Lynn Venhaus

Total Post: 1248

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.

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

Jubilant ‘Beautiful: The Carole King Musical’ Opens Muny with Panache

By Lynn Venhaus
A jubilant celebration of a Hall of Fame career, “Beautiful: The Carole King Musical” tells the story of how a remarkable singer-songwriter found her voice and influenced a generation.

But it is as much about others who are woven into the history of early rock ‘n roll, and those catchy tunes that have a good beat and you can dance to them, as it is an everlasting tribute to the most successful songwriter of the last half of the 20th century.

King wrote such memorable hits as “I Feel the Earth Move,” “One Fine Day,” “Will You Still Love Me Tomorrow,” “(You Make Me Feel Like) A Natural Woman,” “You’ve Got A Friend,” “So Far Away,” and the title song.

For Boomers, this is the soundtrack of our lives. For other generations, it’s a blast from the past and an introduction to the stories behind the music, and for all, it’s an example of the transformative power of music.

As one of four premieres for The Muny’s 105th season, it was a crowd-pleasing way to open, especially during a stretch of gorgeous weather. I thought it brought fresh air into the venerable institution, for presenting a show from the last decade that has all the makings of a new classic.

Photo by Phillip Hamer

King’s rise to stardom is ideally suited for the Muny, and their interpretation of this jukebox musical is dynamic, slickly staged by director Marcia Milgrim Dodge.

Featuring 26 bouncy pop hits and unforgettable ballads, the music score moves the story along, and music director Charlie Alterman honors that timeless sound with tremendous skill and verve.

Interestingly, there is a Muny connection — Paul Blake produced the Broadway show and he was the Muny’s executive producer for 22 years, until his departure in 2011.

Popular on Broadway, “Beautiful” played for 2,418 performances from Jan 12, 2014, to Oct 27, 2019, nominated for seven Tony Awards and won two – Jessie Mueller as Carole and sound design. Two national tours have played at the Fabulous Fox in St. Louis, in 2016 and 2019.

And the Muny’s creative teams and cast didn’t miss a beat.

With every number performed with gusto, you could feel the audience’s joy in the waves of recognition as patrons named that tune. “”Oh!” followed by cheers and applause.

The most frequent comment I overheard was “I didn’t know she wrote all those songs!”

That, indeed, is an engaging calling card for this well-constructed musical, which features a witty book by Douglas McGrath to accompany the American song catalogue.

Photo by Phillip Hamer

Born Carol Klein, the chart-topping music legend grew up in Brooklyn and then fought her way into the record business as a teenager. She met Gerry Goffin, her match in life and love, at Queens College, and they were married for 10 years, from 1959 to 1969. By the time she was in her 20s, she was flourishing as a songwriter in the fabled Brill Building, churning out hits for the biggest rock ‘n roll acts — Gerry’s words and her music.

It wasn’t until her personal life unraveled that she finally managed to find her true voice, culminating in her landmark solo “Tapestry” album in 1971, which won four Grammys – including Record, Song and Album of the Year — and went on to be one of the greatest selling albums of all-time.

The addition of Cynthia Weil and Barry Mann to the story of Goffin and King makes this musical more than one-note, and with performances by the acts who recorded the songs — The Drifters, The Chiffons and The Shirelles, it’s a sentimental walk down memory lane. Muny hometown favorite Kennedy Holmes shines belting out “The Loco-Motion” as their baby sitter, Little Eva.

Using a moving labyrinth skyscraper grid, scenic designer Ryan Douglass shows the inner workings of the fabled Brill Building, at Broadway and 49th St. in New York City.

That’s an important part of music history, and in this musical. A hit-making music factory, the Brill Building was not only home to Goffin-King and Mann-Weil, but also Burt Bacharach-Hal David, Mike Lieber-Jerry Stoller, and Jeff Barry-Ellie Greenwich.

Between them, they penned scores of hits for the girl groups and teen idols who dominated radio airwaves after Elvis joined the Army in 1958 and before The Beatles ushered in the British Invasion in 1964. But also, still formidable duos beyond with the ‘now sound.’

Using the LED screens, video designer Kylee Loera replicated old-timey television where we watched the popular acts in black-and-white.

Sara Sheperd is a warm and winsome Carole, charting her growth from shy but talented teen to a strong, independent solo artist whose “Tapestry” album released in February 1971 was a landmark achievement – more than 25 million copies sold and longest run on Billboard chart by a female artist.

When the character discovers her worth after heartache and pain, it’s a thrilling moment.

Steven Good emphasizes how gifted and how troubled Gerry Goffin was. (Goffin died in 2014 at age 75, and did see “Beautiful” on Broadway before he passed. He and Carole married three more times in their lives.)

Jackie Burns and Jarrod Spector are sensational as Cynthia Weil and Barry Mann, the songwriting team in the next cubicle, and the competitiveness resulted in many standards that defined the rock era.

Spector, who originated the role on Broadway, nails Mann’s character quirks with aplomb, stealing the show.

John Battagliese and Mike Schwitter as The Righteous Brothers brought the house down with a soulful “You’ve Lost That Lovin’ Feeling.”

There’s also strong support from Noah Weisberg as mentor and boss Don Kirschner, and Sharon Hunter as Carole’s nagging mom Genie

The emotional journey isn’t an easy one, and the book ends in 1971, glossing over some events and not following up what happened as a coda. This tale is focused on the King-Goffin relationship and the work, highlighting the changing times for frames of reference.

The fashions by Tracy Christensen smartly captured the era whereas J. Jared Janas has selected the right hairstyles for the appropriate times and situations.

Savor this satisfying, fun, vibrant musical in its Muny premiere, where it will make you feel ‘Home Again’ for another summer.

“Beautiful: The Carole King Musical” opens the 105th Muny season, with performances at 8:15 p.m. nightly June 12-18. For more information, visit www.muny.org.

Photos by Phillip Hamer

‘The Flash’ Entertains With Clever Cameos and Fun Fan Service

‘The Flash’ Entertains With Clever Cameos and Fun Fan Service

By Lynn Venhaus

Worlds collide in a standard superhero spectacle involving the multiverse and time travel. But “The Flash” film wisely capitalizes on personalities, thus the intrigue builds in smart cameos, bounteous Easter eggs, and captivating performances both sentimental and sassy.

As DC Comics Universe superhero “The Flash,” Barry Allen (Ezra Miller) uses his super speed to change the past, but his attempt to save his family creates a world without superheroes, forcing him to rally help to save the future.

For someone whose childhood introduction to Batman was Adam West (1966-68) and Superman was George Reeves (1952-58) in the first television series of those classic comic book characters, “The Flash” feels both familiar and fresh in its use of Justice League mythology.

Flash’s first DC Comics was in 1940, and the Scarlet Speedster has smoothly transitioned to a number of film and TV series. Barry Allen’s superpower is superspeed, which occurred when he was struck by a bolt of lightning in a lab, resulting in a chemical bath.

Barry Allen and Barry ALlen

In the latest franchise reinvention, Ezra Miller first appeared in “Batman v Superman: Dawn of Justice” in 2016, and subsequently in “Suicide Squad: (2016), “Justice League” (2017) and “Zack Snyder’s Justice League” (2021).

In this stand-alone, their portrayal is actually spot-on, deftly depicting the nerdy, annoying, hyperactive young guy trying to come to grips with his abilities – his insatiable appetite is a running gag – and the responsibilities of coming to the rescue. They easily transition from snarky encounters to poignant interactions with his mother before her death, and his concern for his father in jail for her murder.

The elephant in the room is that Miller, 30, has made headlines for being arrested and charged with crimes, and later, sought professional help for mental health issues. Warner Brothers and the DC powers-at-be stuck with them for the role.

As an interesting artist, they made a mark as insecure outcast Credence Barebone (Aurelius Dumbledore) in the “Fantastic Beasts” movie trilogy, and their haunting breakthrough role was in 2011 as the evil Kevin in “We Need to Talk About Kevin,” following up that critical acclaim as Patrick in “The Perks of Being a Wallflower.”

As The Flash, they are spry in scenes with superheroes and villains alike but tugs at the heartstrings in the family flashbacks to give the film some emotional depth.

Sasha Calle as Supergirl

Using his powers to go back in time and save his mother, Barry unwittingly creates a world without heroes. Oh, General Zod (Michael Shannon) has returned, ready to wreak planetary havoc. The Flash enlists a Bruce Wayne, retired as Batman, another incarnation of himself, and an imprisoned stranger to help right the world.

Inspired by DC Comics’ 2011 “Flashpoint,” co-screenwriters Christina Hodson and Joby Harold have crafted a different type of Supergirl, aka Kara Zor-El, Superman’s cousin. Sasha Calle is impressive as the endangered Kryptonian.

Hodson, who was behind “Birds of Prey,” has cleverly twisted some of the old-fashioned tropes.

Director Andy Muschietti, who directed “It” and its sequel, has delivered an entertaining story, giving fans reason to cheer throughout the 2-hour, 24-minute film, but it does eventually run out of steam in those climactic bombastic battles.

However, the finale’s big reveal is a good one, and there is the proverbial end-credits scene to stay for, although not as thrilling as some of Marvel’s best.

But any film with the extraordinary Michael Keaton as Batman, scene-stealer that he is, is worth the admission price.

This is a spoiler-free review, but some of those superheroes who show up briefly in the galaxy made my heart happy.

“The Flash” may be imperfect, but it’s far from the dud other franchises have unsuccessfully mounted in the past two years (u,e, “Black Adam,” “Shazam: Fury of the Gods”).

Michael Keaton as “Batman”

“The Flash” is a 2023 action-adventure-fantasy film directed by Andy Muschietti and starring Ezra Miller, Michael Keaton, Ron Livingston, Sasha Calle, Ben Affleck, Maribel Verdu and Michael Shannon. Rated: PG-13 for sequences of violence and action, some strong language and partial nudity, it runs 2 hours and 24 minutes. It opens in theaters on June 16. Lynn’s Grade: B

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

Spry Cast Goes For Laughs in Outdated ‘A Funny Thing Happened On the Way to the Forum’

By Lynn Venhaus

Once upon a time, “A Funny Thing Happened on the Way to the Forum” was the gold standard of a playful musical comedy, crafted by skilled vaudevillians with the early musicality of Stephen Sondheim, who would mature into a bona fide theatrical titan. But 61 years since its debut, as seen through a modern lens, it doesn’t have the same pop it once did.

Nevertheless, New Line Theatre’s latest interpretation has several main performers nimble at slapstick and well-versed in comic timing, and the ensemble is spirited in its farcical delivery.

They try mightily to earn laughs, and it mostly succeeds – except for some problematic “frozen in time” dialogue and lyrics. Case in point – “Bring Me My Bride,” with the line: “I have no time to lose, there are towns to plunder, temples to burn and women to abuse.”

OK, I know, it’s supposed to be jokey and satirical, but…And yes, “Everybody Ought to Have a Maid” is cringy, no matter how many clever rhymes.

This 1962 smash hit was Sondheim’s first show as composer and lyricist, after breaking through as lyricist to Leonard Bernstein on “West Side Story” in 1957 and Jule Styne on “Gypsy” in 1959.

Sarah Wilkinson, Ian McCreary, Photo by Jill Ritter Lindberg

Patterned after Borscht Belt schtick and burlesque back in the day, plus a nod to its centuries-old comic roots, the bawdy material doesn’t bother some folks while others find sexual innuendo offensive.

The book, written by Burt Schevelove (“No, No Nanette”) and Larry Gelbart, creator of “M*A*S*H” who wrote for “Caesar’s Hour” (1954-57), the successor to legendary Sid Caesar’s writing stable on “Your Show of Shows,” “Forum” recalls variety show sketches du jour, often centering on nubile women as sex objects and other stereotypes.

The basic premise is taken from playwright Plautus (251 – 183 B.C.) In ancient Rome, a wily slave, desperate to earn his freedom, wants to hook up a virgin courtesan with his young master, but she has been sold to warrior Miles Gloriosus, who will arrive soon. In the meantime, another neighbor, Erronius, returns after searching for his two children, who were kidnapped by pirates.

Even with changing comedic tastes, people who have enjoyed this musical before, either in the audience or as players, look back at it fondly, because it does need a cohesive team to convey the zaniness, and that’s where the fun can be found.

Lively performers Kent Coffel, as crafty Pseudolus, and Chris Moore, as worrywart Hysterium, hatch schemes that get sillier and stickier, and mistaken identities are a key element to the humor, so is crossdressing.

Kent Coffel, Danny Brown. Photo by Jill Ritter Lindberg

The principal singers are all gifted vocalists, especially Ann Hier Brown, who plays the shrew Domina, Hero’s mom. She does effectively turn the tables on “That Dirty Old Man.”

The score’s highlight is the vigorous opening “Comedy Tonight,” a can’t miss showy number. Tragedy can wait, are you ready for some fluff?

Sarah Wilkinson, memorable in New Line’s “Nine” last March, is a sweet Philia and Ian McCreary is an earnest Hero, as the young lovers everyone is rooting for, despite all the wacky complications that ensue. Their duet of “Lovely,” is well, lovely.

A standout is Danny Brown as the swaggering brute Miles Gloriosus, surprising in his robust delivery and rugged appearance.

Without firmly landing punchlines, Robert Doyle seems miscast as the lecherous Senex and Gary Cox is the befuddled Erronius, who has returned after searching for his two children, who were kidnapped by pirates.

Lending support are Jason Blackburn as Marcus Lycus and Nathan Hakenewerth, Brittany Kohl Hester, and Aarin Kamphoefner as the Proteans.

Ann Hier Brown, Chris Moore. Photo by Jill Ritter Lindberg

Co-directors Scott Miller and Chris Kernan have fluidly staged the performers to maximize the madcap movements required, especially in frantic chase scenes.

And Rob Lippert has designed a three-house set that makes entrances and exits breezy, with lighting design by Matt Stuckel and sound design by Ryan Day.

Eileen Engel’s costume design may appear simple, with widespread togas and sandals on hand, but considering the character disguises, she had to duplicate outfits in various sizes so that the apparel would elicit laughs, too.

The conductor/keyboard player is Matthew Kauzlarich, with Kelly Austermann on reeds, Tyler Davis on cello, Ron Foster on trumpet, John Gerdes on brass, Adam Levin on trombone and Clancy Newell on percussion. Joe Simpson is music director.

“Forum” closes out New Line’s 31st season, and they have tackled demanding Stephen Sondheim works before (“Anyone Can Whistle,” “Assassins,” “Company,” “Into the Woods,” “Passion,” “Sunday in the Park with George,” and “Sweeney Todd”),

The original 1962 production of “Forum” was nominated for eight Tony Awards and won six, including best musical, producer, book, and director. Multiple Broadway revivals were well-received, in 1972 with Phil Silvers and in 1996 with Nathan Lane (and later in the run, with Whoopi Goldberg. All three actors who have opened in the role of Pseudolus on Broadway have won Best Actor Tony Awards (Zero Mostel, Silvers and Lane).

This throwback has a cast merrily cavorting on stage, zipping along to keep it from sagging, that helps carry it across the finish line. I just wish the material was fresher. This only works as a period piece, recreating an outdated style.

In recent years, New Line’s impressive choices have moved the needle on local musical offerings – especially “Something Rotten!” “Urinetown,” “Be More Chill,” “Lizzie,” “Head Over Heels,” “Bonnie and Clyde,” “Heathers,”  and others.

Proteans and Miles. Photo by Jill Ritter Lindberg.

New Line Theatre’s production of “A Funny Thing Happened on the Way to the Forum” is from June 1 to June 24, on Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center Arts District.

Tickets are $25 for adults and $20 for students/seniors on the first Thursday; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

Discounts are available for high school students (check Facebook page for code), educators and military personnel, and college students are offered the chance to get a free seat (10 per performance) They are available only at the door, and subject to availability.

Cover Photo by Jill Ritter Lindberg

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

Shakespeare Festival Shakes Up ‘Twelfth Night’ With Latin Flavor

By Lynn Venhaus

Your first clue that we’re not in Missouri anymore is the palm trees jutting out from a swanky home’s backyard pool and patio right here in St. Louis’ own Forest Park.

That au-currant set design by Regina Garcia tips us off that we’re being transported to the vibrant cultural confluence that is a Latin-infused coastal town, aka Illyria (nod to Miami), where romance, music and festive fun are priorities.

Funny, flamboyant, and even frivolous at times, “Twelfth Night” is given a fresh spin by St. Louis Shakespeare Festival that is ideally suited for the outdoor month-long production at Shakespeare Glen.

Considered William Shakespeare’s “greatest comedy,” it’s certainly one of his most accessible – and director Lisa Portes has set it in a modern celebrity-filled metropolis, creating vivid characters and a glitzy vibe.

Portes, who heads the MFA directing program at The Theatre School at DePaul University in Chicago, framed it as an exile story. Her father came over to America from Cuba when he was 15, during the Cuban Revolution.

It’s a tale of young Viola (Gabriela Saker) who is rescued after being shipwrecked, and she believes her twin brother Sebastian (Avi Roque) has succumbed to a tragic fate, lost at sea.

Ryan Garbayo as Malvolio who flips for Olivia. Photo by Phillip Hamer.

After separation, each has reinvented themselves, trying to find their way in a strange new world. Disguising herself as a male, “Cesario,” so she can work for soccer celeb Orsino, Viola discovers love at first sight with the affluent jock, now her boss – and is thrust into a poolside whirlwind journey.

For the most part, a crackerjack ensemble weaves a merry tale of mistaken identities with aplomb.

Scene-stealers Ricki Franklin, funny as the loud party girl Dame Toby (a gender switch from Sir Toby Belcher), and Cassidy Flynn, reminiscent of comic actor Charlie Day in his chaotic antics as Sir Andrew Aguecheek, are standouts. As the obnoxious ringleaders of revelry, they elicit shrieks of laughter from the engaged crowd.

Unfortunately, the cast was uneven early in the run (on June 2), and there are a few trouble spots (chalk it up to the demands of a large outdoor show?). Orsino is supposed to be a robust figure, yet Felipe Carrasco, who physically looked the part, seemed rather nondescript in the role.

Feste, the fool, is usually wacky on stage, and Esteban Andres Cruz is daffy in demeanor, but the downfall here was that they were flat and offkey singing some of the Latin-infused melodies, including a pitchy duet with Viola. However, they projected a flashy personality in the costumes designed by Danielle Nieves.

Nevertheless, the instrumental rhythms arranged by Music Director David Molina, including traditional Latin songs with contagious beats, was superbly performed by band leader Phil Gomez and Clave Sol (Gomez on piano, Tung on bass, Thor Anderson on Congas and Herman Semidey on timbales and percussion). Molina was the sound designer as well.

Photo by Phillip Hamer

With such a glamorous setting, of course Nieves’ costumes would reflect a hot and hip attitude, and none more so than Jasmine Cheri Rush, who looks and moves like Beyonce.

Her comical outfitting of a lovesick Malvolio (a delightful Ryan Garbayo) is one of the evening’s biggest laughs.

Alisha Espinosa as Maria, Adam Flores as Fabian, and Christina Rios as Captain offer fine support as Olivia’s team (Rios also returns as a priest), while Adam Poss plays Valentine and Femi Aiyesgbusi is Curio, two of Orsino’s attendants. Poss also plays Antonio, who falls in love with Sebastian after rescuing him.

The coupling – Antonio loves Sebastian, Viola loves Orsino, Orsino loves Olivia, Malvolio loves Olivia, and Olivia loves Roderigo (aka Sebastian) – gets very complicated with the mistaken identities and unrequited love (which, if seem familiar, are plot threads copied from Shakespeare for centuries). It might be helpful to read the large graphics board set up on the grounds to explain the players and what happens.

Olivia and Viola aka “Cesario”

As Shakespeare once wrote in another play, all’s well that ends well, and love is love – and indeed will eventually triumph in certain cases.

The sleek designs – John Wylie’s cool lighting really makes the set pop – amplify the culture and community for a most pleasant summer evening.

The expressed joie de vivre makes this one of the liveliest Shakespeare in Forest Park productions in tone and tempo, and its heartfelt message about acceptance and identity a hopeful takeaway.

St. Louis Shakespeare Festival presents the comedy “Twelfth Night” Tuesdays through Sundays at 8 p.m. except on Mondays, from May 31 to June 25, in Shakespeare Glen in Forest Park. (Across from the Art Museum). The grounds open at 6:30 p.m., and the show is 2 hours, 30 minutes, with an intermission. For more information, www.stlshakes.org.


Orsino and bodyguard. Photo by Phillip Hamer.

‘Elizabeth I’ Docudrama To Be Staged June 9 and 10 at St. Louis’ UHSP

‘Elizabeth I’ Docudrama To Be Staged June 9 and 10 at St. Louis’ UHSP

Written by Dr. Carole Levin and Produced in Support of The University of Health Sciences and Pharmacy in St. Louis’ Liberal Arts Department

Conceived originally as a reflection on significant moments in the life of England’s most significant regnant queen, Elizabeth I:  To Speak or Use Silence dramatizes episodes in the life of Elizabeth I. 

The docudrama was written by Dr. Carole Levin, Willa Cather Emerita Professor of History at the University of Nebraska, author and editor of numerous books and articles including Shakespeare’s Foreign Worlds: National and Transnational Identities in the Elizabethan Age, co-authored with John Watkins (Cornell University Press, 2009); Dreaming the English Renaissance: Politics and Desire in Court and Culture (Palgrave Macmillan, 2008); The Reign of Elizabeth I (Palgrave Macmillan, 2002); and The Heart and Stomach of a King: Elizabeth I and the Politics of Sex and Power (University of Pennsylvania Press, 1994), which was named one of the top ten academic books of the 1990s by the readers of Lingua Franca, September, 2000. 

Dr. Levin is also the past president of the Society for the Study of Early Modern Women, the co-founder and president of the Queen Elizabeth I Society, and is Fellow of the Royal Historical Society. 

This debut production is mounted at her request by Dr. Tim Moylan, professor of English and director of the theater program at the University of Health Sciences and Pharmacy in St. Louis, and produced with the support of the Liberal Arts Department of the university’s College of Liberal Arts and Basic Sciences. 

Dr. Moylan is a long-standing member of the South-Central Renaissance Conference, currently serving as secretary-treasurer as well as a member of the Queen Elizabeth I Society, for which he is also Lord High Treasurer. This is an amateur production, an extension of Moylan’s academic scholarship, and draws on the talents and contributions of fellow faculty, staff, alumni and friends of UHSP and its theater program. 

The show further enlists the talented support of the Greenleaf Singers, a vocal ensemble with performance expertise in a cappella Renaissance music, currently under the direction of Dr. Tristan Frampton (https://greenleafsingers.org/) . 

In addition, the project draws on the costume and prop resources of St. Louis Shakespeare / Smoking Monkey Theater (https://www.stlshakespeare.org/shows). 

Show dates and times are June 9 and 10 at 7:30, in the ARB Auditorium on the campus of the University of Health Sciences and Pharmacy in St. Louis. Tickets are $10 and available only at the door; all seating is general admission.  Parking is free and available in the gated university garage. 

Directions:  Forest Park Parkway to Taylor Ave, south past Duncan Ave (four-way stop) to Children’s Place (three-way stop), east to the garage entrance on the right. 

The show has two acts with a run time of approximately 90 minutes with a 10-minute intermission.  For questions or additional information contact Dr. Tim Moylan via email at Tim.Moylan@UHSP.edu.

Wilco Set to Play St Louis’ Stifel Theatre on Oct. 26, Announce Tour

Wilco Set to Play St Louis’ Stifel Theatre on Oct. 26, Announce Tour

Jeff Tweedy Will Perform an Intimate Solo Show on July 18 at The Sheldon

Today, Wilco announce a fall U.S. Tour, including three nights at Los Angeles’ The Theatre at Ace Hotel and two nights at Seattle’s Paramount Theatre, plus a slew of other dates in Texas, Missouri, Colorado, and more. The upcoming tour follows the release of Wilco’s most recent album, last year’s Cruel Country, hailed “a magnum opus” by The New York Times and named one of the year’s best by the likes of Rolling Stone, Variety, Uproxx, InsideHook, and more. Earlier this year, Wilco appeared on Late Night With Seth Meyers to perform album highlight, “Tired of Taking It Out On You.”

Shortly after Wilco’s fall tour, frontman Jeff Tweedy will release his third book, WORLD WITHIN A SONG: Music That Changed My Life and Life That Changed My Music. Out November 7th via Dutton, WORLD WITHIN A SONG is a disarming and heartening mix of memories, music, and inspiration built around the 50-plus songs that changed Tweedy’s life. Fans, music lovers, and creatives of all types will find inspiration in Tweedy’s insightful blend of music and emotion in WORLD WITHIN A SONG. ​​Additionally, Tweedy will embark on a run of solo dates in June and July, including a four-night stand in Brooklyn.

A full list of both Wilco and Jeff Tweedy solo dates are listed below with tickets on sale now.

Purchase Tickets to See Wilco Live

Purchase Cruel Country

Wilco Tour Dates (New Dates in Bold):

Thu. Aug. 10 – Cochran, BE @ Lokerse feesten
Sat. Aug. 12 – Aranda de Duero, ES @ Sonorama Festival
Mon. Aug. 14 – St. Feliu de Guíxols, ES @ Festival Porta Ferrada
Wed. Aug. 16 – Marbella, ES @ Starlite Marbella
Thu. Aug. 17 – Alicante, ES @ Plaza de Toros
Sat. Aug. 19 – Portugal, ES @ Paredes de Coura Festival
Sun. Aug. 20 – Vigo, ES @ Espazos Festival
Tue. Aug. 22 – Ramonville St. Agne, FR @ Le Bikini
Thu. Aug. 24 – San Mauro Pascoli, IT @ Acieloaperto Festival
Fri. Aug. 25 – Turin, IT @ TOdays Festival
Sun. Aug. 27 – Utrecht, NL @ TivoliVredenburg [SOLD OUT]
Mon. Aug. 28 – Utecht, NL @ TivoliVredenburg
Wed. Aug. 30 – London, UK @ 02 Forum Kentish Town
Thu. Aug. 31 – Wiltshire, UK @ End of the Road Festival
Sat. Sep. 2 – Edinburgh, UK @ Usher Hall
Sun. Sep. 3 – Birmingham, UK @ Moseley Folk Festival
Tue. Sep. 5 – Manchester, UK @ The Bridgewater Hall
Wed. Sep. 6 – Belfast, UK @ Mandela Hall+
Fri. Sep. 8 – Dublin, IE @ 3Olympia Theatre + [SOLD OUT]
Sat. Sep. 9 – Cork, IE @ Cork Opera House +

Mon. Sept. 25 – Wichita, KS @ Wave *
Tue. Sep. 26 – Tulsa, OK @ Cain’s Ballroom *
Thu. Sep. 28 – Dallas, TX @ South Side Ballroom *
Fri. Sep. 29 – Austin, TX @ Moody Amphitheater @ Waterloo Park *
Sun. Oct. 1 – Albuquerque, NM @ Kiva Auditorium *
Tue. Oct. 3 – Scottsdale, AZ @ Scottsdale Civic Center East Bowl Stage *
Wed. Oct. 4 – Los Angeles, CA @ The Theatre at Ace Hotel *
Thu. Oct. 5 – Los Angeles, CA @ The Theatre at Ace Hotel *
Fri. Oct. 6 – Los Angeles, CA @ The Theatre at Ace Hotel *
Sun. Oct. 8 – Monterey, CA @ Rebels & Renegades Festival
Wed. Oct. 11 – Los Angeles, CA @ The Bellwether *
Fri. Oct. 13 – Santa Barbara, CA @ Arlington Theatre *
Sat. Oct. 14 – Berkeley, CA @ Greek Theatre
Mon. Oct. 16 – Portland, OR @ Keller Auditorium *
Tue. Oct. 17 – Seattle, WA @ Paramount Theatre ^
Wed. Oct. 18 – Seattle, WA @ Paramount Theatre ^
Fri. Oct. 20 – Salt Lake City, UT @ Eccles Theater ^
Sun. Oct. 22 – Denver, CO @ Mission Ballroom ^
Mon. Oct. 23 – Omaha, NE @ The Astro Theater ^
Wed. Oct. 25 – Kansas City, MO @ Midland Theatre ^
Thu. Oct. 26 – St. Louis, MO @ Stifel Theatre ^
Fri. Oct. 27 – Bentonville, AR @ The Momentary ^
Sat. Dec. 2 – Wed. Dec. 6 – Riviera Maya, MX @ Sky Blue Sky (Hard Rock Hotel)

+ w/ Anna Miekie
* w/ My Brightest Diamond
^ w/ Nina Nastasia

Belleville’s own Jeff Tweedy

Jeff Tweedy Solo Tour Dates:

Mon. June 19 – South Deerfield, MA @ Summer Stage at Tree House Brewing*
Wed. June 21 – Brooklyn, NY @ Brooklyn Made *
Fri. June 23 – Brooklyn, NY @ Brooklyn Made *
Sat. June 24 – Brooklyn, NY @ Brooklyn Made * [SOLD OUT]
Sun. June 25 – Brooklyn, NY @ Brooklyn Made *
Tue. June 27 – Washington, DC @ The Atlantis *
Wed. June 28 – Washington, DC @ The Atlantis * [SOLD OUT]
Tue. July 18 – St. Louis, MO @ The Sheldon Concert Hall* [SOLD OUT]
Wed. July 19 – Salina, KS @ Stiefel Theatre *
Fri. July 21 – Boulder, CO @ Boulder Theater *
Sat. July 22 – Beaver Creek, CO @ Vilar Performing Arts Center *
Sun. July 23 – Grand Junction, CO @ Avalon Theatre *
Tue. July 25 – Boise, ID @ Egyptian Theatre *
Wed. July 26 – Sandpoint, ID @ Panida Theater *
Fri. July 28 – Carnation, WA @ Timber! Festival
Sat. July 29 – Vernon, BC – Vernon and District Performing Arts Centre ^

* w/ Le Ren
^ w/ Scott McCaughey

Wilco

‘Golf the Galleries’ Interactive Exhibit at The Sheldon Starts June 9

‘Golf the Galleries’ Interactive Exhibit at The Sheldon Starts June 9

The Sheldon Art Galleries presents the 6th annual Golf the Galleries interactive exhibition, June 9 – August 6, 2023, sponsored by UMB Bank. The playable, artist-designed, nine-hole mini golf installation will again be situated in the beautiful Sheldon Art Galleries space, and is designed to be inclusive, family-friendly and accessible.

The nine unique mini golf holes are designed by St. Louis area artists, architects, organizations and other creatives, and have been curated this season by artists Philip and Kelsey Jordan, whose popular golf holes were featured in 2021 and 2022. Tickets are $12 adults / $10 children 12 and under. Golf the Galleries is open Tuesday – Thursday, 12 – 5 p.m.; Friday, 12 – 8 p.m.; and Saturday and Sunday, 10 a.m. – 5 p.m. No advanced reservations will be offered this season. Sales will be accepted at the door only for maximum flexibility. Visit TheSheldon.org for more information.


The Sheldon is proud to announce the Golf the Galleries 2023 hole designs:

Take the Factory Tour by Dave Kish finds players putting their balls through the stages of product life: factory, fairway and dump! Creator Dave Kish presents a collection of recycled cardboard wall sculptures to compliment a zany industrial- themed miniature golf hole where players can take the “factory tour.”

Kish is a St. Louis-based designer and builder. Twice a graduate of Lehigh University, he also studied at the design think-tank SCI-Arc and has compiled extensive and overlapping portfolios in the fields of architecture, fine art, illustration and education.

MuseumCeption by City Museum and artists True Mead & Angelina Brown incorporates several exhibits displayed within the confines of City Museum that many who visit are not familiar with. Most know City Museum as a metalworks playground, focused on reuse, where structures and components of other once-upon-a-time buildings become the play place for children and adults of all ages. This new mini golf hole highlights collections and items being shown for the very first time! City Museum is a Maker Sponsor.

MuseumCeption


Sound Moves by the World Chess Hall of Fame is the first golf hole dedicated to the intersection of chess and music! It will include artifacts and media representing a wide range of musical genres, both traditional and contemporary, featuring a selection of the greatest and most influential musicians and chess players the world has seen. A full exhibition on this subject is currently on display at the World Chess Hall of Fame in the Central West End at 4652 Maryland Avenue. World Chess Hall of Fame is a Maker Sponsor.

Candyman by LitShop is based on the beloved Roald Dahl children’s book Charlie and the Chocolate Factory and the trio of films that followed. The immersive mini golf hole mimics the experiences of the movie characters when they first enter Wonka’s factory. Golfers can take selfies with a life-size cutout of the candyman himself, Willy Wonka. LitShop is a non-profit organization that pairs literacy with hands-on making and building for girls and gender-expansive youth ages 10-16. Founded in 2019, LitShop offers workshops in reading, writing, building and making through modalities such as design, woodworking, carpentry, printmaking and fiber arts.

Putt your way upstream on Wally and Jacob Hauck’s Fly Fishing. Inspired by their love for fly fishing in Missouri’s beautiful streams, the golf hole’s centerpiece features a large sculpture of a native trout. Over the last 15 years, the Hauck’s have been working with a variety of agricultural companies to design and create large-scale sculptures depicting the properties of plants and scientific innovations for display at national trade shows. The Hauck’s are known for turning imaginative ideas into stunning realities, and their talent will be on full display in this unique hole!

In If you hit it, it’s a Drum, artists Kelsey and Phillip Jordan encourage users to explore the act of creating sound and rhythm out of known musical and found instruments. The artists, one a pianist and one a bassist, believe that music is important in child development and exploration, and is beneficial to all ages. Players “make some music” by taking one of the boomwhackers (tuned percussion tubes) around the column to play a little tune – just what they need to make that hole in one!

In A Trip to the Moon by Paul Casey and Sarah Frost, players can choose one of two methods of travel to our favorite celestial body. Starting at adjacent points, one route follows Jules Verne’s 19th century cannon, while the other tracks the 1969 moon landing.

Paul Casey was props master for over 25 years for Opera Theatre of St. Louis and at The Repertory Theatre of St. Louis, and has freelanced for local TV stations, small theaters and trade show companies. Sarah Frost has created sculptures and installation art for 15 years. Originally trained as a painter, she also enjoys working as a set painter at The Muny and other local theaters and returns to Golf the Galleries for a second season after last year’s audience- favorite installation, Hole at the Pole.

The Anatomy of a House by Silas Coggeshall takes inspiration from literature and explores the age-old notion of a haunted house. What happens when the function of architecture and furniture becomes obtuse or even antagonistic to the human experience? What does the history of an object look like when made visible? What sort of presence does a home have when given the attributes of a living organism that has become malignant? Golfers must maneuver through an uncanny, haunting and macabre depiction of the home in this delightfully chilling hole.

Kelsey and Philip Jordan have made the final hole a walk in the park: the dog park! Day at the Dog Park creates a sense of fun and play in one of the most genuinely joyful places for its users. Furry companions remind us to let our stresses go and find excitement in little things like TREATS! BALL! WALKS! There is always something new to explore and a story that’s being created – who was there before them and what were they doing? Together, Phil and Kelsey Jordan are experienced architectural, furniture, construction and graphic designers. They return to Golf the Galleries for a 2nd year.

Hole sponsorships for Golf the Galleries are still available. Call The Sheldon’s Development Department at 314-533-9900 or e-mail sdo@thesheldon.org. For more information about Golf the Galleries call The Sheldon at 314-533-9900 or visit TheSheldon.org.

The Sheldon’s Exhibition series is sponsored by The Bellwether Foundation, Arts and Education Council, Regional Arts Commission, and the Missouri Arts Council, a state agency Golf the Galleries is sponsored by UMB Bank

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

By Lynn Venhaus
Pop art, quantum physics and pathos collide in a grand superhero spectacle, resulting in this “Spider-Man: Across the Spider-Verse” sequel being a mind-blowing amalgamation of next-level animation like but surpassing the 2018 original.

In this second installment of an animated film trilogy, Miles Morales (Shameik Moore) catapults across the multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero.

However inventive and clever it is, though, about half of the storyline is incoherent and panders to fan service — and the sensory-overload-on-steroids style is overwhelming and exhausting. Yet, we’re all locked in.

This 2 hour and 20- minute eye-popping extravaganza takes place across six dimensions, has 240 characters in it and had over 1,000 animators working on it – the most ever.

The Spider-Man mythology, easily relatable for teens who understood creator Stan Lee’s metaphors for figuring out their place in the world, began as a socially inept high school student who was bitten by a radioactive spider, and thus developed superpowers. That was in 1962, and in fighting crime in his subsequent Marvel Comics issues, Peter Parker would eventually learn “with great power comes great responsibility.”

Since 2002, there have been eight live-action Spider-Man movies, plus his role in “The Avengers” franchise, not to mention a past TV series, Broadway musical, video games and books.

The three co-directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson mash parts of the old films with elements of the comic books. That comic imagery, added in with drawing and painting styles of the 20th and 21st centuries, results in a visually stunning work. Art historians will be in for a treat.

And comic book fans will be delirious about the Easter eggs – no doubt courtesy of cheeky producers Phil Lord and Chris Miller who finally won an Oscar for directing the first movie (previously robbed for “The Lego Movie”) but only co-wrote this script with David Callaham, a veteran of the first and “Shang-Chi and the Legend of the Ten Rings.”

I understand their desire to throw in as many gags for the super-fans, but that darn muddled narrative lets the rest of us down. And their need to fiddle with the Spider-Man canon to keep it fresh and interesting. Sure, there are compelling human emotional touches (dead relatives, loved ones in peril), but the hyper-kinetic storytelling weakens the overall effect for those ‘not in the zone.’

Another sticking point is that the middle entry in this animated world ends with a cliffhanger, then states Miles will return in “Spider-Man: Beyond the Spider-Verse.” It is set for a March 29, 2024, release — frustrating to viewers who like things resolved before waiting for another one, because this one just ends without a resolution.

And if you did not see “Spider-Man: Into the Spider-Verse” released four and a half years ago, you will be lost here. As a quick recap, Miles Morales, a black Hispanic Brooklynite, was juggling his life between being in high school and a Spider-Man, but when Wilson “Kingpin” Fisk uses a super collider, he finds out that others from across the Spider-Verse have been transported to his dimension.

This time, 15-year-old Miles remains on Earth – 42, but as he discovers more multi-verses, he meets dozens of other Spider-People. In this global take, we meet a Spider-Man India (Karan Soni), a cockney street punk Spidey named Hobie (Daniel Kaluuya), a snarling, hulking vampire Spidey Miguel O’Hara (Oscar Isaac), and a pregnant Spider-Woman, motorcycle mama Jessica Drew (Issa Rae). Saving the world is tough business, and there are existential crises happening.

Miles’ mentor, Peter Parker (Jake Johnson), is shown as a young father, married to MJ (Zoe Kravitz), who brings his baby along for the adventures. Sad girl Gwen Stacy (Hailee Steinfeld) is a combo grrrl rocker and a Spider-Girl whose anguished storyline is equal to Miles’.

Spidey and The Spot

While one can applaud the energy and the dazzling visuals of non-stop action, characters are often frazzled, and the pace is so frenetic that you feel like you are trapped in this parallel universe too. Who’s good, who’s evil, and who may be both?

Shameik Moore has returned to voice Miles, and he’s dandy as the angsty teen who is exasperating to his parents because of his time-management skills (they don’t know he’s keeping the bad guys in check, at least in his neighborhood).

His parents are voiced by Brian Tyree Henry and Luna Loren Valdez, joining a slate of major talent whose vocal work is solid but does not immediately identify them. Yet, it’s easy to place J.K. Simmons as J. Jonah Jameson, SNL’s Rachel Dratch as the principal, and Jason Schwartman as the revenge-seeking villain “The Spot” (a standout).

Hyper and hypnotic, “Spider-Man: Across the Spider-Verse ” has pushed forward the genre and is a fun fan experience. The propulsive score by composer Daniel Pemberton is also a plus. I give the animation an A+ but the story a B-.

It’s a lot to juggle sci-fi, action, adventure, family, comedy, drama, and fantasy in one animated feature, and this film does display heart, even if the movie can’t stand on its own.

After two decades of superhero comics ruling the bombastic blockbuster box office, what’s next? Has art opened another dimension? One of the Spider-Verse’s greatest strengths is that it still surprises, and these multiverses show no signs of maxing out.

One thing is for certain, the enthusiasm for this head-spinning series is not waning anytime soon (even with the grumbling about waiting for the next sequel). It’s as if we’ve hopped on one of the wildest amusement parks rides ever, and we need to see where it leads.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Lynn’s Grade: B

This review also appeared in the Webster-Kirkwood Times’ Reel World with Kent Tentschert.

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and the award-winning Classic 107.3 announced today a partnership for programming. The partnership will begin on Monday, June 12, 2023. Two separate shows are planned for 2023-2024.

First on the schedule, to coincide with The Muny’s 2023 Season, is “Muny Post-Show Conversations,” a half-hour program where listeners can learn the behind-the-scenes details and fun facts on how “Muny Magic” is created for each production. Immediately following each performance, audience members, St. Louisans, and listeners around the world can tune in to Classic 107.3 FM (or 96.3 HD-2) to join hosts Julie Schuster and Gavriel Savit for the inside scoop from actors, designers, creatives, and Muny team members about what it takes to put on The Muny’s epic shows.

Peel back the petals of Audrey II in Little Shop of Horrors to see what lies within. Follow the moves involved when two St. Louis cultural partners come together for a production of Chess. Reveal the secrets of the enchanting costumes in Disney’s Beauty and the Beast. Listeners will discover all this – and more – when they tune in to “Muny Post-Show Conversations” this season!

Along with interviews, “Muny Post-Show Conversations” will feature a segment called Rooted in St. Louis, where local contributors to the production are featured. Episodes will also highlight Muny Moments, where listeners can hear what it is like to be an usher, a member of guest services, a member of the administrative staff, a part of the concessions team, and more!

“We are thrilled to partner with this outstanding station, which promotes the arts in St. Louis so expertly. This adds another layer of experience for our guests as they leave each show,” said President and CEO of The Muny, Kwofe Coleman. He continued, “I am looking forward to tuning in on my ride home!”

“Classic 107.3’s focus is the incredible arts institutions in St. Louis, and summertime at The Muny is one of our region’s most treasured traditions,” said Julie Schuster, CEO and General Manager of Classic 107.3. “We can’t wait to bring some of that ‘Muny Magic’ to the airwaves for Muny audience members as well as our regular listeners!”

Tune in to Classic 107.3 FM (or 96.3 HD-2) each night immediately following the show for an entertaining half-hour, seven days a week during The Muny season. The episodes will also be featured on the Classic 107.3 website, classic1073.org.

Beginning in late August, the program will shift to a weekly hour-long program called “The Muny Hour.” This weekly show will become a roundtable for the arts, exploring hot topics in St. Louis and on Broadway and the state of the arts in St. Louis and beyond. It will also feature selections from notable cast recordings; discussions about actors, creatives, and significant productions; and what’s new in theatre. Details about “The Muny Hour” broadcast times will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Single tickets and gift cards to The Muny’s 105th Season are on sale now online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

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The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals and welcome over 350,000 theatregoers each summer. Now celebrating 105 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

Classic 107.3, The Voice for the Arts in St. Louis, was created in 2013 by people who believe a vibrant arts and cultural scene is essential for our community to thrive, with a mission to enrich the cultural landscape of St. Louis through the programming and outreach efforts of a nonprofit classical music station.

For more information about The Muny, visit muny.org. For more information about Classic 107.3, visit classic1073.org.