Kurt Weill Cabaret

October 8th, 2014

With Kurt Weill’s career as her guide, Elise LaBarge steps through the bawdy Weimar Republic of the 1920’s, the romantic, frivolous Paris of the 30’s, and the stylish, swinging New York of the 30’s and 40’s in this cabaret concert. Stephen Hargreaves joins on the piano, and Rebecca Richey on violin.

The show is Sunday, November 16th at 7pm. Please reserve a table ahead of time to guarantee a seat in the music room by calling 773-465-9801.

Uncommon Ground‘s delectable dinner, drink and dessert menu will be available throughout the evening, and the $15/person cover charge will simply be added to the final bill.

Please note: this is at the Devon location!

Weddings, Expense, and Love

August 13th, 2014

I spent my Monday at the Art Institute, listening to and chatting with folks in the wedding industry. Wedding Wire hosts its educational event in multiple cities throughout the country, and I was fortunate to attend the Chicago stopover. We heard several wonderful speakers who shared their wisdom about marketing, blogging and technology, which will be of use and assistance to small and large businesses alike. We all ate breakfast and lunch together and swapped business cards and told our stories. It was lovely.

In the middle of all this vital information sharing and gathering, of this attempt to gain more work and grow in the industry, no one talked about how to get more money out of an engaged couple. No one talked about the industry’s notorious reputation for taking advantage of the person paying for the wedding day, or that the inclusion of the word “wedding” means you can up-charge at least 50%. Of course no one talked about that, you might think. No one wants to talk about those things. But if they had, we would have all agreed that weddings do take a lot more time and effort than the average job, because weddings REALLY matter to the engaged couple. It’s our job to make sure they are happy, and we do have to charge enough (but jeez, not too much!) to make sure we can financially afford to devote the necessary amount of time to that important day.

And then Katheryn Hamm from gayweddings.com stood up and talked about weddings in a way that got to the heart of why I (and probably most people, at least when they started) want to be involved with weddings, and that is love. If you offer your services to any kind of couple with love, then, well, then you can’t go wrong. Cheers to that.

And cheers to all the people who made our wedding in May about as love-filled as a day could possibly be, including the professional photographers in our families who captured memories as they were being created. We are happy.

Pies and flowers: Mom, Belgain host mom, Sisters-in-law, Sisters-in-laws' moms.  © Tim LaBarge

Pies and flowers: Mom, Belgian host mom, Sisters-in-law, Sisters-in-laws’ moms.             © Tim LaBarge

Set-up: Siblings and Friends. © Tim LaBarge

Set-up: Family and Friends (who might as well be family). © Tim LaBarge

Location and Extras: Rainbow Ranch and Coco and Candy the Camels. © Jason Redmond


Day of wedding coordinator: Friend and Equity Stage Manager/Law Student Gina Savoie. © Tim LaBarge

Minister and Groom

Minister: Friend Suzanne Webb from Union Avenue Christian Church. © Todd Studios Photography


Ceremony Singers: LaBarges. © Todd Studios Photography

Gift Table.

Gift Table: Angela Armstrong © Todd Studios Photography


Help in every way, shape and form: Parents. © Todd Studios Photography


Poetry Break

July 14th, 2014

I am currently working on the supertitles for Union Avenue Opera’s 20th anniversary season. For those unfamiliar, supertitles are the live version of subtitles. The opera’s words/English translations are projected above or next to the stage so the audience can more specifically understand what’s going on during the performance. Creating PowerPoint presentations of these lengthy libretti (the words of an opera) can be tedious, but sometimes I get to do Google searches to inform my titles.  Today’s search started because Blanche and Mitch are quoting something in the 3rd scene of Act I of A Streetcar Named Desire by  André Previn. “And, if God choose, I shall but love you better after Death.” Sounds familiar, but what is it?

And for a moment, I am transported back to English class and am looking at a poem I’ve heard a million times. Today, however, I’m reading it at my own pace and because I want to read it. Sometimes we all need a poetry break.


March 11th, 2014

I spent this February working on a production of “The Marriage of Figaro” in Quincy, IL. I usually hate February, but this year, stepping into little Cherubino’s shoes, his many costumes, and his thoughts about ladies…well, I had a hard time hating anything. Even February.


Music, Theatre and Education

January 14th, 2014

When I left to study German in Bamberg, Germany for a month in 2005, I couldn’t even count to 10 in German.  I had studied German diction in grad school and had sung in German, but I didn’t actually know how to say anything beyond memorized text.  As a result, the teachers in the language program I attended were a little taken aback when, with my extraordinarily elementary communication skills, I would pull out the German word for “sorrow” or “weeping” or “trout” or “brook.”  To a singer, there’s nothing surprising in knowing those words.  You learn them the first time you sing a Bach aria or Schubert art song.  To a language instructor who is accustomed to working with the average business man or tourist, well, it’s unexpected.


The St. Louis Children’s Choirs

I remember learning words in elementary and high school in a similar, indirect way.  I had already been exposed to terms like “dynamics” in children’s choir before learning about “static vs dynamic” in science class.  When I learned “tiempo” and “fuerte” in Spanish 1, they sounded like and shared similar definitions to “tempo” and “forte,” common music terms I had been hearing for years.  Concepts reappeared as well.  Turns out, time signatures are little math equations.  The labels used for musical forms are similar to those used in analyzing poetry.  Organizing and understanding musical sections of a piece is just like outlining a research paper.

Community theatre productions taught me a great deal, too.  My director explained what “polysyllabic” meant when I was part of the Caterpillar in Alice in Wonderland when I was 10.  The Caterpillar sings about using “a polysyllabic word, or two.”  I remember when that word showed up on a standardized test.  The stage taught me about Hans Christian Anderson, the French Revolution and Cervantes, about reading dialogue, developing characters, thinking empathetically and understanding conflict and resolution. In the meantime, technical theatre nerds like my fiancé were spending hours learning and applying geometry and physics by hanging lights, considering color temperatures, and designing and building sets.  They were managing people, props and scene changes.  They were developing leadership skills.

I started thinking about this while spacing out in bed this morning.  I am recovering from pneumonia, so my job is currently to do just that, space out in bed.  Really, I was thinking about pneumonia, about the pains in my back and side, most likely some form of pleurisy, and then it occurred to me why I already knew that word when it was first mentioned as a possible cause of my pain.  I said a version of that word night after night when playing Laura in “The Glass Menagerie” a couple of years ago.  Laura is a girl who suffered from pleurosis in high school, which was mistakenly heard as “blue roses” at the time by her present day gentleman caller.  “Blue Roses,” he nicknamed her, melting her heart and solidifying her lifelong crush on him.  I looked up the word when prepping the role, and still it sits, like so many other learned concepts, somewhere in the back of my mind, ready to be pulled up at a moment’s notice.  You see, the learning never stops, and it never gets old.

I arrive at my point.

Dear Principals who doubt the value of artistic study, you are wrong. I, like so many choir and theatre kids, began my education with music and theatre.  I, like so many professional and socially conscious adults, continue my daily education through music and theatre.  I cannot think of a single reason why your kids should not do the same.

Blow your candles out.

Laura and her mother in “The Glass Menagerie.”



(née LaBarge)

November 7th, 2013


I have already been asked multiple times if I plan on taking my fiancé’s last name when we marry in May. Since we still have half a year until that big day, I imagine I’ll get the question another hundred times, or so. He has a nice last name, he does, but it’s Scottish, not French. And what with my affinity for France and the music it has birthed, well, it’s hard to part with the current version of the name my great, great, great, great, great, great, great, great, grandfather brought over from Normandy in the 1600s. Call me sentimental. Call me nostalgic. It’s in my genes. Seriously. You should have met my grandfather. And it’s what makes me step on stage each night.

That sense of sentimental nostalgia will make me step on stage next month, too, when I present my first solo cabaret in Chicago.  Robert de La Berge, I hope you’d approve.