The Presenters Dolan present "Emily Bergl: Until The Real Thing Comes Along" Thursday through Saturday, March 13-15, at 8 PM as part of the Gaslight Cabaret Festival. Most widely known for her roles on television and in film—as Rachel in "The Rage: Carrie 2," Beth on "Desperate Housewives" and now on "Shameless—as well as for her extensive work on Broadway and Off, Emily Bergl burst onto the cabaret scene just two years ago, garnering raves.
Some of you may remember Connie Fairchild and the local band that bore her surname from the 80s and 90s. Performing a mix of R&B, rock, and jazz—today they'd probably call it "roots music"—the band won awards and fans locally.
I've always maintained that actors in general and musical theatre actors in particular have something of a head start when it comes to cabaret. They already know how to give meaning to a lyric and how to connect with an audience. As evidence, I offer up Ken Page's "Old, New, Borrowed, and Blue," which kicked off The Presenters Dolan's Gaslight Cabaret Festival on February 20 and 21.
We’re well accustomed to St. Louis-born artists returning home for a performance. I look forward every year to Jeremy Davenport’s show at The Bistro at Grand Center on Thanksgiving weekend. Angela Shultz, Craig Pomranz and Lennie Watts are always warmly received and we pick up with them where they left off from their last visit.
The Repertory Theatre of St Louis opens its forty-seventh season with a BANG! Director/Choreographer Marcia Milgrom Dodge has brought us a lovely gift in the form of a new production of the venerable "Cabaret".
You’d think the St. Lou Fringe Festival would be fertile ground for a cabaret act. The venues are small, the shows are required to be under an hour, and you need to be able to pack up and move your act quickly. It all seems ideally suited to the cabaret format, and yet to the best of my knowledge the closest thing to a cabaret performance this weekend is Christy Strickland’s entertaining “Live at Satori” show.
Once upon a time, there were a couple of white chicks named Alice Kinsella and Debra Sharn. They liked to sit around. And sing, now and then.
About half-way through Craig Rubano’s thoughtful, innovative, and surprisingly profound new show We Can Be Kind, my wife passed me a note which read “Wouldn’t it be lovely if religion were to evoke a similar response in everyone who found it?” That’s not a typical reaction to cabaret, but then one of the many strengths of We Can be Kind is that it isn’t typical cabaret.
Before he even sang a note, it was already clear from Craig Pomranz’s publicity material that he had both a reputation as a technically strong singer and a self-deprecating sense of humor. Anybody who sells t-shirts with the phrase “I Spent the Night With Craig” can’t be too stuffy, after all.