Harkening to the timeless Ella Fitzgerald and Joe Pass recordings, the Stella Heath & Ian Scherer Duo delivers a warm, intimate, and deeply musical experience. With stripped-down arrangements and improvisational interplay, they bring freshness to jazz standards with playful creativity and heartfelt interpretation.

Stella Heath, a native of Northern California, grew up steeped in jazz and global sounds from her mother’s record collection. After studying classical acting at Interlochen Arts Academy and Syracuse University, she returned to jazz while living in New York City. Since 2014, Stella has performed full time, founding the genre-bending Bandjango Collectif and debuting the acclaimed Billie Holiday Project, now touring nationally. She is also a dedicated music educator with Healdsburg Jazz and a mother of twins.

Ian Scherer, originally from Pittsburgh, studied jazz guitar and composition at Duquesne University and the University of Pittsburgh. He refined his style through private mentorships with guitar greats Pat Martino, Jimmy Bruno, and Joe Negri. Ian brings a rich harmonic sensibility and improvisational finesse to the duo.

Together, Stella and Ian share a deep respect for jazz tradition while embracing playful, modern interpretations. Their duo offers a listening experience that is both timeless and fresh—where storytelling, musicianship, and spontaneity meet. Whether breathing new life into a jazz classic or reimagining a pop song, they captivate audiences with grace and soul.

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The New York Times says it best: “...when Mr. Curchack is on stage, imagination knows no limitations.”
 
Renowned solo theater artist Fred Curchack returns to Sonoma County, and to the theater where he premiered many of his works before touring them around the world.
 
Mercury Theater, housed in the Cinnabar Theater building in Petaluma, is proud to present Resurrection of Freddy Chickan, a sampler drawn from nine of Curchack’s original works. Audiences are in for outlandish excerpts with music, song, video projections, puppets, shadow-play, dance and movement, and a voice and technique to rival the great Shakespeareans.

Curchack’s relationship with the Petaluma theater space began in the 1970s, while he was teaching at Sonoma State University. Even after moving on to teach in Dallas and tour extensively, he returned frequently to perform his new pieces.
 
Here is a round-up of critical acclaim for the works Curchack will be featuring:
 
STUFF AS DREAMS ARE MADE ON: “Year’s Ten Most Noteworthy Plays … when Mr. Curchack is on stage, imagination knows no limitations.” -- Mel Gussow, The New York Times

WHAT FOOLS THESE MORTALS BE: “Theater Pick of the Week … Curchack’s magic is ultimately personal rather than technical, leaving the audience gasping with awe and admiration.” -- Tom Provenzano, L.A. Weekly

Sexual Mythology part 1: THE UNDERWORLD: “This is as exciting an evening of theater as we have had this season, as poetic an evening in the theater as we have ever had.” 
-- Lawson Taitte, WRR-Dallas

PURGATORY: “extraordinary … like Joseph Campbell joining forces with Fellini.” 
-- Tom Sime, Dallas Observer

GRANDPA’S HOME VIDEOS: “a genius performance artist … merits repeat viewings” 
-- Perry Stewart, Theater Jones

DIONYSOS DOES DALLAS: A Geek Tragedy: “BEST BET -- Gut-busting satire and disturbing tragedy … an extraordinary evening.” -- Mary DeDanan, Pacific Sun

GAUGUIN'S SHADOW: “fascinating … complex and evocative portrait of the artist as an inquiry into the glory and ugliness of the passion to make art." 
-- Robert Hurwitt, San Francisco Chronicle

THE COMEBACK OF FREDDY CHICKAN: “theatrical genius … supremely talented artist.” 
-- Lawson Taitte, The Dallas Morning News

Plus, the California premiere of scenes from ALHAMBRA: Two couples take a dream vacation through Spain’s art/architecture/poetry/music/dance, and the sublime wonders and hellish horrors of its Christian/Muslim/Jewish/Gypsy history.

The show is not suitable for children.
 
Trigger warning: This performance contains depictions of and references to rape, abortion, suicide, decapitation, obscenity, profanity, insanity, racism, sexism, classism, fascism, and extreme irony.

Resurrection of Freddy Chickan plays Fridays and Saturdays, May 23, 24 & 30, 31 at 8:00 p.m. For tickets, please visit www.mercurytheater.org. You may also call 707-658-9019. Mercury Theater is at 3333 Petaluma Boulevard North in Petaluma.

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Set against the backdrop of 1950s idealized suburbia, Leonard Bernstein’s Trouble in Tahiti follows the less-than-happy marriage of Sam and Dinah as they navigate the complexities of love, ambition, marital communication and societal expectations. In this intoxicating blend of sultry jazz, biting satire, and raw emotion, Bernstein transports audiences to a time when societal pressures clashed with personal needs and desires.

With the resurgence of “toxic masculinity” and its “trad wife” counterpart, Trouble in Tahiti is the perfect cautionary tale for our times. From the expressive jazz trio to the haunting portrayal of fractured dreams, Trouble in Tahiti delivers a captivating exploration of the human condition that resonates long after the final note fades into the night.

Bernstein’s mini-masterpiece is counterbalanced by a new opera, Christopher Weiss and John de los Santos’ Service Provider, which hilariously delves deep into Trouble’s territory of missed opportunities and communication breakdowns in the age of cell phones.

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