Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“There was a cabaret, and there was a master of ceremonies, and there was a city called Berlin, in a country called Germany… and it was the end of the world” – “Cabaret” 1966
Eerily relevant now more than ever, the musical “Cabaret” has only grown in potency and insight over its 59-year history.
In New Jewish Theatre’s haunting production, director Rebekah Scallet has faithfully adapted Sam Mendes’ brilliant 1998 revival that emphasized the sinister motives as we witness the gathering storm that would lead to World War II and the Holocaust.
However, she has focused on making sure the parallels between then and now are clear, and she has strengthened the shattering epilogue even more than Mendes did. She puts a hard-hitting NJT stamp on it.
As impressive as her track record has been since becoming the artistic director in 2022, it’s noteworthy to mention that this is the first musical she has directed in Wool Studio.
Through the decadent setting of the seedy Kit Kat Club in 1929 Berlin, we witness the end of the Weimar Republic and the rise of the Nazis.
Photo by Jon Gitchoff.
This passionate cast resonates because of how committed they are to the bleak and shocking themes. The desperation is palpable. And their layered approach to the hummable John Kander-Fred Ebb score is commendable.
As the cunning Emcee welcomes patrons in “Wilkommen,” he seductively entices: “Leave your troubles outside! So—life is disappointing? Forget it! In here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful!”
In a magnetic performance, Spencer Davis Milford embraces the tawdriness and makes sure the ominous feeling grows. He lurks in other scenes where he’s not the saucy showman, his menacing presence foreshadowing the horrors that are ahead.
Oh, he has doused his “I Don’t Care Much” and “If You Could See Her” in irony, making those numbers even more chilling. After such iconic actors as Joel Grey, Alan Cumming and Eddie Redmayne have created their indelible portraits, Milford makes the role his own.
Fresh from his starring role as Frodo Baggins in “The Lord of the Rings” national tour, he’s back home making his mark in yet another special show. His work has always captivated since he was a youngster, whether on stage at The Muny or The Repertory Theatre of St. Louis, or a myriad of other companies. But this is quite a departure from anything he’s done.
When it was time for “Tomorrow Belongs to Me,” I braced myself, for its intensity remains affecting — and induces chills.
As conditions deteriorate in the polarizing landscape, those loyal to the “new Germany” face apathetic citizens and those who don’t understand the consequences.. In hindsight, how could they and why were people so unaware?
Soencer Davis Milford as the Master of Ceremonies. Photo by Jon Gitchoff.
The innovative 1998 Tony winning Mendes collaboration with Rob Marshall deconstructed the heralded 1966 Hal Prince show in an earlier 1993 London re-imagining. While the original introduced social commentary in uncommon staging, this version heightens the present danger of ignoring anti-Semitism.
Mendes and Marshall would go on to helm Oscar-winning films in the early 2000s – “American Beauty” and “Chicago” respectively – but their impact has carried over for several vivid revivals in the past 27 years, notably 2014 and 2024, and in this striking, moving interpretation.
Scallet makes the most of the Wool Studio’s intimate setting, through an immersive experience placing some audience members in club configurations.
As the small but vibrant ensemble delivers high-energy precision in musical numbers, Scallet skillfully maintains fluidity throughout, with brisk staging, as one scene quickly melds into another.
Ellen Isom’s crisp and snappy choreography adds pizzazz to “Don’t Tell Mama,” “Mein Herr,” “Money,” and “Two Ladies,” and the robust kick line number in second act is an exceptional feat.
Otto Klemp, Hailey Medrano and Jayson Heil. Photo by Jon Gitchoff.
Music Director Carter Haney conducts the band on stage – Brad Martin on drums, Alerica Anderson on a stand-up bass, and Kris Pineda on accordion and trombone, and their polished presentation is a highlight.
Scenic Designer David Blake’s visually interesting set has a grand balcony implying secretive dalliances behind closed doors while the downstairs doubles as the nightclub stage and both Sally’s and Fraulein Schneider’s shabby living quarters.
Denisse Chavez’s lighting design shrewdly draws us into the action, highlighting the moods, while Justin Smith’s sound design captures the atmosphere.
Hailey Medrano and Dustin Lane Petrillo are strong together as flighty, flirty nightclub singer Sally Bowles and broke American writer Clifford Bradshaw, brought together by fate, desire and living on the edge.
Separately, they are heart-tugging. Petrillo brings a discernable gravitas to every role he tackles, including virtuoso work in “Red,” The Immigrant,” “Hamlet” and “A Long Day’s Journey into Night” on local stages during the past two years.
Not as innocent as he first appears, and initially caught up in the whirlwind, Cliff eventually becomes the keen —-and appalled — observer whose conscience can no longer ignore the signs.
Dustin Petrillo, Medrano and Milford. Photo by Jon Gitchoff.
His character is the fictionalized British writer Christopher Isherwood, who would go on to write the semi-autobiographical novel “Goodbye to Berlin.” The musical’s book by Joe Masteroff is based on the 1951 John Van Druten play “I Am a Camera,” which is adapted from Isherwood’s collection of short stories that he wrote between 1930 and 1933, published in 1939.
Medrano, who has returned to St. Louis with memorable turns in NJT’s “We All Fall Down” last year and work with Metro Theater Company, is at her most heart-wrenching when she refuses to leave her reckless livelihood for the safety and promise of a new life.
She makes drastic self-destructive decisions after spending much of the show flaunting her tough exterior that masks an emotional fragility.
In a smart change of pace, Medrano slows down several classic renditions, boosting their power – the raw, emotional “Maybe This Time” and the title song, aka “Life is a Cabaret” (old chum!) – infused with regret – are both knockouts.
The undercurrent of irony laced with a stinging gut-punch, her anguish seeping through as she breaks. It’s all the more tragic that she chooses to remain oblivious to what’s happening.
Medrano as Sally Bowles. Photo by Jon Gitchoff.
Because Sally is such a confused mess, she is not always sympathetic, but Medrano is alluring when she’s “always on” as Sally Bowles, and tender, for a time, with new love interest Cliff.
In the show’s most devastating performance, Jane Paradise projects world-weariness but also a yearning she hides with pragmatism. The veteran character actress is known for lived-in portrayals and is often the MVP in any ensemble.
As Fraulein Schneider who discovers late-in-life love, her doomed romance with shy, kind fruit vendor Herr Schultz, played sweetly by Dave Cooperstein, is agonizing, for he is a Jew, and their shared dreams collapse under the weight of current events.
From their joyous duets “The Pineapple Song” and “Married,” to her melancholy “So What” and the tragic “What Would You Do?” are sad reminders of the choices we make and life’s turns, depriving them of even a shred of happiness.
Also standing out is Aaron Fischer as the calculating smuggler Ernst Ludwig, whose growing fervor for the Third Reich is alarming. With an impeccable German accent, Fischer slowly reveals his bigotry. Fischer, fairly new to the professional stage, and splendid in last fall’s “Anastasia: The Musical” at Tesseract Theatre Company, is one of the most exciting performers to keep your eye on.
Aaron Fischer and Petrillo. Photo by Jon Gitchoff.
In fact, John Wilson’s dialect work is superb from all 11 performers. Besides doubling as soldiers and shady characters, the ensemble includes devil-may-care revelers celebrating their hedonistic culture before fear and chaos will grip their world. The nightclub’s naughty boys and girls, and their free-spirited customers live in the moment: Otto Klemp as Bobby, officer, ensemble and on clarinet; Jayson Heil as Victor, Max, ensemble and on violin; Amarachi Kalu as Lulu and on the flute; Caroline Pillow as Fritzie; and Lillian Cooper as Texas and the gorilla.
Costume Designer Michele Friedman Siler expertly incorporated luxurious shiny blacks and reds for the performers, often with torn fishnet stockings, and more middle-class attire for everyone else. Because of doubling characters, costume changes are remarkably smooth.
We won’t forget, we can’t forget the unflinching cautionary tale this enduring musical tells us.
Jane Paradise and Dave Cooperstein. Photo by Jon Gitchoff.
The New Jewish Theatre presents “Cabaret” from March 20 to April 13. Please check for showtimes, as several Wednesday shows have been added as well as an extended run. For mature audiences, the show has adult content. The show runs 2 hours and 15 minutes, with a 15-minute intermission. Performances take place at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com. Tickets are available online at newjewishtheatre.org or by phone at 314.442.3283.
NJT’s 2025 Season is generously sponsored by Mary Strauss, with Cabaret receiving additional sponsorship from Stellie Siteman and the Siteman Family Foundation.
Alongside the production, NJT hosts special events that will give the audience a special understanding of the iconic musical:
Saturday, April 5 –The Weimar Republic the Rise of Hitler with Helen Turner
Have a conversation with Helen Turner, Education Director for the St. Louis Kaplan Feldman Holocaust Museum, as she presents information about the Weimar Republic and the real-life historical events that provide the backdrop for Cabaret. This event will take place between the matinee and evening performances on Saturday, April 5. Doors will open at 4:30 with the presentation beginning at 5pm. Light refreshments will be provided. The presentation is free, but reservations are required at https://formstack.io/80312
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Fabulous Fox is delighted to unveil its captivating 2025-2026 Broadway season, promising audiences an unforgettable journey through the magic of theatre. The 2025-2026 Broadway Subscription will feature the breathtaking, Tony Award® winning production of LIFE OF PI, a love story for the ages in THE NOTEBOOK, a spectacular revival of THE WIZ direct from Broadway, the groundbreaking new adaptation of THE OUTSIDERS, the soulful new musical from 17-time Grammy winner Alicia Keys, HELL’S KITCHEN, the triumphant return of THE PHANTOM OF THE OPERA, the spellbinding HARRY POTTER AND THE CURSED CHILD and the hysterical comedy of SPAMALOT. Broadway Extras include LES MISÉRABLES, A CHRISTMAS STORY THE MUSICAL, STOMP, BEETLEJUICE, MJ, and HADESTOWN.
LIFE OF PI | October 7-19, 2025
A theatrical event unlike anything else! Winner of three Tony Awards® and the Olivier Award for Best Play, the Broadway and West End sensationLIFE OF PI is “an exhilarating evening of theater” (The Wall Street Journal). Based on Yann Martel’s best-selling novel that sold more than 15 million copies and became a worldwide phenomenon, LIFE OF PI is an epic story of perseverance and hope that speaks to every generation and “gives new life to Broadway” (The Today Show). Told with jaw-dropping visuals, world-class puppetry and exquisite stagecraft, Lolita Chakrabarti’sstage adaptation of LIFE OF PI creates a breathtaking journey that will leave you filled with awe and joy.
THE NOTEBOOK | November 4-16, 2025
Based on the best-selling novel that inspired the iconic film, THE NOTEBOOK tells the story of Allie and Noah, both from different worlds, who share a lifetime of love despite the forces that threaten to pull them apart. “Full of butterfly-inducing highs and beautiful songs” (Entertainment Weekly), THE NOTEBOOK is a deeply moving portrait of the enduring power of love. Chris Jones of The Chicago Tribune says THE NOTEBOOK is “absolutely gorgeous, not to be missed,” and The New York Daily News calls it “a love story for the ages.” THE NOTEBOOK is directed by Michael Greif (Dear Evan Hansen, Next to Normal, Rent) and Schele Williams (The Wiz, Aida), and features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson, book by Bekah Brunstetter (NBC’s “This Is Us”), and choreography by Katie Spelman.
THE WIZ | November 25 – December 7, 2025
The Tony® Award-winning Best Musical that took the world by storm is back.THE WIZ returns “home” to stages across America in an all-new tour, direct from Broadway. The Baltimore Sun raves “Powerhouse performances. Stunning choreography. Visionary sets” and the Chicago Tribune proclaims THE WIZ is “An eye-popping and high-intensity revival!” This groundbreaking twist on The Wizard of Oz changed the face of Broadway—from its iconic score packed with soul, gospel, rock, and 70s funk to its stirring tale of Dorothy’s journey to find her place in a contemporary world.Everybody rejoice–this dynamite infusion of ballet, jazz, and modern pop brings a whole new groove to easing on down the road!
THE OUTSIDERS I January 7-18, 2026
The winner of the 2024 Tony Award® for Best Musical is THE OUTSIDERS. Adapted from S.E. Hinton’s seminal novel and Francis Ford Coppola’s iconic film, this thrilling new musical features a book by Adam Rapp with Justin Levine, music and lyrics by Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine, music supervision, orchestration, and arrangements by Justin Levine, choreography by Rick Kuperman & Jeff Kuperman, and direction by Tony Award® winner Danya Taymor. Entertainment Weekly says, “It has the power to inspire an entire generation.” In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his best friend Johnny Cade and their Greaser family of ‘outsiders’ battle with their affluent rivals, the Socs. THE OUTSIDERS navigates the complexities of self-discovery as the Greasers dream about who they want to become in a world that may never accept them. With a dynamic original score, THE OUTSIDERS is a story of friendship, family, belonging…and the realization that there is still “lots of good in the world.”
HELL’S KITCHEN | January 27 – February 8, 2026
Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – HELL’S KITCHEN, a new musical from 17-time Grammy® Award winner Alicia Keys, whose new songs and greatest hits about growing up in NY inspire a story made for Broadway. Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL’S KITCHENis a love story between a mother and daughter. It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin. Hailed as a New York Times Critic’s Pick that is, “thrilling from beginning to end – a rare must-see!” HELL’S KITCHEN is directed by four-time Tony Award® nominee Michael Greif, with choreography by four-time Tony Award® nominee Camille A. Brown, a book by Pulitzer Prize® finalist Kristoffer Diaz, and the music of Alicia Keys.
THE PHANTOM OF THE OPERA | February 18 – March 1, 2026
The Phantom is back to thrill audiences once again! Cameron Mackintosh presents a revitalized new production of Andrew Lloyd Webber’s legendary musical, THE PHANTOM OF THE OPERA, which was rapturously received by London critics when it reopened in 2021. Featuring Maria Björnson’s brilliant original design and based on the celebrated direction of Harold Prince, with musical staging and choreography by Gillian Lynne, PHANTOM triumphantly returns to St. Louis “more spectacular than ever!” (Sunday Express).THE PHANTOM OF THE OPERA is widely considered one of the most beautiful and spectacular productions in history, playing to over 160 million people in 47 territories and 195 cities in 21 languages. Andrew Lloyd Webber’s romantic, haunting, and soaring score includes “The Music of the Night,” “All I Ask of You,” “Wishing You Were Somehow Here Again,” “Masquerade,” and the iconic title song. It tells the tale of a disfigured musical genius known only as ‘The Phantom’ who haunts the depths of the Paris Opera House. Mesmerized by the talents and beauty of a young soprano, Christine, The Phantom lures her as his protégé and falls fiercely in love with her. Unaware of Christine’s love for Raoul, The Phantom’s obsession sets the scene for a dramatic turn of events where jealousy, madness, and passions collide.
HARRY POTTER AND THE CURSED CHILD | March 28 – April 18, 2026
It’s time to believe in magic! Broadway’s spellbinding spectacular HARRY POTTER AND THE CURSED CHILD is coming to St. Louis! Join the next adventure and experience the wizarding world like never before at this record-breaking hit and winner of six Tony Awards® including Best Play. “It’s one of the most defining pop culture events of the decade” (Forbes). When Harry Potter’s head-strong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks an unbelievable new journey for them all—with the power to change the past and future forever. Prepare for a mind-blowing race through time, spectacular spells, and an epic battle, all brought to life with the most astonishing theatrical magic ever seen on stage. It’s a “marvel of imagination” (The New York Times) that will “leave you wondering ‘how’d they do that?’ for days to come” (People Magazine).
SPAMALOT | May 5-17, 2026
SPAMALOT, which first galloped onto Broadway in 2005, features a book & lyrics byEric Idle and music by John Du Prez and Eric Idle. The original Broadway production was nominated for fourteen Tony Awards® and won three, including Best Musical. The musical comedy lovingly ripped off from the film classic, Monty Python and the Holy Grail, has everything that makes a great knight at the theatre, from flying cows to killer rabbits, British royalty to French taunters, dancing girls, rubbery shrubbery, and of course, the Lady of the Lake. SPAMALOTfeatures well-known song titles such as “Always Look on the Bright Side of Life,” “The Song That
Goes Like This,” “Find Your Grail” and more that have become beloved classics in the musical theatre canon.
Broadway Extras
Six shows will be offered as Broadway Extras to 2025–2026 season ticket holders for priority seating before their public on sale dates. Back by popular demand, LES MISÉRABLES returns to The Fabulous Fox stage November 18-23 for one week only! A CHRISTMAS STORY, THE MUSICAL will bring the classic 1983 movie to hilarious life on stage just in time for the holidays December 12-14. See what all the noise is about when the international percussion sensation STOMP returns to St. Louis March 6-8. The Broadway smash hit musical based on Tim Burton’s dearly beloved film, BEETLEJUICE, comes back to haunt the Fabulous Fox April 24-26. Back by overwhelming demand, the multiple Tony Award®-winning musical MJ is “startin’ somethin’” as it makes its way back St. Louis for a limited run May 19-24. The 2025-2026 Broadway season will end with an unforgettable journey to the underworld and back in Tony and Grammy Award-winning best musical, HADESTOWN, May 29-31.
Eight and seven-show season ticket packages will be available for the 2025-2026 Broadway Season. The eight-show package includes THE PHANTOM OF THE OPERA. New seven and eight-show season ticket packages will go on sale Wednesday, May 28. Current Broadway season ticket holders will receive their renewal information in the coming days. On sale dates for individual shows will be announced later. For more information, please visit FabulousFox.com.
2025 – 2026 Broadway Series Shows and Broadway Extras:
(The Season Ticket Package shows are in bold)
LIFE OF PI * October 7-19, 2025
THE NOTEBOOK * November 4-16, 2025
LES MISÉRABLES * November 18-23, 2025
THE WIZ * November 25 – December 7, 2025
A CHRISTMAS STORY, THE MUSICAL * December 12-14, 2025
THE OUTSIDERS * January 7-18, 2026
HELL’S KITCHEN * January 27 – February 8, 2026
THE PHANTOM OF THE OPERA * February 18 – March 1, 2026
STOMP * March 6-8, 2026
HARRY POTTER AND THE CURSED CHILD * March 28 – April 18, 2026
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The St. Louis Black Repertory Company will host playwright and Journalist Kelundra Smith for the opening weekend of the Rolling World Premiere of THE WASH, directed by Chris Anthony.
THE WASH continues The Black Rep’s 48th main stage season March 14 (with previews March 12-13) and runs through March 30, 2025 at the Berges Theatre at COCA-Center for Creative Arts.
Smith’s play follows the lives of several fictional Black laundresses, who at crossroads in their personal lives, fought for higher wages. Their labor action became the first successful interracial, organized labor strike of the post-Civil War era.
Events throughout the opening weekend include: Thursday, March 13 | 7:00 PM Curtain | Post-Show Conversation Following the show, a conversation with Kelundra Smith, Playwright, and Marlon M. Bailey, Professor of African and African American Studies, Women, Gender and Sexuality Studies, and Faculty Affiliate in the Performing Arts Department and the Center for the Study of Race, Ethnicity and Equity at Washington University in St. Louis.
Friday, March 14 | Opening Night | 8:00 PM Curtain | Post-Show Reception Post-Show Reception and Meet & Greet with Playwright Kelundra Smith, Director Chris Anthony, and Cast & Crew of The Wash.
Saturday, March 15 | 8:00 PM Curtain Sunday, March 16 | 3:00 PM Curtain
Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more.
THE WASH is presented with support from The National Endowment for the Arts, The Black Rep’s Sophisticated Ladies Initiative and Caleres, with support for our visiting director from Ameren. The Playwright Conversation is presented in partnership with the Missouri Humanities and with support from the Missouri Humanities Trust Fund.
It is produced at The Black Rep as part of a National New Play Network Rolling World Premiere. Other Partner Theaters are Synchronicity Theatre and Impact Theatre Atlanta (Atlanta, GA) and Prop Thos with Perceptions Theatre (Chicago, IL). For more information, please visit nnpn.org
Support for The Black Rep’s 48th Main Stage Season comes from The Berges Family Foundation, Caleres, Missouri Arts Council, the National Endowment for the Arts, the Regional Arts Commission’s ARPA for the Arts, The Shubert Foundation, and the Steward Family Foundation.
About The Black Rep The Black Rep, a 48-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. For more information: www.theblackrep.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A crisp and snappy confection that has thoroughly modern moments wrapped in its old-fashioned big splashy musical format, “Some Like It Hot” bursts with bonhomie and good humor.
The first national tour is now playing at the Fox Theatre Feb. 26 – March 9, and the dynamic ensemble of polished triple threats is a jolt of joy.
The story features two musicians/dancers who quickly hatch a scheme to masquerade as women so they can escape from gangsters after fleeing a murder scene. They join an all-female band boarding a train to play at different stops across the western U.S., headed from Chicago to California.
Romance will complicate their plans, so will race and gender in this lively farce whose source material is much beloved.
Adapted from the iconic 1959 comedy starring Jack Lemmon, Tony Curtis and Marilyn Monroe and directed by Billy Wilder, it was named the greatest comedy film of all time on American Film Institute’s list “100 Years…100 Laughs” in 2000.
That’s a daunting challenge, and that’s why an earlier version in 1972, “Sugar,” has been nearly forgotten, despite a score by Jules Styne with lyrics by Bob Merrill, book by Peter Stone, and direction and choreography by Gower Champion.
That Broadway production starred Elaine Joyce as Sugar, Robert Morse as Jerry/Daphne, and Tony Roberts as Joe/Josephine, and ran for 505 performances.
With a complete overhaul – including moving it to 1933 from the Roaring ‘20s plus a few other tweaks and twists — and granted the rights to use the film title, this energetic and clever stage show warms hearts and elicits much merriment.
The reworked musical comedy opened on Broadway on Dec. 11, 2022, with music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and a book by Matthew López and Amber Ruffin.
However, this is not your grandmother’s “Some Like It Hot” nor does it simply dwell on guys in drag. Lopez, who won a Tony Award for his landmark “The Inheritance,” and Ruffin, who collaborated on “The Wiz” at the Muny in 2018 and is a staff writer for “Late Night with Seth Meyers,” bring their astute insight and modern sensibilities to this version.
They focus on themes of resilience, transformation, and finding your true self, which is represented well, especially in the character of Jerry/Daphne, slyly and wryly played by the winsome Tavis Kordell, whose joie de vivre is contagious. His “You Coulda Knocked Me Over with a Feather” is sublime.
(Another fun fact: Tavis was one of The Drifters in the Muny’s 2023 production of “Beautiful: the Carole King Musical,” and understudied Benny in Stages St. Louis’ “In the Heights” in 2022.)
The other half of the ebullient “Tip Tap Twins” is a slicker trickster – Joe/Josephine, played glibly by Matt Loehr. He’s the mastermind of scheme upon scheme just to keep them working and out of trouble. It is the Depression after all, and times are tough.
One of the brightest spots in the cast was scene-stealer Edward Juvier, who was a charming and delightful Osgood Fielding III, an eccentric millionaire who falls hard for Daphne. His ballad, “Fly, Mariposa, Fly!” was outstanding, as was leading the ensemble in a frisky “Let’s Be Bad,” and his fun “Poor Little Millionaire.”
(More fun facts: Juvier has been in 12 shows at Stages St. Louis, including “In the Heights” with Kordell).
Leandra Ellis-Gaston is a silky-voiced siren as Sugar Kane, a mezzo-soprano with impressive versatility – can belt or do up-tempo jazz. She’s confident – a dreamer, and not as needy as Monroe’s version, but vulnerable.
Nevertheless, her romance with a German film director that Joe is impersonating, as she becomes best friends with Joe, isn’t as interesting as the Daphne-Osgood pairing. It’s just the way it’s written
Also impressive in vocals is Tarra Conner Jones as blustery Sweet Sue, the bandleader of the 10-musician-singers Society Syncopators, who’s a catalyst for a good time. She can wail the blues, or she can do jazzy period pieces like “Zee Bap.”
Costume designer Gregg Barnes’ Tony-winning shimmering evening gowns and vintage daywear are divine.
The show was nominated for 13 Tony Awards, the most in 2023, and won four. J. Harrison Ghee won Best Actor for playing Jerry/Daphne and became one of the two first openly non-binary performers to win. (Fun fact: the multi-talented J. Harrison Ghee starred at the Muny in “Kinky Boots” and as Roxy in “Chicago” twice.)
Directed with gusto by Casey Nicholaw, who won a Tony for choreography for his dazzling dance numbers, ramped up the tap numbers to be standouts. His zippy style meant the staging is brisk and fluid.
For a touring show, Scott Pask’s scenic design is visually appealing in a fun and fluid way. With Art Deco hotel room sets, show venues, and assorted comings and goings, it’s fun to watch the zany chases, quick changes, and clever escapes. The wacky predicaments are so well-timed and executed that it feels like we’re watching a Marx Brothers movie at times, especially the daffy delight “Tip Tap Trouble.”
Nicholaw, who won a Tony for co-directing “The Book of Mormon” with Trey Parker, has an impressive list of crowd-pleasing hits to his credit, including “The Prom,” “Mean Girls,” “Aladdin,” “The Drowsy Chaperone,” “Spamalot,” and “Something Rotten!”
This show closed on Broadway on Dec. 30, 2023, but has enjoyed a robust reception on the road since September 2024.
What seemed to be the biggest letdown is the musical score by the normally whip-smart and snarky Marc Shaiman and co-lyricist Scott Wittman, who won Tony Awards for “Hairspray.” These songs, more of a pastiche, are not as memorable. It’s not that peppy tunes don’t support the vigorous dance numbers, it’s that they sound alike.
This piece can be enjoyable for both the film’s fans and those new to the story because its modernization is subtle and worthwhile, and it’s a grand good time.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Madness takes its toll, yes siree, so who needs fantasy to free you? If you are yearning for a time slip, step back into another dimension and do the Time Warp again!
After all, in 2025, many of us are craving an escape, especially after a very long dreary winter and escalating chaos in the world. What better way than to join like-minded theatregoers and be entertained in a feel-good another-world way? (At least, if you can’t afford a tropical vacation).
The enduring much-revered fan-favorite musical “The Rocky Horror Show” is being produced by New Line Theatre after the company first staged the daring cult smash hit 23 years ago.
But it’s not a rewind. This time, a playful cast interprets the original live stage show, which varies slightly from the raucous cult classic 1975 movie “The Rocky Horror Picture Show,” and may provide a fresh perspective in this changing current climate (as in catch it now before Missouri legislators may outlaw it).
Fifty-two years ago, Richard O’Brien created “The Rocky Horror Show” as a satire for what was happening with the post-60s sexual revolution – that ye olde ‘sex, drugs, and rock ‘n roll’ era and repurposing the Frankenstein legend.
Katie Orr as Magenta. Photo by Jill Ritter Lindberg.
He wrote the music, lyrics and book. O’Brien’s snarky cocktail of tongue-in-cheek, wink-wink behavior, a pre-punk glitter rock concert, and plenty of sexual innuendo were mixed with a homage to old horror and sci-fi B-movies (Think Ed Wood meets The New York Dolls). It caught fire as a London stage production in 1973.
The musical’s book is keen on comedy, so the suggestive one-liners are abundant and so are the flying freak flags in Transexual Transylvania. After all, it was always meant to be tawdry and tacky.
New Line’s production attempts to re-ignite the fervor for sassy and saucy iconic characters who proudly live their life out loud (but in a spooky setting that erupts into dance parties at will).
For the uninitiated, the story follows the transgressive space explorer Dr. Frank N. Furter, his fellow aliens, his Creature, and a few hapless humans.
Todd Schaefer as Frank. Photo by Jill Ritter Lindberg.
Todd Schaefer, who played Brad Majors in New Line’s 2002 endeavor, returns as the wickedly naughty, sexually ambiguous, mad scientist Dr. Frank N. Furter. He leans into the kitschy, campy vibe, confidently strutting in risqué leather and asserting that he is the master of his domain in “Sweet Transvestite.”
Schaefer, who has appeared in 14 shows with the company, grabs hold of the spotlight and delivers his audacious come-ons and comebacks with charming zest and perfect timing. In the second act, he brings the house down with the power ballad “I’m Going Home” after lamenting in “Don’t Dream It, Be It.”
Also standing out were Brittany Kohl and Rafael DaCosta, who earnestly play the lost, scared and confused newly engaged couple Janet Weiss and Brad Majors, a nubile ingenue and her nerdy preppy who are mocked for their naivete and later are energized by their sexual awakening (mostly in the dark, as told in narration).
Their strong voices blend beautifully, especially in “Super Heroes,” and while projecting their characters’ cluelessness in “Damn It, Janet” and “Over at the Frankenstein Place,” they display a sweet innocence together.
Many times, you see people over-exaggerating these roles, but Kohl and DaCosta offer endearing sincere portrayals. And then sure have fun in the second act. Brittany spryly handles “Touch-a Touch-a Touch Me” while Rafael offers a poignant “Once in a While” (cut from the movie).
Another actor having a blast from the past is Christopher Strawhun as doomed biker-greaser Eddie in his raucous solo “Whatever Happened to Saturday Night?” and in a dual role, playing serious expert Dr. Scott, who sings the peppy “Eddie’s Teddy.”
A blonde Zachary Thompson is a bold and brave boy-toy using his physicality as the freshly minted lab Creature, wearing only a skimpy gold lame G-string, and running all over the stage. He delivers a brisk “The Sword of Damocles.” In the second act, I was worried about his very hard fall landing, for he was giving 100% in his characterization.
Brittany Kohl and Rafael Da Costa as Janet and Brad. Photo by Jill Ritter Lindberg.
Katie Orr as Magenta and Tori Shea Cole as Columbia go full glam rock. Orr sets the mysterious mood with the opening “Science Fiction/Double Feature.” She joins her brother Riff-Raff and Columbia on the frisky “The Time Warp.”
I’ve seen the stage show where they have added ensemble characters, called “The Phantoms,” to provide more singers and dancers for the group numbers. But co-directors Scott Miller and Chris Moore have kept the original 9-person ensemble intact.
The butler/handyman Riff-Raff, who is loyal to but also resentful of Frank, usually has a sinister quality. Sporting an androgynous look, Bee Mercer’s interpretation varies from the typical characterization, and while sometimes menacing, acts less creepy and more bizarre.
In another departure, she didn’t develop a strange alien-like voice but uses one like the strange butler Lurch in “The Addams Family.” But everyone presents their own interpretation, as actors tend to do, and not be carbon copies of past performers.
The narrator is crisply played, in authoritative, somber fashion, by Chelsie Johnston, a multi-hyphenate who also choreographed and assisted directing the show.
Christopher Strawhun and Tori Shea Cole as Eddie and Columbia. Photo by Jill Ritter Lindbergh
Making sure the musical numbers keep a lively beat is music director Randon Lane. He superbly conducted a robust 5-man band – John Gerdes on bass, Adam Rugo on guitar, Brandon Thompson on saxophone, Clancy Newell on drums and Jason Eschhofen on second keyboard, while he is pounding away with the driving verve of Jerry Lee Lewis. I enjoyed the sax addition.
It helps that the sound design by Ryan Day is flawless, and use of the hand-held microphones stationed on stands lining the runway was a terrific idea. A new lighting designer, Jack Kalan, had to deal with a multitude of cues, blacking out the room on several occasions, and only highlighting specific people at times using the broader expanse of the Marcelle for entrances and exits.
“The Rocky Horror Show,” and by extension, the movie version, has always been a pop culture rite of passage, enticing with its spicy blend of Halloween Party, drag show, and midnight movie madness.
Those of us old enough to be part of the Varsity Theatre’s midnight screenings in the Delmar Loop during its 1977 and 1978 glory days can wax nostalgic on the experience. The former movie house, now Vintage Vinyl, was one of the first 30 theatres in the U.S. to show “The Rocky Horror Picture Show.”
The movie began showing as a regular feature in March 1976, then a midnight movie on occasional weekends for the rest of that year and through 1977. By May of 1978, it became the regular weekend midnight movie and played until the theatre closed in 1988.
People fondly recall those packed houses and how shenanigans ensued. It’s a touchstone akin to the Mississippi River Festival and the old Busch Stadium II nostalgia that Boomers love to wallow in (including me).
For a time, the Tivoli Theatre programmed the picture, especially during the Halloween season, and usually featured a shadow cast to mimic the action on the big screen. One could purchase a bag of the props, so you didn’t have to bring them from home.
Now, “Rocky Horror” has reached four generations! Its message of acceptance and acknowledging personal freedom continues to resonate.
It doesn’t matter if you are a first-timer or a super-fan, you’ll be able to ease into the festive party atmosphere because the audience always has as much fun as the performers on stage (although it varies from the midnight movie phenomenon’s interactive encouragement).
Photo by Jill Ritter Lindberg.
A warning – this version is non-participatory, so no singing along, shouting out or tossing objects, so leave your toast, rice, toilet paper, noisemakers, and other props at home.
Signs placed around The Marcelle remind everyone to enjoy watching the two acts, which last about 1 hour, 45 minutes, and if opening night is an indication, with a spirited crowd. You can, however, dress in costume.
For New Line Theatre’s 99th show in 33 years, scenic designer Rob Lippert has created a modest set for maximum movement, with a runway allowing ample flexibility for the characters to cavort, and scaffolding acting like floors of the castle. An old-timey Coca-Cola cooler becomes a de facto lab.
Costume designer Erin Goodenough has outfitted everyone in what would be considered eccentric standard looks for Rocky Horror, including many pairs of fishnet stockings. A surprising number of sequins went into sparkly attire for character transformations in the finale.
These days, a rebel yell is good for the soul, as more conservative views sweep the land, wishing life were a ‘50s sitcom dream. Anyone not wanting to conform to outdated social mores and go back, those who can take a joke, could get fired up at “The Rocky Horror Show.” Just saying.
New Line Theatre presents “The Rocky Horror Show” from Feb. 27 to March 22, on Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, three blocks east of Grand. The show has adult themes and is for mature audiences only.For more information: www.newlinetheatre.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus True-life everyday heroes and a harrowing realistic drama are a winning combination in the earnest survival thriller “Last Breath.”
Director Alex Parkinson made the same-titled 2019 documentary feature based on this remarkable true story of a 2012 rescue mission in the North Sea, and this is a fictionalized version, but thankfully, made in a straightforward manner and foregoes unnecessary melodrama.
In his first narrative feature, the Emmy-nominated director skillfully builds tension as a new deep-sea diver is involved in a freak underwater accident. and he is trapped hundreds of feet below the ocean’s surface. while seasoned rescuers battle raging elements.
Parkinson first introduces us to the eager young rookie Chris Lemons (Finn Cole), who is engaged to be married. He has been mentored by grizzled veteran Duncan Allcock (Woody Harrelson), so he’s in the same capsule vessel, along with intense no-nonsense co-worker Dave Yuasa (Simu Liu).
In the script that Parkinson, Mitchell LaFortune, and producer David Brooks co-wrote, they stress the dangers involved in this demanding job, meticulously disclosing the process..
Chris and Dave submerge to work on an assigned pipeline when things go awry, and Chris’ umbilical cable snaps. Dave attempts to free him, but it is unsuccessful. Chris’ life is at risk because he has a limited amount of breathable oxygen and the clock is ticking.
While a storm rages, the agonizing rescue effort is a race against time, and the ship’s crew goes to extraordinary lengths to think of ways to assist. Their teamwork and resourcefulness make this a genuine heart-pounder. Chris has 5 minutes of oxygen, and help is likely 30 minutes away.
This medical miracle that defied science became headline news and one for the record books, but in case you are unfamiliar with what transpired, or haven’t seen the trailer, I will not divulge further details.
The story is gripping and heart-tugging because of its authentic portrayals by all involved. Charming Finn Cole is bright-eyed and enthusiastic as the amiable Chris, a definite breakthrough film role here. Cole, who is best known as Michael Gray on “Peaky Blinders,” also played Joshua “J” Cody on 75 episodes of “Animal Kingdom.”
The versatile Harrelson is solid as the dedicated team leader devoted to his crew and passionate about his profession, while the likable Liu is strong as reliable Dave, and eventually reveals a more emotional side. He has made some interesting choices since he broke out in Marvel’s “Shang-Chi and the Legend of the Ten Rings” in 2021.
The crew is also heroic, as they battle the bad-luck one-two punch of the elements and technical issues. Captain Andre Jenson is played by Cliff Curtis, his 1st Officer Hannah is MyAnna Buring, the DPO (Data Protection Officer) is Josef Altin, and the dive supervisor Craig is Mark Bonnar. Their training, professionalism and respect for each other comes through, and their sincerity is key to our investment in this astonishing tale. Bobby Rainsbury is sweet as Moraq, Chris’ worried fiancé.
The top-shelf technical work is noteworthy, too, for Nick Remy Matthews was the cinematographer and action movie specialist Tania Goding did the outstanding editing. Grant Montgomery provided the lived-in production design, and composer Paul Leonard-Morgan enhanced the urgency in this well-paced, taut thriller that’s a tidy 1 hour-33 minutes.
This film is inspiring, and although not as well known, reminiscent of the sensational international news stories about the Tham Luang cave rescue in 2018. It became source material for the documentaries “The Cave” (2019) and “The Rescue” (2021), and Ron Howard’s narrative feature “Thirteen Lives” in 2022.
“Last Breath” is a worthwhile endeavor that rewards our empathy, the kind of rare storytelling that triumphs because it is gratifying and extraordinary without extra padding.
“Last Breath” is a 2025 survival thriller directed by Alex Parkinson and starring Woody Harrelson, Simu Liu and Finn Cole. It’s rated PG-13 for brief strong language and runtime is 1 hour, 33 minutes. It opens in theatres Feb. 28. Lynn’s Grade: B.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Four retired guys sitting around talking and drinking coffee at a Chicago McDonald’s is intriguing food for thought –a delectable slice-of-life scenario that immediately draws us in to the play “Coconut Cake.”
Playwright Melda Beaty’s flair for dialogue, humor and seamlessly integrating social commentary in her dramedy is irresistible in a compelling and thoughtful presentation in The Black Rep’s intimate A.E. Hotchner Studio Theatre at Washington University.
Because of the caliber of its five-male cast, this character-driven work makes a swift and memorable connection. Their nimble delivery and interactions under the skilled direction of Geovonday Jones enhances their personal relationships as their struggles are revealed over the course of the two-act 2-hour show.
As they explore issues of manhood, racism, mental health and offer advice over games of chess, they show genuine affection — and aggravation — with each other but offer convincing immersive characterizations and realistic camaraderie. It’s set in the summer of 2010.
A fifth character, an unhoused man they call Gotdamnit, interrupts their mornings asking for money and offering his philosophical and spiritual words of wisdom. He’s considered a pest, but there is a surprising backstory and as suspected, more to the guy than his appearance indicates. Lawrence Evans is riveting as a marginalized man.
While the women in their lives are discussed, not seen, vivid portraits of the female characters emerge as they factor into the men’s disparate demeanors. Two characters in particular – a classy, attractive woman that has caught their eye, whom they watch as she walks to work from the Mickey D’s window, and property owner Joe’s mysterious new tenant, Ms. Brulee, who is a baker that makes a divine coconut cake, which happens to be Eddie’s nostalgic childhood favorite.
Richard E. Waits and Joe Hanrahan listen to Duane Foster. Photo by Keshon Campbell
Eddie Lee, a handyman, is the most agitated guy – upset about his wife’s escalating threatening behavior and discloses personal details about his troubled marriage. Everyone knows he has not been faithful, and that complicates matters. Duane Foster is strong as a guy whose life is falling apart but he’s not taking responsibility for the reasons why.
Marty is often the voice of reason, and his faith has kept him grounded. He’s a deacon in his church and devoted to his family, friends and congregation. As Marty, Richard E. Waits is firm, but measured, in the advice he gives, and it’s not always welcome.
The characters show different sides of them as husbands, fathers, sons and friends. Their individual stories mesh well, and the play offers unexpected twists and turns that add poignancy.
Each man has a significant emotional journey, and their textured portrayals give us richer story arcs as they bring up cherished memories and confide secrets.
Marty has brought along his brother-in-law Hank, a white guy who was married to his sister, who died a year ago. As played warmly by Joe Hanrahan, the widowed Hank is lonely and comes along for companionship and something to do. He’s learning chess, and he beams talking about his family, as his daughters and granddaughters try to keep him busy.
The outspoken Joe likes to needle Hank, calling him “Republican,” and increases his pot shots and cruel jabs. Richard Harris is a feisty live wire as the loud, swaggering Joe, a flashy blowhard who brags about his money and conquests. He’s never married but has a couple baby mamas.
Richard Harris is the outspoken Joe. Photo by Keshon Campbell.
As the very opinionated Joe, Harris can change his mood quickly. His accusations get heated and personal, especially if the other guys give him some lip about his boasts. His colorful wardrobe, often referred to as ‘fly’ in urban slang, is an indicator of his perceived status (kudos to costume designer Brandin Vaughn for the stylin’ attire).
Because Joe’s disposition can turn on a dime, his pointed barbs take on a hostile, accusatory tone in the second act, after he endures some setbacks.
All accomplished actors, the five bring nuance and shades of gray to our assumptions and give us deeper insight into these complicated men. They eventually must grapple with the consequences of their choices during their lifetimes.
Scenic designer Tammy Honesty has presented elements of a typical nook at a 2010-era McDonald’s, well-lit by designer Tony Anselmo, that allows Jones to move the action to wherever the guys are sitting.
When Joe struts in, he commands attention by seemingly holding court. Eddie is too restless to sit down most of the time, and Marty and Hank are often hunched over their chess board.
Lawrence Evans as Gotdamnit and Joe Hanrahan as Hank. Photo by Keshon Campbell.
Sound designer Alan Phillips incorporated people chattering at times and assembled an appealing soundtrack of catchy pop hits. Christian Kitchens was an assured technical director, and Mikhail Lynn provided the minimal props.
This isn’t the first time The Black Rep has presented the play, because during the pandemic in September 2020, they made a virtual Zoom reading available from The Ensemble Theatre in Houston, which featured founder Ron Himes as a major character, Eddie Lee.
In 2022, Beaty received the second annual Sylvia Sprinkle-Hamlin Rolling Premiere Award by the International Black Theatre Festival. Because of that, this play is being produced by five theaters, including the Black Rep. It is a welcome return.
With its engaging cast, a captivating funny-sad bittersweet narrative, and noteworthy technical know-how, “Coconut Cake” is a satisfying production to savor.
(At intermission, a coconut cream cheese pound cake is available for purchase too, along with other snacks. Just sayin’, if you get a hankering for a sweet treat.)
Richard Waits and Joe Hanrahan are brothers-in-law playing chess. Photo by Keshon Campbell.
The Black Rep presents “Coconut Cake” Feb. 5 – March 2 in the AE Hotchner Studio Theatre at Washington University. For tickets and more information, visit www.theblackrep.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Jack C. Taylor Music Center opens following a two-year, $140 million expansion and renovation, transforming the audience and artist experience
Music Director Stéphane Denève leads a reopening performance for the venue’s neighbors and community and an opening weekend celebration with mezzo-soprano Joyce DiDonato;venue welcomes entire region for community open house in November
World premieres of three SLSO commissions: Nathalie Joachim’sFamily (composed for the SLSO IN UNISON® Chorus), James Lee III’sFanfare for Universal Hope, and Kevin Puts’House of Tomorrow (song cycle with JoyceDiDonato and members of the St. Louis Symphony Chorus); SLSO co-commissions and St. Louis premieres of Carlos Simon’s Double Concerto with violinist Hilary Hahn and cellist Seth Parker Woods and a new work by Jasmine Guo
Commitment to music of today, with 40 percent of pieces on classical programs by living composers, including four pieces by Kevin Puts, who will serve as composer in residence
Denève conducts pillars of the symphonic repertoire, including Richard Strauss’ Ein Heldenleben; Sergei Rachmaninoff’s Symphony No. 2; Benjamin Britten’s War Requiem; Igor Stravinsky’s complete score to the ballet, The Firebird; W.A. Mozart’s The Magic Flute in its entirety; Gustav Mahler’s Symphony No. 5; Maurice Ravel’s complete Daphnis and Chloé; and Igor Stravinsky’s Pulcinella Suite with dancers from Saint Louis Dance Theatre
New chamber music series, featuring two programs curated by and performed with visiting artists, violinist Augustin Hadelich and pianist Orli Shaham
Introduction of recital series, with performances by acclaimed pianists Víkingur Ólafsson and Isata Kanneh-Mason
Denève welcomes his predecessors, David Robertson (Music Director 2005-2018) and SLSO Conductor Laureate Leonard Slatkin (Music Director 1979-1996), alongside returning conductors Hannu Lintu, Nicholas McGegan, John Storgårds, and Xian Zhang; plus returning pianists Emanuel Ax, Stewart Goodyear, Víkingur Ólafsson, Orli Shaham, Jean-Yves Thibaudet, and Joyce Yang; violinists Augustin Hadelich, Hilary Hahn, Leila Josefowicz, and Nikolaj Szeps-Znaider; vocalists Christine Goerke, John Matthew Myers, Sherezade Panthaki, and Philippe Sly; and ensembles The St. Louis Children’s Choirs and Saint Louis Dance Theatre
Artists new to the SLSO include conductors Ryan Bancroft, Tabita Berglund, Kevin John Edusei, Dima Slobodeniouk, and Anna Sułkowska-Migoń; pianists Isata Kanneh-Mason, Jan Lisiecki, and Gabriela Montero; cellists Seth Parker Woods and Kian Soltani; vocalists Ben Bliss, Ian Bostridge, Sara Couden, Joyce DiDonato, Rainelle Krause, and Roderick Williams; trio Time for Three; saxophonist Steven Banks; and sheng player Wu Wei
More concerts to be announced, including chamber music at the Pulitzer Arts Foundation and The Sheldon; happy hour concerts; Concerts for Kids; and additional specials
The St. Louis Symphony Orchestra (SLSO) and Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director, announced programming for the orchestra’s 2025/2026 season, the orchestra’s 146th and Denève’s seventh as Music Director. This celebratory season welcomes the community back to the SLSO’s concert venue following two years of construction. The Jack C. Taylor Music Center includes a complete renovation of Powell Hall—the historic venue built in the 1920s that has served as the orchestra’s home since 1968—and a 64,000-square-foot expansion. Designed with community service at its forefront, the project preserves the civic treasure for generations to come, transforms the audience and artist experience, and makes music more accessible.
Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director of the SLSO, said,
“From the celebratory first notes of Aaron Copland’s Fanfare for the Common Man to the world premiere of Nathalie Joachim’s all-embracing Family to close our season, I dreamed of a festive musical journey that will serve and unite our entire community through the joy of music, resonating again in our wonderfully restored Powell Hall. This new season is filled with vibrant, compelling, and diverse repertoire, accelerating our belief that our home—this ‘House of Tomorrow’ as our composer in residence Kevin Puts calls it in his monumental new piece— is for everybody. Our musical offering looks towards the future but will also commemorate important moments in history—the 80th anniversary of the end of World War II and America’s 250th birthday. I cannot wait to feel the momentum of this new era with our immensely talented musicians, chorus members, and outstanding guest artists.”
Marie-Hélène Bernard, SLSO President and CEO, said,“The 25/26 season realizes our vision of an expanded concert venue that welcomes the community wholeheartedly, supports the immense talents of our orchestra musicians and choruses, and centers music as a catalyst to gather, learn, and celebrate. Stéphane and our team have crafted a season that showcases the vitality of symphonic music, welcoming an outstanding roster of guest artists, performing treasured classics, and building on our history of fostering the future of our art form. We anticipate with excitement sharing meaningful experiences with our audiences both at the renovated Powell Hall and throughout the region.”
Bjorn Ranheim and Chris Tantillo, co-chairs of the SLSO Musicians’ Council, said, “The musicians of the St. Louis Symphony Orchestra are thrilled to return to our beloved Powell Hall for a season full of orchestral fireworks. Celebrating the past, present, and future of the organization will be an incredibly powerful experience in our beautifully restored and revitalized home. We look forward to welcoming the community back and continuing our mission of enriching people’s lives through the power of music.”
Curated and Compose Your Own Subscriptions are on sale now. Single tickets go on sale later in 2025. Visit slso.org/season or call the Box Office at 314-534-1700 for more information.
St. Louis Symphony Orchestra performs during a projection of Harry Potter and the Deathly Hallows™ in Concert Saturday, April 16, 2022 at Powell Hall in St. Louis. (Photo by Whitney Curtis)
REOPENING THE SLSO’S HOME
The 146th season welcomes audiences to experience the Jack C. Taylor Music Center, for the first time since the completion of a transformational expansion and renovation project. The $140 million project, designed by the internationally acclaimed architecture firm Snøhetta, centers the SLSO’s priorities on artistic excellence, community engagement, and education leadership. The project provides new and improved amenities for audiences and artists, while preserving and enhancing the internationally recognized acoustics and aesthetics of the concert hall. A new Education and Learning Center provides additional space for the SLSO’s two resident choruses, its Youth Orchestra, and a robust portfolio of education and community programs.
A season-long celebration of Powell Hall’s reopening, programming showcases the virtuosity and nimbleness of the orchestra musicians and guest artists, and includes a wide variety of music, responding to the community’s diverse tastes and interests. Pillars of orchestral repertoire share programs with music by composers of today with 40 percent of pieces on classical concerts by living composers. While looking to today’s and tomorrow’s musical voices, Denève and the SLSO also honor important moments in history, notably the 80th anniversary of the conclusion of World War II through performances of war-time and war-inspired pieces, and the 250th anniversary of the founding of the United States, building on the SLSO’s long-held priority of elevating music by American voices. Broadening the definition of what a symphonic organization can achieve, programming also includes films with scores performed live, cross-genre collaborations and presentations, chamber music in multiple settings, holiday commemorations, happy hour concerts, and a new recital series.
On September 19, Denève leads the orchestra for the first time in the renovated Powell Hall, inaugurating the Jack C. Taylor Music Center with a ceremonial ribbon cutting and special performance for the venue’s neighbors and community partners.
On September 26-28, Denève opens the season with a triumphant trio of fanfares by Aaron Copland, Joan Tower, and a world premiere by James Lee III, and leads the world premiere of Kevin Puts’ House of Tomorrow, written for and featuring acclaimed mezzo-soprano Joyce DiDonato and members of the St. Louis Symphony Chorus on a text adapted from the poet Kahlil Gibran. Richard Strauss’ Ein Heldenleben closes the program.
On November 8, the SLSO will welcome the community to a free day of music. Additional details about this and other reopening events will be shared later.
SEASON HIGHLIGHTS WITH DENÈVE
Denève opens the season with the celebratory free community concert on Art Hill in Forest Park, an annual tradition that draws tens of thousands of people and serves as the ceremonial start of the SLSO’s season, performed in memory of longtime SLSO supporter Mary Ann Lee (September 17).
Denève welcomes a roster of internationally recognized guest artists to St. Louis, including violinist Nikolaj Szeps-Znaider for a program that pairs two iconic Romantic pieces: Pyotr Ilyich Tchaikovsky’s Violin Concerto and Sergei Rachmaninoff’s Symphony No. 2 (November 1-2). On November 7 and 9, the SLSO commemorates the 80th anniversary of the conclusion of World War II with performances of Benjamin Britten’s monumental War Requiem, with the St. Louis Symphony Chorus, The St. Louis Children’s Choirs, and a stellar cast of vocalists: soprano Christine Goerke, tenor Ian Bostridge, and baritone Roderick Williams.
Denève leads a rare complete performance of Igor Stravinsky’s score to the ballet, The Firebird, and his close friend and collaborator, Jean-Yves Thibaudet, joins for Aram Khachaturian’s Piano Concerto (November 21-22). The New Year’s Eve concert features pianist Stewart Goodyear in George Gershwin’s Rhapsody in Blue in a French and American-themed musical celebration led by Denève (December 31).
Furthering Denève’s interest in artistic collaborations, Saint Louis Dance Theatre dancers perform original choreography by Kirven Douthit-Boyd alongside the orchestra for Igor Stravinsky’s Pulcinella Suite (January 10-11). The program also includes signature Denève programming with music by Claude Debussy and Albert Roussel.
For the first time on the Powell Hall stage, the orchestra performs Mozart’s complete concert version of the opera, The Magic Flute,with Denève, the St. Louis Symphony Chorus, and The St. Louis Children’s Choirs, and a cast of vocalists including tenor Ben Bliss as Tamino and coloratura soprano Rainelle Krause as The Queen of the Night(February 20 and 22), advancing Denève’s commitment to large-scale choral and operatic performances.
Denève shares his lifelong respect and admiration for his personal friend, prolific film composer John Williams, in a program that includes excerpts from Williams’ scores to Close Encounters of the Third Kind, Star Wars, and E.T. alongside the first SLSO performances of Kevin Puts’ Contact, a triple concerto performed by trio Time for Three (March 20 and 22).
Welcoming back the acclaimed pianist and former SLSO touring partner Víkingur Ólafsson, Denève leads Beethoven’s Emperor Piano Concerto, a new SLSO co-commission by Jasmine Guo as part of the Virginia B. Toulmin Foundation Orchestral Commission program, and Kevin Puts’ Concerto for Orchestra, premiered by the SLSO in 2023 (March 27-28). Denève leads another SLSO co-commissioned work, Carlos Simon’s Double Concerto with star violinist Hilary Hahn and cellist Seth Parker Woods, alongside Gustav Mahler’s massive Symphony No. 5 (April 10-12).
Denève brings the entire SLSO roster of musicians together for the final symphonic concert of the season. The SLSO IN UNISON® Chorus, with the unique mission of performing and preserving music from the African diaspora, gives the world premiere of Family, composed by Nathalie Joachim following many conversations with chorus members. The concert opens with SLSO’s previously commissioned work, Kevin Puts’ Virelai. The St. Louis Symphony Chorus joins the orchestra for Maurice Ravel’s Daphnis and Chloé.
Emanuel Ax
RETURNING ARTISTS AND SLSO ENSEMBLES
Many of the world’s leading conductors return to the SLSO. David Robertson, who served as the 12th SLSO Music Director from 2005-2018, returns in a program that features music by Steve Mackey and Sarah Kirkland Snider, and pianist Orli Shaham on Robertson’s own piano concerto, and Leonard Bernstein’s Symphony No. 2, “The Age of Anxiety” (March 6-7). Conductor Laureate Leonard Slatkin leads the second week of classical concerts, welcoming back his friend, pianist Emanuel Ax, for Mozart’s Piano Concerto No. 25, Edward Elgar’s Symphony No. 1, and his own Schubertiade: An Orchestral Fantasy (October 11-12).
Additional returning conductors include John Storgårds, in a program anchored by Dmitri Shostakovich’s Symphony No. 15 (December 5-6); Nicholas McGegan, leading G.F. Handel’s Messiah (December 12-14); Xian Zhang conducting Billy Childs’ Diaspora (Saxophone Concerto) and Sergei Prokofiev’s Symphony No. 5 (February 6-7); and Hannu Lintu leading a program of works by Richard Wagner, W.A. Mozart, Samy Moussa, and Ottorino Respighi’s rarely performed Church Windows (April 18-19).
Pianists making their SLSO returns include Jean-Yves Thibaudet on Aram Khachaturian’s Piano Concerto (November 21-22); Joyce Yang on Sergei Rachmaninoff’s Rhapsody on a Theme of Paganini (November 29-30); Stewart Goodyear on George Gershwin’s Rhapsody in Blue (December 31); and Víkingur Ólafsson on Ludwig van Beethoven’s Piano Concerto No. 5, “Emperor” (March 27-28) and in recital (March 26). Returning violinists include Augustin Hadelich on Sergei Prokofiev’s Violin Concerto No. 2 (October 24-25) and in a program of chamber music with SLSO musicians (October 26); Nikolaj Szeps-Znaider on Tchaikovsky’s Violin Concerto (November 1-2); Leila Josefowicz on Alban Berg’s Violin Concerto (March 14-15); and Hilary Hahn on Carlos Simon’s Double Concerto (April 10-12).
Soprano Christine Goerke, in Benjamin Britten’s War Requiem (November 7 and 9), as well as most of the vocal cast for Handel’s Messiah: soprano Sherezade Panthaki, tenor John Matthew Myers, and baritone Philippe Sly (December 12-14) also return.
The St. Louis Symphony Chorus, which has performed repertoire from the entire choral-orchestral canon to critical acclaim since its formation in the 1976/1977 season, performs alongside the SLSO under the direction of Erin Freeman. In the 25/26 season, the chorus performs Kevin Puts’ House of Tomorrow (September 26-28); Benjamin Britten’s War Requiem (November 7 and 9); G.F. Handel’s Messiah (December 12-14); W.A. Mozart’s The Magic Flute (February 20 and 22); Maurice Ravel’s Daphnis and Chloé (May 8-10).
The St. Louis Symphony IN UNISON® Chorus, which preserves and performs music from the African diaspora and is directed by Kevin McBeth in his 15th season, returns for its annual holiday-time soulful celebration: IN UNISON® Christmas (December 19). The chorus performs its annual Lift Every Voice: Celebrating Black History Month concert, also under McBeth’s direction and featuring vocalist Rosephanye Dunn Powell (February 27). The chorus joins the SLSO in the final classical concerts of the season, performing the world premiere of Nathalie Joachim’s Family (May 8-10).
The St. Louis Symphony Youth Orchestra, the region’s premiere training orchestra for young musicians aged 12-22, will present three concerts in its 56th season. Concert details will be announced later.
Sherezade Panthaki
ARTIST DEBUTS
Throughout the 25/26 season, many acclaimed artists will make their SLSO debut.
Five conductors make their debuts on symphonic programs, including Tabita Berglund in a program of Russian and Scandinavian music (October 24-25); Kevin John Edusei with Beethoven’s Symphony No. 7 (November 29-30); Dima Slobodeniouk leading a concerto for sheng and Tchaikovsky’s Symphony No. 4 (January 24-25); Anna Sułkowska-Migoń in a program with Polish connections, alongside Rimsky-Korskov’s Scheherazade (March 14-15); and Ryan Bancroft leading Copland’s Symphony No. 3 (April 24-25).
Instrumentalists making their SLSO debuts include: pianists Jan Lisiecki performing Mozart’s Piano Concerto No. 9, “Jeunehomme” (April 18-19), Gabriela Montero performing Prokofiev’s Piano Concerto No. 3 (April 24-25), and Isata Kanneh-Mason in a recital with music by Beethoven, Ravel, and Tabakova (May 14); cellists Kian Soltani on Haydn’s Cello Concerto in C major (December 5-6), and Seth Parker Woods in Carlos Simon’s Double Concerto (April 10-12); sheng player Wu Wei on Jukka Tiensuu’s Teoton, a concerto for sheng (January 24-25); and saxophonist Steven Banks, an international ambassador for his instrument, who performs Billy Childs’ Diaspora (February 6-7).
Time for Three—a trio consisting of violinists Nick Kendall and Charles Yang, and double bassist Ranaan Meyer—debut on Kevin Puts’ Contact (March 20 and 22).
Vocalists making their debuts include mezzo-soprano Joyce DiDonato singing the world premiere of Kevin Puts’ House of Tomorrow (September 25-27); tenor Ian Bostridge and baritone Roderick Williams in Britten’s War Requiem (November 7 and 9); contralto Sara Couden in Handel’s Messiah (December 12-14); and tenor Ben Bliss and soprano Rainelle Krause in Mozart’s The Magic Flute (February 20 and 22).
WORLD PREMIERES, COMMISSIONS, AND FIRST SLSO PERFORMANCES
More than 20 pieces enter the SLSO’s repertoire during the 2025/2026 season, including 15 works by living composers. In addition to world premieres by Nathalie Joachim, James Lee III, and Kevin Puts, the SLSO performs works by living composers including Billy Childs, Guillaume Connesson, Reena Esmail, Samy Moussa, David Robertson, Leonard Slatkin, Sarah Kirkland Snider, Jukka Tiensuu, and Joan Tower. Nearly 40 percent of the pieces on symphonic programs are by living composers.
World premieres
Kian Soltani Cellist
Photographer: Marco Borggreve
all rights reserved/no third commercial parties
James Lee III’s Fanfare for Universal Hope builds on the composer’s relationship with Denève and the orchestra as one of the SLSO’s most-performed composers in recent years. Since 2019, the SLSO has performed four of Lee’s pieces, including the 2023 world premiere of the SLSO-commissioned Visions of Cahokia, inspired by the indigenous civilization near present-day St. Louis.
Kevin Puts’ House of Tomorrow is a new song cycle based on texts by Kahlil Gibran, the writer, poet, and artist. Mezzo-soprano Joyce DiDonato delivers the world premiere performance alongside the SLSO and members of the St. Louis Symphony Chorus. Puts serves as composer in residence during the SLSO’s 25/26 season, and the orchestra will play three additional pieces by him: Contact, Concerto for Orchestra, and Virelai. The latter two were SLSO commissions premiered in 2023 and 2019 respectively.
Nathalie Joachim’s Family takes inspiration from the St. Louis Symphony IN UNISON® Chorus, a resident chorus with the unique mission to perform and preserve music from the African diaspora. Joachim logged many conversations with IN UNISON® Chorus singers, utilizing their words as the text for her piece.
SLSO Co-commissions
A new work by Jasmine Guo is part of the Virginia B. Toulmin Foundation Orchestral Commission program of the League of American Orchestras, connecting female composers with orchestras to commission new work. The SLSO previously participated in the program as the lead commissioner of Stacy Garrop’s Goddess Triptych, premiered in March 2022.
Carlos Simon’s Double Concerto will receive its Midwest premiere with the SLSO and violinist Hilary Hahn and cellist Seth Parker Woods.
Leonard Slatkin
First SLSO performances
Joan TowerFanfare for the Uncommon Woman No. 1 (September 26-28)
Leonard Slatkin Schubertiade: An Orchestral Fantasy (October 11-12)
Harald SæverudThe Ballad of Revolt (October 24-25)
Guillaume ConnessonMaslenitsa (November 21-22)
Clara Wieck Schumann (orch. de Murashkin) Three Romances (December 5-6)
Jukka TiensuuTeoton (Concerto for Sheng and Orchestra) (January 24-25)
Reena Esmail RE|Member(February 6-7)
Billy ChildsDiaspora (Concerto for Saxophone and Orchestra) (February 6-7)
David RobertsonLight forming, A Piano Concerto(March 6-7)
Sarah Kirkland Snider Something for the Dark (March 6-7)
Grażyna Bacewicz Overture (March 14-15)
Kevin Puts Contact (March 20 & 22)
Samy MoussaElysium (April 18-19)
Chamber music and recitals
In a two-concert series, the SLSO presents acclaimed guest artists in chamber music concerts they curate, collaborating with orchestra musicians in a more intimate setting. Violinist Augustin Hadelich curates the October 26 program and pianist Orli Shaham leads the March 8 concert.
The SLSO introduces a new two-concert recital series, presenting acclaimed musicians in solo works on Powell Hall’s stage. Inaugural artists in this series include pianists Víkingur Ólafsson, performing Beethoven’s final three piano sonatas (March 26), and Isata Kanneh-Mason, presenting Beethoven’s famous “Moonlight” sonata alongside works by Maurice Ravel and Dobrinka Tabakova (May 14).
Additional information about the SLSO’s Live at the Pulitzer (chamber music exploring the intersection of visual and aural art by composers of today, performed at the Pulitzer Arts Foundation) and Live at The Sheldon (music from the entire chamber music library curated and performed by SLSO musicians at The Sheldon) will be announced later.
Films with live score
The Wizard of Oz
The SLSO continues its popular film series, performing acclaimed scores live while the movie plays overhead. Films in the 25/26 season include Harry Potter and the Sorcerer’s StoneTM(October 3-5), The Lion King (November 15-16), Home Alone (December 27-28), and The Wizard of Oz (January 30-February 1). The SLSO presents Marvel Infinity Saga in Concert, a cross-film journey through Marvel’s most exciting moments (May 1-3).
Holiday and special programming
Broadening the definition of a symphony concert, the SLSO plans several special events to respond to patrons’ diverse tastes.
The SLSO pays tribute to the memory of St. Louis icon Chuck Berry in a brand new program celebrating the rock legend’s 100th birthday and in collaboration with the Chuck Berry estate (October 17-18). Curated and arranged by prolific composer Carlos Simon, the SLSO explores the legacy of jazz great John Coltrane, led by Edwin Outwater and featuring saxophonist Joe Lovano (February 28).
Holiday concerts include the popular IN UNISON® Christmas concert, previously known as Gospel Christmas (December 19), which features the IN UNISON® Chorus led by Kevin McBeth. The Mercy Holiday Celebration presents five concerts of beloved holiday music with conductor Stuart Malina at Powell Hall (December 20-21 and 23). Denève leads the annual New Year’s Eve Celebration Concert, featuring pianist Stewart Goodyear and music by Leonard Bernstein, Georges Bizet, and George Gershwin (December 31). The SLSO also performs its annual Lift Every Voice: Celebrating Black History Month concert with the IN UNISON® Chorus and vocalist Rosephanye Dunn Powell (February 27).
Additional special concerts, happy hour concerts, and Concerts for Kids, will be announced later.
Kevin McBeth
OPERA THEATRE OF SAINT LOUIS
The SLSO will conclude its season as the resident orchestra of Opera Theatre of Saint Louis (OTSL), the 49th year of this partnership. The 2026 Festival Season runs May 23–June 28, 2026. Programming for OTSL’s 2026 Festival Season will be announced later this summer. The current 2025 Festival Season takes place this May and June, marking the occasion of OTSL’s 50th anniversary; tickets and more information can be found at ExperienceOpera.org.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The core of the SLSO’s artistic foundation is its dynamic partnership with Denève, whose energetic musicianship, visionary storytelling, and collaborative spirit have created stronger connections with local and visiting artists, as well as advanced the SLSO’s role as a leader in music education. The SLSO musical family also includes two resident choruses: the St. Louis Symphony Chorus, founded in 1976, performs choral-orchestral music from the Baroque era to today; and the St. Louis Symphony IN UNISON® Chorus, founded in 1994, focuses on the performance and preservation of music from the African diaspora. The St. Louis Symphony Youth Orchestra, founded by Conductor Laureate Leonard Slatkin in 1970, is the region’s premiere training orchestra for high school and college students.
In March 2023, the SLSO broke ground on a 65,000-square foot expansion and renovation of the orchestra’s home, Powell Hall—the first major renovation project at the historic Grand Center building since it became the SLSO’s permanent home in 1968. Led by the internationally acclaimed architecture firm Snøhetta, the project will transform the audience and artistic experience while protecting Powell Hall’s historic character and celebrated acoustics, creating a state-of-the art center for community, innovation, and powerful music experiences. While construction is underway, the SLSO will perform throughout the community. The revitalized Powell Hall will open in September 2025, coinciding with the building’s centennial.
An integral part of the vibrant St. Louis community, the SLSO enjoys a long history of robust and enduring artistic collaborations with individuals and organizations locally and around the world. Orchestra musicians share dozens of education and community performances throughout the region each year at medical facilities, places of worship, community centers, and schools. For 20 years, the St. Louis Symphony Orchestra: Live at the Pulitzerseries has highlighted today’s leading musical voices through innovative performances in collaboration with, and reaction to the exhibitions at, the Pulitzer Arts Foundation. The SLSO has served as the resident orchestra for Opera Theatre of Saint Louis for more than 45 years. The orchestra also continues to foster impactful artistic collaborations, including a chamber music series with The Sheldon, as well as regular partnerships with The Muny, Saint Louis Dance Theatre, the Saint Louis Art Museum, and others. Beyond the St. Louis region, the SLSO’s impact is realized through Saturday night concert broadcasts on St. Louis Public Radio and Classic 107.3, acclaimed recordings, regular touring activity, and a digital portfolio that includes a robust online education platform with curriculum materials, interactive programs, activities, and learning opportunities for all ages.
Since the arrival of Marie-Hélène Bernard as President and CEO in 2015, the SLSO has aligned its mission to make music more accessible, while fostering a culture welcoming to all. Building on its momentum, the SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Midnight Company announces two shows for its 2025 Season. In July at The Chapel, Midnight will present the World Premiere of PRIDE AND JOY, co-produced with playwright Colin McLaughlin. And October at Greenfinch will bring a revival of Conor McPherson’s ST. NICHOLAS.
McLaughlin’s PRIDE AND JOY, which was seen in a one performance reading at the 2024 St. Louis Fringe Festival, reveals a family gathering for an intervention for one of its members. But confusion reigns as the family tries to figure out just who this intervention is meant for. Carl Overly Jr. will direct. Carl won a Theatre Critics Circle award for Outstanding Supporting Actor/Comedy for Midnight’s 2021 show IT IS MAGIC. The cast includes Summer Baer, who’s performed in Midnight shows RODNEY’S WIFE and THE YEARS; Lavonne Byers, who last year won a Critics Circle award for Outstanding Actress for Midnight’s THE LION IN WINTER; Lize Lewy, who as a playwright is nominated this year for a Critics Circle award for Outstanding New Play for her script LONGING; Jacob Schmidt, who this year is nominated as Outstanding Supporting Actor/Comedy for his role in TRAYF at New Jewish Theatre; and Joe Hanrahan, Midnight’s Artistic Director. PRIDE AND JOY will run July 10-26 at The Chapel.
And kicking off the Halloween season will be ST. NICHOLAS, the eerie story of a Dublin theatre critic (portrayed by Joe Hanrahan) who, on a wayward trip to London, encounters a band of vampires and faces a turning point in his life. Midnight has presented this show before, with performances at McGurks Irish pub, the late great Herbie’s Wine Room, and at Carrie Houk’s HH Studio. For these, critics cited the production’s “terrifying realism”, and called Hanrahan’s performance “stunning” and “brilliant.” (Hanrahan shared that Outstanding Actor award with Overly in a tie for IT IS MAGIC, and this year will receive a Lifetime Achievement award at the Critics Circle ceremony.) ST. NICHOLAS will be directed by Bradley Rohlf, who previously won an Outstanding Director award for his direction of the musical ASSASSINS from Fly North. The show will run October 2-5 at Greenfinch.
More details, including when tickets will go on sale, and invitations to these will be forthcoming. For more information on the Company, visit MidnightCompany.com.
(These shows will follow Midnight Cabaret Theatre productions at The Blue Strawberry: March 22 (with more to be announced) will be JUST ONE LOOK, Midnight’s Linda Ronstadt show, entering its third year of sold out performances. And April 11 & 18 will be the Premiere of IT WILL BE, The Spirit and Soul of Natalie Cole. Tickets for these shows are on sale now at BlueStrawberrySTL.com)
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
With its genre mash-up of science fiction, horror, action-adventure and romance, the most surprising of all is that the romance is the most satisfying aspect of “The Gorge.” And that’s because of the sparks flying between charismatic co-stars Anya Taylor-Joy and Miles Teller.
While this mysterious thriller has intriguing menacing elements, it does take a while to get going, but once the creature danger plotline is revealed, it doesn’t take a biochemist to explain it all to us (although that does help) – so then what follows is entirely predictable and borders on the ridiculous at times.
But the pair’s coupling is worth sticking out the extra-long runtime of 2 hours, 7 minutes, because these lost souls are clearly meant to be together. As two lone wolves, they discover not only do they have their line of work in common, but so much more. Tenderly, though, they bond through poetry and music, which is a sweet, thoughtful touch.
Both are hired guns – she’s a Lithuanian assassin whose dad was a KGB agent, and he’s a former U.S. Marine who takes on sniper assignments, used to a solitary existence. They’ve accepted a vague year-long assignment to be guards at an undisclosed location.
They are told they are protecting the world from the present evil in this misty gorge, with eerie noises and a foreboding terrain. The enemy is unseen, but it’s only a matter of time until the threat is disclosed.
Teller’s Levi Kane is in the West Tower while Taylor-Joy’s Drasa is in the East Tower, super-secret representatives of a government pact made during the Cold War, during the tail end of World War II.
Levi, a reader, discovers a wall inscribed with sayings from all the previous guards, hidden behind a bookcase. He’s given a training lesson from his British counterpart who’s about to return to civilization after 365 days. As JD, Sope Dirisu alludes to the “Hollow Men,” a reference to the T.S. Eliot poem that Levi is familiar with, so that’s a tipoff.
Levi is told not to have contact with ‘the other side,’ although it’s unclear why not. The watchtower is self-sufficient with a garden, rainwater system, solar power, and he must perform a radio check every 30 days. Lots o’ firepower for protection as well.
Drasa may not have gotten the same memo, so she fires the first shot – they begin writing messages to each other, visible in their panoramic windows. It doesn’t take long before they’re playing long-distance chess and feeling a strong connection. What develops is fun and joyful, because it all makes sense in a swashbuckling scenario.
The screenplay by Zach Dean, while clever, has limitations because once we figure out who the real threat is, we’re faced with an onslaught of increasingly icky gross ‘things’ that crawl, some form of zombified human-plant-insect hybrids. They are relentless in trying to climb the steep walls of their ‘hell.”
Among other higher profile projects, Dean wrote one of my favorite guilty pleasures, “Deadfall,” so I admire his intentions. Yet, he did write “Fast X,” not chimps, which is what I suspected.
After repeated gnarly attacks, it doesn’t take a nuclear physicist to figure out that some sort of chemical warfare experiments have gone wrong (but of course, there is more to that discovery).
Our heroes now must team up for their survival, and the gauntlet is a disgusting maze of natural and man-made disasters. Director Scott Derrickson, who has crafted some well-received horror movies, including “The Black Phone,” and the mega-blockbuster “Doctor Strange,” has laid out a booby-trapped road map that benefits from cinematographer Dan Laustsen, who is known primarily for his work with Guillermo del Toro and “John Wick” chapters 2-4.
Lausten makes the environment a terrifying living, breathing world for this resourceful and smart couple to navigate, with plenty of tension and threats of bodily harm. Their final attempt to escape is quite an inventive piece of derring-do.
The score is a dandy spooky synth-driven composition by Trent Reznor and Atticus Ross that adds to the creepy atmosphere, and Drasa’s musical taste unearths some alt-rock favorites like the Yeah Yeah Yeah’s “Spitting Off the Edge of the World.”
This is best to enjoy with as few expectations as possible. Come for the romance and stay for the thrills.
“The Gorge” is an action-adventure sci-fi horror thriller romance directed by Scott Derrickson and starring Miles Teller and Anya Taylor-Joy. Rated PG-13 for intense sequences of violence and action, brief strong language, some suggestive material and thematic elements, its run time is 2 hours, 7 minutes. It began streaming on Apple TV+ on Feb. 14. Lynn’s Grade: B.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
