Chris Gibson - Page 42

While Alexander Pushkin's original verse novel, EUGENE ONEGIN, had its protagonist at the center of attention, composer Peter Illyich Tchaikovsky and writer Konstantin Shilovsky's operatic adaptation (with an English translation by David Lloyd-Jones) instead focuses on Tatiana, the woman whose heart is broken by Onegin when he rejects her. This fundamental change in perspective actually makes for a more tragic and emotional experience, and coming from Tatiana's point of view, works perfectly for the world of opera. The Opera Theatre of St. Louis is presenting a lush and dramatic production of EUGENE ONEGIN as part of their season now playing at the Loretto-Hilton.

The classic German legend of Faust gets an interesting re-imagining with playwright Mickle Maher's An Apology for the Course and Outcome of Certain Events Delivered by Doctor John Faustus on This His Final Evening. This is an hour spent in the company of a very regretful Doctor John Faustus, along with his ever present servant of the past twenty-four years, Mephistopheles. The Midnight Company has crafted an engaging and intriguing production of this play that's driven by a splendid performance by Joe Hanrahan.

The Gateway Festival Orchestra will launch its 47th season of free Sunday-evening concerts at Washington University July 11 with 'Music for the Night,' a program of works on nocturnal themes. Musical director James Richards will conduct the performance, which will open with the 'witches' Sabbath' scene from Modest Mussorgsky's Night on Bald Mountain (1867). Next up will be American composer Arthur Foote's A Night Piece (1918), featuring solo flutist Jan Scott, professor emerita at Southern Illinois University-Edwardsville. Concluding the program will be a medley of works from Andrew Lloyd Webber's musical Phantom of the Opera (1986) and from Johannes Brahms' Orchestral Serenade No. 1 in D Major (1857).

The first thing that strikes you about Jewel as a performer is her incredible vocal range, and she began her performance at the Sheldon Concert Hall (June 6, 2010) with a sweetly rendered solo version of 'Somewhere Over the Rainbow'(also covered on her 2009 album 'Lullaby'), that acted as a sort of test run for the shimmering sonic qualities this hall provides for any artist who graces its stage. Suitably impressed by the sound, and the enthusiastic response the audience gave her, she strapped on one of her acoustic guitars and proceeded to regale the assembled crowd with a set that featured material both old and new, thoroughly pleasing longtime fans, while also promoting her latest work, 'Sweet and Wild'.

HotCity Theatre, a professional theatre company with a focus on contemporary programming and new play development announces the production of the company's 5th Annual GreenHouse New Play Festival. Three plays 'in progress' are chosen from over 250 submitted by playwrights all over the world. Each script is given a workshop that includes professional directors on staff at HotCity, a professional dramaturg (a literary drama scholar) and professional local actors. This workshop provides a springboard for re-writes, culminating in readings at the festival by professional actors and adjudicated by HotCity artistic staff. At the festival event, scripts are performed as staged readings, followed by talkback sessions where you, the patrons, are given the opportunity to offer your thoughts and ask questions of the playwrights.

The Friends of The Sheldon present Lyle Lovett and His Large Band in Concert at The Sheldon, Monday, August 2 at 8 p.m.. One of the great all-time American singer/songwriters, Lyle Lovett is currently on tour supporting his most recent studio album, Natural Forces(Curb/Lost Highway). For nearly three decades, Lyle Lovett has defined the modern Texas singer-songwriter. Fusing elements of the blues, country, folk, gospel and jazz, four-time Grammy winner Lovett-in a career that spans 14 albums and more than four million records sold-has created his own style of Americana, defying convention and breaking down barriers along the way.

Peter Martin returns to The Sheldon (Saturday, September 11, 2010) with acclaimed bassist Christian McBride. Raised in St. Louis, and with strong roots in the New Orleans jazz scene, Peter Martin is an accomplished pianist, producer, arranger and composer. Having traveled the world and played with today's finest jazz musicians, from Chris Botti to Wynton Marsalis, Peter Martin Music Live showcases jazz masters past and present in an intimate and casual setting.

The plays of Heiner Muller are as dense as they are brief - shell fragments fired into our collective psyche. What Muller does is boil down a universally recognizable story to its skeleton. Of his vast body of work, HAMLETMACHINE is probably Muller's most recognizable, and possibly the least accessible. Slightly Askew Theatre Ensemble will transform Muller's dark text into a media circus that both celebrates and challenges traditional theatre forms, using the best elements of pop culture to take the mystique out of the text, and make it accessible.

Last year was the first time I'd taken my son to see Circus Flora, and even though he was excited to go again, he's at the stage where he's a wee bit afraid of the dark. So, when the lights went down at the beginning of this year's show, INGENIOSO, he freaked out a little. But, the charm of the performers, particularly the animal ones, quickly won him over and by the close of the night he was sporting a broad smile as we exited the tent. I think the fact that he got a great big hug from his favorite clown Nino (Giovanni Zoppe) certainly helped. And, it's that kind of warmth and good humor that you'll find on display here, along with a considerable amount of athleticism and grace.

Friday, June 11, marks the opening of Muddy Waters' production of the 1916 Eugene O'Neill comedy -- yes, really -- NOW I ASK YOU. We are certain it is a Midwest premiere and may be the first time it's ever been performed professionally, though the history is fuzzy on that. It is also interesting because of the certain collaboration with Agnes Boulton O'Neill, the playwright's second wife.

Mel Brooks is an equal opportunity offender, and I think that's one of the reasons he's able to get away with so much. When it was in the planning stages, it seemed highly improbable that he could turn his 1968 feature THE PRODUCERS into a Broadway musical, much less a runaway hit. But, he and writer Thomas Meehan did just that, garnering a number of accolades and awards along the way. The Lyceum Theatre in Arrow Rock, MO begin their 50th professional season with a lively and well mounted production of THE PRODUCERS that continues their longstanding tradition of providing exceptional entertainment in the very heart of the mid-west.

Sometimes when I'm seeing a show about a particular subject I'll look through my library and re-read (or newly purchase) books that pertain to it. When I noticed that the New Jewish Theatre's production of Neil Simon's Laughter on the 23rd Floor was on the schedule, I decided to bone up. So, I picked up Sid Caesar's biography, 'Caesar's Hours', and I also watched a few DVDs of 'Your Show of Shows' and 'Caesar's Hour', as well as thumbing through my copy of Mel Brooks' biography ('It's Good to Be the King'). Attempts have been made before to put on display that elusive magic that took place in the writer's room of those shows, including the Brooksfilm production of My Favorite Year. But, I think LAUGHTER ON THE 23RD FLOOR best captures the moment, focusing its attention on the actual work and play that went on in the room between the star and his genius stable of writers. The current presentation by the New Jewish Theatre is simply hilarious, and greatly aided by a wonderful cast and terrific direction.

The was my first time seeing BIG RIVER, and I must confess to some misgivings I harbored concerning William Hauptman's adaptation of Mark Twain's classic tale, 'The Adventures of Huckleberry Finn.' The original is a work of great American literature, filled with dialogue that's now considered controversial, but which was pitch perfect and true to its characters and its time. Happily, Hauptman and composer/lyricist Roger Miller have crafted a wonderful version that manages to capture the flavor and feel of the times, while remaining fairly faithful to its source material. Stage St. Louis has put together a production that's a feast for the eyes and ears, conjuring up the muddy Mississippi on stage with considerable technical wizardry, while a talented cast works its own magic under Michael Hamilton's expert direction.

Through a generous donation from MasterCard The Black Rep will Celebrate the Next Generation. The Next Generation program was developed to encourage adults to bring youth to live theatre performances. Through the MasterCard Next Generation program, Black Rep Patrons may obtain a complimentary youth ticket when a regular priced adult ticket is purchased using a MasterCard. When patrons use their MasterCard, but do not utilize the free youth ticket, the ticket is 'banked' for future use.

The Midnight Company will present the St. Louis premiere of Mickle Maher's AN APOLOGY FOR THE COURSE AND OUTCOME OF CERTAIN EVENTS DELIVERED BY DOCTOR JOHN FAUSTUS ON THIS HIS FINAL EVENING at Dressel's Pub in the Central West End, June 2-24. A lean, tragicomic version of the Faustus story, AN APOLOGY... presents Doctor Faustus in the last hour of his final night on earth - irritated, whining and repentant of nothing save his failure to keep a proper diary. Over the course of this hour, he rails against his silent servant Mephistopheles and tells the fantastic tale of his life - a life filled with wonders, as well as an immeasurably vast evil.

Union Avenue Opera presents Gilbert and Sullivan's PIRATES OF THE PENZANCE.Finally able to leave his apprenticeship to the Pirate King, Frederic comes ashore and instantly falls in love with the innocent daughter of the Major-General, Mabel. But how will the Major-General handle it when ALL the pirates want to marry his daughters without consent? Abundant laughter ensues with this timeless Gilbert and Sullivan operetta perfect for all ages.

When the weather cooperates as sweetly it did on opening night (May 28, 2010), there's nothing that can compare to the experience of sitting under the stars in Forest Park and watching an ensemble of top notch performers and technicians take on the task of staging one of William Shakespeare's classic works. Shakespeare Festival St. Louis is presenting HAMLET this time around, and it's a splendid production that will provide attendees with the opportunity to catch a performance of what may well be the most famous play in history. It's certainly Shakespeare's finest hour, and you're certain to encounter a veritable plethora of familiar phrases that have become part of our own creative language as you listen to his sparkling dialogue.

If I was going to introduce someone to the world of opera, I might have them take in a performance of THE MARRIAGE OF FIGARO, because it's a tuneful show filled with farcical plot machinations that are both amusing and satisfying in the manner in which they unfold. There's a reason why Mozart's work, with its witty libretto by Lorenzo Da Ponte (translated with considerable aplomb by Andrew Porter) has become one of the most performed operas of all time; it's a great deal of fun. The Opera Theatre of St. Louis has opened their Spring season with a charming and delightful production that perfectly captures the spirit of this delicious satire of the aristocracy.

The exhibition presents a suite of new abstract paintings by Barry Leibman who has made music the focus of his work. Past series included ones inspired by a Mozart clarinet concerto and music compositions by Erik Satie. He has also created assemblage paintings using the music of jazz artists like King Oliver, Cecil Taylor and Sun Ra, which were shown at the Sheldon Art Galleries in the group exhibition, Improvisus, curated by Alison Ferring in 2003. This recent body of work uses Mahler's Ninth Symphony as a springboard.

St. Louis Actors' Studio concludes its third season with the world premiere of the performance piece THE STATE OF MARRIAGE. Conceived by Joan Lipkin, this original work is co-produced by That Uppity Theatre Company and St. Louis Actors' Studio in their first collaboration. The piece explores the changing face of marriage and considers the institution's complicated emotional, religious, and social dimensions and history.