The Critics on "Dead Man Walking"

Union Avenue Opera's Dead Man Walking has earned praise from Sarah Bryan Miller of the Saint Louis Post-Dispatch, Gerry Kowarsky of Two on the Aisle, Chris Gibson of BroadwayWorld.com and Chuck Lavazzi of KDHX and Operatic Saint Louis. Here is a sampling of what they had to say:

Chuck Lavazzi:

"...a searing and riveting presentation that is simply one of best local opera productions since Opera Theatre’s Glorianna back in 2005..."

"Baritone Jordan Shanahan doesn’t so much sing and act the role of de Rocher as inhabit it. Ditto for soprano Debra Hillabrand as de Rocher’s long-suffering mother. Their scenes neatly capture their characters’ tragic situation... Tim Ocel’s direction is clear and focused, assisted by Patrick Huber’s set... Artistic director and conductor Scott Schoonover holds Jake Heggie’s complex and evocative score together beautifully... Kaitlyn Breen’s lighting nicely delineates playing areas and Teresa Doggett’s costumes effectively capture the feel of rural 1980s Louisiana..."

"Union Avenue deserves hearty applause for bringing this work to St. Louis for the first time."

Chris Gibson:

"Elise Quagliata and Jordan Shanahan...are absolutely riveting and brave in their performances... Shanahan's confession aria is worth the price of admission alone... Tim Ocel's direction finds the heart at the center of this terrible happening, and Scott Schoonover conducts the orchestra, drawing all he can dramatically from their expert playing...

Union Avenue Opera's production of Dead Man Walking is a must-see event, heavy and searing, but well worth the humanity and the pain of forgiveness, for the sheer joy of seeing masterful performers at work."

Gerry Kowarsky:

"The richness of the score is fully evident in the playing of the orchestra conducted by Scott Schoonover… The acting has the kind of detail and moment-to-moment responsiveness that we'd be lucky to see on any stage, not just in opera. For this we have to give credit to the director Tim Ocel… Teresa Doggett provided fine period costumes. The spare set design by Patrick Huber was evocative and flexible, as was Kaitlyn Breen's lighting."

"...the most involving production of an opera I've ever attended...a landmark of St. Louis theatre."

Sarah Bryan Miller:

"Elise Quagliata gave the role Prejean's authentic strength and humor, fears and faith, and sang throughout with a dark, expressive voice that was strong in the upper register... [B]aritone Jordan Shanahan gave the convicted murderer Joseph de Rocher a completely human complexity that mixed the killer's darkness with a spiritual spark. His fine baritone voice sounded beautiful or rough in turn when his music called for it, and it was intelligently used throughout, in the service of the drama... [S]oprano Marlissa Hudson's portrayal [of Sister Rose] was warm, loving and slightly sassy, with a soaring high voice that didn't quit... As Joseph's mother, mezzo-soprano Debra Hillabrand gave a moving, well-sung performance that conveyed her character's grief and fears... As Owen Hart, father of the murdered girl, David Dillard was dramatically strong..."

"Artistic director Scott Schoonover, director Tim Ocel and everyone else involved really knocked themselves out for this one. It's probably the finest production that UAO has ever done."

Dead Man Walking continues its run this weekend: August 26 & 27. All performances begin at 8pm and take place at Union Avenue Christian Church located at 733 N. Union Blvd in St. Louis. Sung in English with projected English supertitles. Tickets range $30-52. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

"Dead Man Walking" at Union Avenue Opera August 19 through 27, 2011

Jordan Shanahan and Elise Quagliata
© Ron Lindsey, 2011, All rights reserved

As I’ve noted in the past, Union Avenue Opera isn’t shy about tackling material that pushes the company’s artistic and physical limits. Sometimes, as with last month’s Turandot, the results have been mixed. With the local premiere of Dead Man Walking, the result is a searing and riveting presentation that is simply one of best local opera productions since Opera Theatre’s Glorianna back in 2005. Union Avenue couldn’t have chosen a better way to end their 2011 season.

Absolutely every aspect of Union Avenue’s work is spot on. The cast, headed by mezzo Elise Qualgiata as Sister Helen Prejean, is first-rate both vocally and theatrically—as good a collection of singers and actors (some roles are non-singing) as you will find anywhere. Tim Ocel’s direction is clear and focused, assisted by Patrick Huber’s set, which makes smart use of large, mobile chain-link fence units to suggest the oppressive prison atmosphere and also enable fast and fluid scene changes. Artistic director and conductor Scott Schoonover holds Jake Heggie’s complex and evocative score together beautifully, despite the challenges presented by the large number of singers and the difficult acoustics of the Union Avenue space. Kaitlyn Breen’s lighting nicely delineates playing areas and Teresa Doggett’s costumes effectively capture the feel of rural 1980s Louisiana.

The libretto—by noted playwright Terrence McNally, based on Sister Helen Prejean’s memoir of her experiences ministering to convicted killers in the Louisiana prison system—is literate and imaginative. It might benefit for an edit here and there, especially in the long “driving to Angola” scene and during some moments in the second act that struck me a repetitive, but on the whole it’s a remarkably gripping and, for the most part, even-handed look at the difficult emotional and ethical questions raised by America’s justice, prison, and execution system. The character of convicted murderer Joseph de Rocher is, perhaps, less repellant and more willing to seek atonement than the real-life killers that Sister Helen counseled, but this IS fiction, after all. You can’t put real life on stage without considerable modification.

Baritone Jordan Shanahan doesn’t so much sing and act the role of de Rocher as inhabit it. Ditto for soprano Debra Hillabrand as de Rocher’s long-suffering mother. Their scenes neatly capture their characters’ tragic situation. David Dillard, Stephanie Tennill, Cecelia Stearman and Jon Garrett create a powerful quartet of murder victim parents. Robert Reed is a strong presence as the sympathetic Angola warden George Benton, nicely contrasting with Clark Sturdevant’s work as the callous prison chaplain, Father Grenville. Phillip Touchette has a charming cameo as a motorcycle cop who stops the speeding Sister Helen on her way to Angola, only to tear up the ticket as ask her to pray for his sick mother.

Perhaps the most remarkable aspect of Dead Man Walking, though, is the score. Mr. Heggie’s music is clearly “modern” without any of the deliberately off-putting clangor that characterizes a lot of the newer stuff in concert halls these days. Southern American folk, blues and popular music ideas are woven neatly and seamlessly into the aural fabric. It’s both accessible and smart, which is a neat trick.

Dead Man Walking is an emotionally draining and sometimes difficult work that is not for the faint of heart or mind, but it’s well worth seeing and hearing. It’s good to know that serious, theatrically canny composers are still writing operas out there, and Union Avenue deserves hearty applause for bringing this work to St. Louis for the first time.

The opera runs through August 27 at the Union Avenue Christian Church, 733 Union at Enright in the Central West End. It’s sung in English with projected titles that are easily visible throughout the theatre. That’s a plus, given how unintelligible some of the lyrics are rendered by the acoustics, especially in the big choral scenes. For more information, you may visit unionavenueopera.org.

Q & A With Elise Quagliata of "Dead Man Walking"



Elise Quagliata

Mezzo-soprano Elise Quagliata sings the leading role of Sr. Helen Prejean in Union Avenue Opera's Dead Man Walking. This production marks Elise's company debut. Operatic Saint Louis recently engaged her in a Q & A session where she offers her perspective and thoughts on the piece.

What was your particular process in inhabiting the role of Sr. Helen Prejean?

I started by researching Helen. She's all about transparency...transparency of her mission and of herself. I followed the links on her site to death penalty info sites and found some on my own, as well. I read all the statistics I could get my hands on. It was hard. The stats are jarring and disturbing. Her book gives enormous insight into what she calls this "secret ritual" of capital punishment. But there are also a lot of unbiased sites that give history and statistical analysis about the death penalty. This prepped me in understanding why this is so important to her. I empathized and understood her mission. It's most compelling to me because she's so focused on the humanity. I ask myself constantly if I would be able to do this: find love in my heart for someone who did something so brutal. I had to understand how she was able to do that before I could move forward and truly inhabit that moment of forgiveness.

Why do you believe the character of Sr. Helen takes a huge leap by meeting with Joseph De Rocher in person despite such strong warnings from Sr. Rose and the resulting frustration and animosity from the parents of De Rocher's victims? Are her choices possibly born of fascination with danger or risk?

Having spoken to Sister Helen the other day, she seems like an exceptionally focused person. She believes in her mission wholeheartedly, and it seems as though very little would get in her way. She pushes through in the opera because she's a self-proclaimed "hothead", as she states in the aria, a bit of a bull in a china shop, as it were, but also because she's invested. She's invested with this relationship she cultivated through letters and perhaps there were some promises to visit, etc. When he finally does ask her to go, she has to because she gave her word. Helen is a DO-er. I think she THINKS after. And she certainly did during this first experience. There was no precedent set. She couldn't do everything correctly right out of the gate. There has to be a learning curve with a situation as delicate as juggling an inmate, parents of victims, her friends...she has a lot of balls in the air. And I believe she was able to figure out how to do this process correctly only after there were some feelings hurt the first time.

Are there moments in the opera that you have found difficulty finding your way into as an actor?

The most challenging moment for me was the confession scene. How could I hear his confession and then give him the gift of forgiveness? I'm an actor who feels everything, and I want the audience to feel the honesty with which I perform everything I sing. I struggled making the moment she forgives him real because I couldn't understand how she found that genuine compassion. Elise Quagliata is not yet so enlightened. But I kept reading about her, trying to understand her mission, and finally I spoke with her. This helped enormously. Also with Tim's help, a lot of repetition and introspection, I feel we got there. I honestly do forgive him in that scene now.

Elise Quagliata & Marlissa Hudson

Conversely, are there any moments in which you immediately knew what you wanted to do?

The ease and beauty of Helen and Rose's relationship was simpler for me. Rose is a beautifully written foil to Helen's impetuousness. I understood that relationship well. I am a bit like Helen in my "full steam ahead" attitude. I have been called stubborn in my day (just ask my husband!) I have friends like Rose who keep me grounded and mindful. I love and enjoy this relationship being played out on stage. Rose's protectiveness and the unconditional love she shows Helen really gives Helen the strength to carry on with Joe until the end.

What are the most affecting moments in the opera for you?

Anytime Joe shows his vulnerability. Anytime we see the human Joe is. It's easy to stick this label on him--and it's not INcorrect to do so: RAPIST, MURDERER. But all Helen sees is the human. "Strip away the ego and all you're left with is the purest essence...that's the human I wanted to save."--This is something I wrote down from our most recent conversation. In the opera, Joe gives Helen a lot to work with. He often cracks open to reveal his pulpy, vulnerable self. These moments are most affecting for me: the Elvis moment they share, the confession, and of course his apology to the parents.

Jake Heggie's music is at times tonal yet modernistic, with seemingly constant exposition in its musical development rather than repetition heard so often in the standard opera repertoire. What have you found to be the strengths of this score, especially in its interplay with the libretto?

This music is brilliant because each motif or theme has a personality, character or action associated with it. It comes with connotation. The intense 5/8 represents the crime, but the 6/8, which harmonically resembles the crime, seems to represent the institution of jail and those affiliated with it. When these themes interplay and are transformed, it's similar to dynamic character transformation. Nothing is static, musically or textually. That's the genius of the piece. As a listener, you experience the journey with us not only through our words, but also through the harmonic and thematic transformations. McNally's libretto is smart, smart, smart. Obviously, he's a brilliant writer. The libretto and Heggie's music beautifully complement each other.

Jordan Shanahan & Elise Quagliata

Sr. Helen Prejean is an outspoken voice against capital punishment; the character in the opera reflects this viewpoint. Do you believe that the opera makes any sort of statement about or against the death penalty?

The opera forces the audience to examine the question. There's distance in a book or a movie; you don't necessarily have that visceral experience you get in the theater. Seeing this in person, hearing the screams, the tears, feeling that intensity, forces the audience to examine their own feelings about the issue. As Sister Helen said to me, "I am a window pane into a secret ritual." It's up to the audience whether they want to peer in and learn more.

What can you say to convince someone who might be on the fence about attending Dead Man Walking?

Art is entertainment, but art also pushes boundaries. Come see an historical work that is beautifully staged, wonderfully sung and engages the heart and mind.

Visit EliseQuagliata.com for more information on her upcoming career. All images ©Ron Lindsey, 2011.

Dead Man Walking opens tonight. The production runs August 19, 20, 26 & 27. All performances begin at 8pm and take place at Union Avenue Christian Church located at 733 N. Union Blvd in St. Louis. Sung in English with projected English supertitles. Tickets range $30-52. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

Reflections from Principal Singers of "Dead Man Walking"

Mezzo-sopranos Cecelia Stearman and Debra Hillabrand appear in the Missouri Premiere of Dead Man Walking, opening this Friday. Stearman sings the role of Jade Boucher, mother of a murdered young man. Hillabrand sings the role of Mrs. Patrick De Rocher, mother of the convicted murderer. Both singers offer their thoughts and reflections on Dead Man Walking, especially how it has impacted them as an artist and a person.

Cecelia Stearman:
Jade Boucher

“It’s just an opera,” I keep telling myself… “It’s not your real life…” But each day, each evening when I go home from rehearsals, I take it all with me-the pain, the contemplation, the love, the forgiveness, the “understanding of humanity…” It’s all there. This part of Jade Boucher has moved me more than I knew was possible. I have been stirred to the core. But for me, the greatest impact has come from the blatant Christian subject matter: fallen, sinful man and a loving, forgiving God, even to the very end; and how that reality affects all of us and how we relate to each other, if we respond in like fashion with love and forgiveness and if we are to get the most out of “this journey.”

My sweet mother, a minister’s wife, began a maximum security prison ministry to women in Mississippi, after her retirement. This Southern belle, seemingly naïve, seemingly underprepared, went 1-2 times a week to maximum security to meet with known killers and those who still declared they were innocent. She treated them with such love and compassion. I was always impressed by this, but couldn’t begin to understand her desire to do what she did, until I started working on this show. Dead Man Walking is an incredible love story between a nun and an accused killer. It began simply with a letter and turned into a til-death-do-us-part relationship. In the opera (differing from the actual accounts in the book), the accused is indeed the killer. And, by the time he finally confesses to it, it doesn’t matter: Sister Helen already loved “Joseph.” And she forgave him. She forgave him because she believed that was what “her Lord and Savior Jesus Christ” wanted her to do. She forgave him, and in his death, it seems that he received new life.

This is the “salvation story,” as we call it in evangelical circles. And in most situations today, to keep from “offending anyone,” lines like, “I will be the face of Christ for you,” are rare, omitted. But that’s a direct quote from the book. That’s exactly what Sister Helen said to Patrick Sonnier (Joseph, in the opera) and it’s incredible that the writers of the opera were brave enough to put it in just like that. But if they hadn’t, this would not be the same story. It had to be in there, because it is Sister Helen’s story. This text cannot be improved upon! It is powerful and it is sweet. It is sad, but with love being the constant undercurrent, it is beautiful. It brings me joy, as I sing, even through my tears. You see, I am the mother of one of the murdered teens. I should hate Joseph with all that I am. But, in the end, I feel some pain for him, as he asks the parents’ forgiveness for what he has done. It is as if, in that very minute, years of hate are wiped away. In the end I find myself weeping, not so much for my child anymore… I weep that I am free to forgive.

One year my mom asked me to do give a “concert” for some of the prisoners. They had been given special permission to come to the chapel. Of course, I was worried how my voice would be received. I was expecting country-loving, Motown-loving types. But each song I sang seemed to touch them. By the middle of the concert, my heart was so full that I wept. I had done many concerts by then, but that is still one of my sweetest memories. I suppose that when one is that alone, that persecuted, that to have anyone care for you is so appreciated, so surprising… That’s another part of this relationship between Sister Helen and “Joseph” that is so sweet, so unforgettable, to me. He was so appreciative. He was so greatful to her for her friendship, and later, her love. He wasn’t a horrible, cold killer when she visited. He was “human.”

I want to personally thank Sister Helen Prejean for her commitent that started her on “this journey” and for the commitment to it that lead her to record it for us all.

Debra Hillabrand:
Mrs. Patrick De Rocher

I can't say how much I love performing modern works. The sky is the limit for the composer, and he/she is free to write so much drama and emotion into the vocal lines and the whole piece. Jake Heggie certainly uses this freedom effectively, and the collaboration with Terrence McNally provides a monumental work that I am honored to be singing. On a personal and artistic level, I am thrilled to be singing a role written for Frederica von Stade. She has been an idol and role model of mine for years, and I get chills when I think about it!

The role has been emotionally draining and, more importantly, extremely rewarding at the same time. I've never left rehearsals this exhausted, but with the feeling of pride of being involved in something so very special. I've been getting in touch with my maternal side and all the delights and pain that go along with it: the love, happiness, guilt, worry. I can’t imagine what it’ll really be like. The work as a whole has such a strong message of love for all human-kind in which I whole-heartedly believe—so on a personal level, I'm very proud to be a part of a group delivering this message.

Dead Man Walking opens Friday, August 19 and will run for three more performances on August 20, 26 & 27. All performances begin at 8pm and take place at Union Avenue Christian Church located at 733 N. Union Blvd in St. Louis. Sung in English with projected English supertitles. Tickets range $30-52. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

Missouri Premiere of "Dead Man Walking" Opens Friday at UAO

Union Avenue Opera concludes its 17th summer season with the highly-anticipated Missouri premiere of Jake Heggie's opera Dead Man Walking. Based upon the book of the same name by activist and author Sr. Helen Prejean, this opera tells the story of a nun's journey of faith tested by her controversial decision to give spiritual counsel to a convicted murderer on death row despite warnings from her fellow sisters, skepticism from the prison staff and animosity from the parents of the murder victims. This true-life story of compassion and redemption explores the depths of human evil and goodness.

Events surrounding the Missouri premiere include media appearances, book signings and a speaking engagement by Sr. Helen Prejean, CSJ, who will also attend the opening night performance. Union Avenue Opera and Union Avenue Christian Church are excited and grateful to welcome Sr. Helen to St. Louis to share in this premiere.

Making her Union Avenue Opera debut, Mezzo-soprano Elise Quagliata sings the role of Sr. Helen Prejean. Returning after his UAO debut as Prince Yeletsky in last season's Pikovaya Dama, Baritone Jordan Shanahan sings the role of convicted murderer Joseph De Rocher. Mezzo-soprano Debra Hillabrand, also last seen in Pikovaya Dama as Paulina, portrays Mrs. Patrick De Rocher. Last heard as Bess in 2007's Porgy and Bess, Soprano Marlissa Hudson returns to sing the role of Sr. Rose. Fresh from his engagement as Pang in Turandot, Tenor Clark Sturdevant portrays Fr. Grenville, a prison chaplain. Baritone Robert Reed, King Melchior in the recent Amahl, sings the role of Warden George Benton.

Baritone David Dillard, seen as Sulpice in last season's La fille du régiment, is Owen Hart, father of the murdered girl. Soprano Stephanie Tennill, last seen in 2001 as Berta in The Barber of Seville, sings Kitty Hart. Tenor Jon Garrett, most recently seen as The Emperor in Turandot, is Howard Boucher, father of the murdered boy. Mezzo-soprano Cecelia Stearman, the Countess in last season's Pikovaya Dama, sings Jade Boucher. Soprano Joy Boland and Mezzo-soprano Victoria Carmichael portray Sisters Catherine and Lilliane, respectively. Baritones Thomas Sitzler and Nathan Ruggles sing the roles of Prison Guards. Tenor Philip Touchette sings the role of a Motorcycle Cop. The Union Avenue Opera chorus and children's chorus rounds out the cast.

UAO Artistic Director Scott Schoonover conducts. Stage Director Tim Ocel returns to UAO after staging last season's critically-acclaimed Pikovaya Dama. Allyson Ditchey serves as Stage Manager. The Design team includes Set Designer Patrick Huber, Costume Designer Teresa Doggett and Lighting Designer Kaitlyn Breen. Pianist Nancy Mayo serves as production répetiteur.

Sr. Helen Prejean, CSJ

Several educational opportunities surround the production. On Thursday, August 18 at 8:00pm, Union Avenue Christian Church presents "Sharing the Deepest Desire: An Evening With Sr. Helen Prejean." This event is open to the Public; a free will offering will be taken. Sr. Helen will speak in front of the set. A book signing will follow in the Fellowship Hall of UACC. Books will be available for purchase at the event. Click here for more info. On opening night, August 19, Dr. Glen Bauer of Webster University will also give a lecture on the opera at 7pm (one hour before curtain) in the UACC Fellowship Hall. Lecture is open to the public; no ticket to the production required.

Media coverage and further reading: FOX 2 News In The Morning interviews Sr. Helen at 7:40am Friday morning; Cityscape on 90.7 KWMU this Friday (11:00am) welcomes guests Sr. Helen and Tim Ocel; Patricia Rice of The Beacon previews the production and interviews Sr. Helen; Sarah Bryan Miller profiles composer Jake Heggie in the Saint Louis Post-Dispatch; Gary Scott of STLMag.com examines the larger issues posed by the opera, its score and libretto.

You can also visit Operatic St. Louis for some upcoming Q & A sessions and reflections from the cast members.

Dead Man Walking opens Friday, August 19 and will run for three more performances on August 20, 26 & 27. All performances begin at 8pm and take place at Union Avenue Christian Church located at 733 N. Union Blvd in St. Louis. Sung in English with projected English supertitles. Tickets range $30-52. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

"Cityscape" on 90.7 KWMU to Feature Guests Sr. Helen Prejean and Tim Ocel

KWMU 90.7 FM's broadcast of Cityscape this Friday, August 20th, features Union Avenue Opera's Dead Man Walking. Host Steve Potter welcomes onto the program Sr. Helen Prejean, CSJ, and Stage Director Tim Ocel to discuss the production opening that evening.

Cityscape airs on KWMU 90.7 FM at 11:00am-Noon this Friday, August 20th and will be repeated at 10:00pm that evening. You may also listen to archived audio of the program on KWMU's Website.

Set Model for UAO's "Dead Man Walking"

Take a look at some shots of the set model for Union Avenue Opera's Dead Man Walking. You may click on images to view a larger resolution.

Director Tim Ocel and Set Designer Patrick Huber have collaborated on a design which suggests the various locales inside and outside of the Louisiana State Penitentiary. The model takes into account the architecture of the apse and pulpit areas of Union Avenue Christian Church's Sanctuary.

Several chain-link fence units will be used to create confined spaces, long hallways in the prison, etc.

Up center, there will be a 2'-tall stage-within-the-stage serving as various playing areas--most notably the meeting places of Sr. Helen and Joseph De Rocher.

Lining the church's apse, a gallery gives playing space to the various characters commenting on or merely watching the action below.

In order to help bring the action into the house, prison cells have been placed on the balconies at house right and house left.

Dead Man Walking opens next weekend, running August 19, 20, 26 and 27. All performances begin at 8pm. Production sung in English with projected English supertitles. Venue: Union Avenue Christian Church; 733 N. Union Blvd, St. Louis, 63108. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

UAO Plans "Dead Man Walking" Events Featuring Sr. Helen Prejean

Elise Quagliata & Jordan Shanahan

Union Avenue Opera's Missouri premiere of Jake Heggie's Dead Man Walking is fast approaching and will be opening in just two weeks from tonight. Director Tim Ocel, Conductor Scott Schoonover and the cast have been hard at work preparing the piece for over a week now. UAO has planned some exciting events surrounding this production that you will not want to miss. The company announced several weeks ago that Sr. Helen Prejean, CSJ, author of the book Dead Man Walking and anti-death penalty advocate, will come to St. Louis to speak at Union Avenue Christian Church and attend the opening night performance.

SPEECH

On Thursday, August 18 at 8:00pm, Union Avenue Christian Church presents "Sharing the Deepest Desire: An Evening with Sr. Helen Prejean," which will take place in front of the opera’s set. The event will be free to the public and a free will offering will be taken to support the ministries of Sr. Helen. The Arts Group of Union Avenue (AGUA) will host a reception and book signing following in the Fellowship Hall. Books will be available for purchase at the event.

OPENING NIGHT

Sr. Helen shall attend the opening night performance of Dead Man Walking on Friday, August 19 at 8:00 pm. There will be a second book signing immediately following the performance in the Fellowship Hall of Union Avenue Christian Church.

Dead Man Walking runs August 19, 20, 26 and 27. All performances begin at 8pm. Production sung in English with projected English supertitles. Venue: Union Avenue Christian Church; 733 N. Union Blvd, St. Louis, 63108. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/

The Critics on "La Cenerentola"

Chuck Lavazzi of KDHX and Operatic Saint Louis, Harrison Kaplan of BroadwayWorld.com and Sarah Bryan Miller of the St. Louis Post-Dispatch have seen Union Avenue Opera's La Cenerentola. Here's a sampling of what they had to say (to read full reviews, click on the reviewer's name):

Chuck Lavazzi:

"[Abigail] Fischer’s performance is pure brilliance — as is that of everyone else in this remarkable cast ... Bass Adam Fry gives us a delightfully pompous and brilliantly sung Don Magnifico, while bass Kenneth Mattice is all wry amusement as Dandini. Their second-act duet is a classic combination of physical and vocal comedy ... Baritone E. Scott Levin has less interesting material to work with as Alidoro...but he makes the most of it. It’s a fine performance, sung with complete conviction ... [Kara Cornell and Gina Galati] get the characters’ comic bitchiness just right ... Principal Director Jolly Stewart creates decent stage pictures and — unlike so many directors of comic opera — understands that her performers don’t need to be in constant motion to be interesting ... Union Avenue Opera has produced another winner in La Cenerentola."

Harrison Kaplan:

"Both [Abigail Fischer and Keith Boyer] prove capable of handling the demands of Rossini’s score which weaves vocal parts in and out and together in sometimes confusing, but ear-pleasing fashion ... Kenneth Mattice plays the part of Dandini...with a broadness that appeals ... Adam Fry is also over the top as Don Magnifico, with his rich bass voice punctuating a number of hilarious punchlines ... Elizabeth Hastings conducts the orchestral ensemble with considerable aplomb, making excellent work of Rossini’s bouncy and exhilarating score ... Union Avenue Opera's production of La Cenerentola (Cinderella) is an enchanting and mirth-filled production sure to please audiences."

Sarah Bryan Miller:

"Abigail Fischer made an appealing heroine. She's a real coloratura mezzo, with an attractively dark sound and a good technique. To go with it, she has a pre-Raphaelite abundance of red-gold curls, a pretty face, slender figure and likeable persona ... [Keith] Boyer has a big, ringing tenor that negotiated Rossini's demanding lines easily ... [S]oprano Gina Galati and mezzo Kara Cornell were nicely differentiated in their characters, and very funny ... Kenneth Mattice's Dandini, prince for a day, looked good and played the part of the impostor well ... Anthony Heinemann, Nathan Ruggles and Joshua J. Stanton sang well and earned plenty of laughs."

La Cenerentola continues its run this weekend on Saturday, August 6 at 8pm and Sunday, August 7 at 3pm (matinée). Production sung in Italian with projected English supertitles. Venue: Union Avenue Christian Church; 733 N. Union Blvd, St. Louis, 63108.

Tickets range $30-52. Children’s General Admission Tickets (ages 12 and under) are available for $15. Student Rush Tickets are $15 with valid Student ID (cash only) for any remaining seats available 15 minutes before curtain. To purchase Tickets or find more information about Union Avenue Opera, please call 314.361.2881 or visit http://www.unionavenueopera.org/