would hew closely to a traditional interpretation (kudos to stage director John Stephens) of this work with an understated, yet architecturally appropriate, set (kudos to Scott Loebl, scenic designer). There were the requisite Corinthian columns, graceful arches and stone fountain – providing the neutral setting for the intricate, sublime story to follow.
As the orchestra began the overture to the three-hour performance to come (under the confident and sure baton of conductor Scott Schoonover), I was reminded of how these early, foreboding chords – repeated in the last act – symbolize the fate that awaits Don Giovanni.
Photo by ProPhotoSTL
I was reminded, too, of that Mozart’s original title was “Il Dissoluto Punito, Ossia il Don Giovanni” (“The Rake Punished, or Don Giovanni”). From the opening, this production faithfully unfurls the looping story of Don Giovanni as well as explores the dynamics of power, control and fate – with its major events presented at the beginning and searing conclusion.
The dynamic, muscular-voiced Robert Mellon was a winning Leporello, the Don’s youthful, sometimes blustery servant. Mellon brought his character’s famous register aria – “Madamino, il catalogo è questo” – confidently and humorously to life.
One of the strengths of Winter Opera’s production is its treatment of women in the story. Gina Galati’s portrayal of Donna Elvira was exceptional, especially her affecting, poignant phrasing in “Mi tradì quell’alma ingrata.”
Raphaella Medina provided a sweet-voiced and beguiling Zerlina, especially during “Batti, batti o bel Masetto,” a love song-aria (with Mark Hosseini as Masetto) beloved for its teasing trills. Medina also paired very well with the strong performance of Jacob Lassetter as Don Giovanni, for a hugely satisfying performance of the duet “La si darem la mano.” Throughout, Lassette’s portrayal demonstrated tremendous range as well as nuance demanded by Mozart’s composition.
Nathan Whitson’s strong bass more than met the imposing demands of the character Commendatore. His performance was equal parts stentorian, imperious and stone-like (as the singing statue).
The singers were well-adorned, thanks to the costume design by Jen Blum-Tatara and wigs/makeup by Jessica Dana.
Winter Opera’s “Don Giovanni” played at the Kirkwood Performing Arts Center on November 17 and 19. The season continues with Puccini’s “Manon Lescaut” January 19 and 21, 2024. More information is available at the Winter Opera website.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
In his recent review in New York magazine of the Metropolitan Opera’s production of “Fedora,” Justin Davidson snarked, “’Fedora is an opera about décor.” The headline read, “At Least the Sofa Looks Fabulous.” That’s the kind of pronouncement relished by critics and reviewers, myself included (I do love a good snark, when well-deserved.)
In a backdoor sort of way, Davidson’s sentiment evoked an opposite reaction when assessing Winter Opera’s production of Giuseppe Verdi’s “Macbeth” at the Kirkwood Community Center. One of the major strengths of this production, stage directed by John Stephens, is precisely due to the minimal “décor” and sets. This approach, which was definitely not stagy nonchalance, enabled the production to focus on the essential moments in Shakespeare’s tale of power and corruption, Verdi’s score and the performances of the fine cast. The storyline is the thing, and the result was a solidly satisfying experience that served as a potent post-holiday palate cleanser – we all need a little opera, not a little more Christmas.
Calling the setting simple is not to belittle the work of scenic designer Scott Loebl. It’s to his credit, as well as lighting designer Michael Sullivan’s and technical director Jacob Cange’s, that the mood is so effectively set with appeared at times as a wall of blood, emphasizing the Macbeths’ descent into depravity. The cast members moved through the playing area as though a walk upon Shakespeare’s atmospheric heath.
Photo by Rebecca Haas
One of the risks of production of “Macbeth” in either its theatrical or opera forms, is overplaying the witchiness of the witches. This is not “Wicked” after all. Verdi makes this risk higher turning the play’s three witches into a chorus of witches. But this production makes great, prudent use of this gaggly coven, which sometimes offers comic relief and other times stirring up their portentous predictions. One of the witches contorted her face so dramatically it seemed like an effect that could only be achieve with a mask. Jim Carrey would have been jealous.
The leading roles were performed with uniform excellence by singing actors, several of whom have been in previous Winter Opera productions. The Macbeths, sung by Michael Nansel and Whitney Myers were convincing both singly and as a couple. Myers’ performance as Lady Macbeth offered many insightful moments, marred only by her line “Out, damned spot” through no fault of her own. The line elicited more than few chuckles because its meaning has been ruined after being reduced to an American advertising slogan. Pity.
Nansel as Macbeth also jelled with Nathan Whitson as Banquo. Both used their big, expressive voices to reveal the thoughts and tribulations of their characters. Equally impressive was Jonathan Kaufman as Macduff, especially when confronting (shall I say, laying on) Macbeth.
As with the chorus of witches, the supporting cast was seamless performed and put effective use. The supporting cast included Willard Moseley as Duncan, Damian Ziarko as Fleanzio, Angel Azzarra as a lady in waiting and Kevin Thomas Smith as Malcolm.
Verdi’s score received a well-balanced, thoughtful and atmospheric performance by the orchestra, directed by Edward Benyas. This was noticeable from the start, during the brooding, foreboding overture.
In the play, Lady Macbeth says, “What’s done cannot be undone.” In the case of Winter Opera’s “Macbeth,” what can’t be undone is a fine production of this Verdi-Shakespeare classic.
Winter Opera presented Verdi’s “Macbeth” on January 20 and 22, at the Kirkwood Performing Arts Center.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
I have an acquaintance for whom the terms Puccini and opera are synonymous. For him, opera and the Italians define the artform. Although I don’t agree with his limited definition, I can’t deny that the Italians in general and Giacomo Puccini in particular occupy a special space within the opera canon. That’s why Winter Opera’s production of La Rondine, (music by Puccini with librettists Alfred Maria and Heinz Reichert) was a such a solid, comfortable pleasure.
For reasons not worth reiterating, La Rondine (The Swallow) is not considered one of Puccini’s “greatest hits” but, as my acquaintance might say, “Who cares?! It’s Puccini!” I would duly note his fandom and add that we would all be the poorer if La Rondine weren’t performed periodically, despite its modestness. It’s a good Puccini primer, filled with waltzes, melodies, two arias (one perhaps more famous than the entire rest of the opera) and a duet. It further makes Puccini’s higher-profile operas even more impressive by comparison.
The creative team at Winter Opera chose well with La Rondine because it benefits from a tighter production and the stage at the Kirkwood Performing Arts Center. Smaller is better for this opera, something that scenic designer Scott Loebl and stage director Erica Gibson understood, even as swapped Puccini’s original setting from France’s Second Empire era to the “roaring” 1920s. Amy Hopkins’ costume designs were perfectly matched to the updated era, as well.
The updated setting, replete with a raised chessboard-like black and white floor, allowed Gibson to move the characters move like pawns throughout the action. Although the motivation’s of Magda, especially her decision to return to her “old life” in the conclusion of the third act, aren’t understandable or compelling by modern sensibilities, this doesn’t detract from this production. “Who cares?! It’s Puccini,” is latent throughout.
Photo by Rebecca Haas
Puccini placed the La Rondine’s famous aria, “Chi il bel sogno di Doretta,” early in Act One. The piece’s soaring phrases offer sopranos the opportunity to impress an audience. In Winter Opera’s production, soprano Karen Kanakis as Magda compellingly sang the aria with her lilting, floating top notes. The piece ends with the “What do riches matter if true happiness blossoms?” Kanakis delivers this question with such truth and honesty that it sets up the tragedy of the finale, which turns this line from rhetorically hopeful into sadly ironic.
Matching Kanakis’ performance was tenor Nathan Schafer as Ruggero. Schafer overcame some of the weaknesses of the character through his performance’s clarity and warmth. His duets with Magda were some of the best, even as he had to animate Ruggero’s one-dimensionality (as written). Equally strong were Nicholas Huff as Prunier, Lauren Nash Silberstein as Lisette and baritone Jacob Lassetter as Rambaldo – as well as the chorus.
Bubbling beneath the Winter Opera singer was the orchestra, conducted by Scott Schoonover, artistic director of Union Avenue Opera. The modest size of the orchestra was enlarged by the restrained size and good acoustics of the Kirkwood Performing Arts Center.
Winter Opera is off to a terrific start with La Rondine, leaving only the question of how they will meet or exceed this accomplishment with the rest of the season’s offerings – Verdi’s MacBeth in January and Sigmund Romberg’s The Desert Song in March.
CB Adams is an award-winning fiction writer and photographer based in the Greater St. Louis area. A former music/arts editor and feature writer for the St. Louis Globe-Democrat, his non-fiction has been published in local, regional and national publications. His literary short stories have been published in more than a dozen literary journals and his fine art photography has been exhibited in more than 40 galley shows nationwide. Adams is the recipient of the Missouri Arts Council’s highest writing awards: the Writers’ Biennial and Missouri Writing!. The Riverfront Times named him, “St. Louis’ Most Under-Appreciated Writer” in 1996.
