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.
Looking for a way to celebrate Albert Pujols’ 700th career home run in high style?
Bring your baseball-loving friends to The St. Louis Wheel at Union Station, which will offer a special deal that hits all the right numbers.
The first 700 guests the day after Albert’s record-setting 700 career home runs will ride The Wheel for just $5. (Tickets are normally $15.)
The 200-foot-tall observation wheel’s 42 gondolas are kept at a comfortable 72 degrees all year. Riders will get a 20-mile view of the St. Louis skyline from the top of the popular attraction.
The Wheel is open from 10 a.m. until 10 p.m. daily.
The St. Louis Wheel is located at St. Louis Union Station, 201 S. 18th St., St. Louis, MO 63103. www.thestlouiswheel.com; @stlouiswheelpark and @unionstationstl on social media.
Photo provided by Union Station. MLB Pujols Graphic
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 Based on the 2000 fictional novel by Joyce Carol Oates, “Blonde” is a deeply flawed semi-biopic that blurs fantasy and reality regarding the life of movie star Marilyn Monroe. The reality is an alarming American tragedy, and the fiction is a relentlessly disturbing film.
The film “Blonde” reimagines the life of the Hollywood legend, from her traumatic childhood as Norma Jeane Baker, through her rise to stardom and romantic entanglement. Writer-director Andrew Dominik blurs the lines of fact and fiction, exploring the difference between her public and private self
With its NC-17 rating and shocking graphic sexual content, “Blonde” is a polarizing, controversial take on one of Hollywood’s most enduring icons. Norma Jeane deserved better in life, and a much better representation in a film after her death.
Not that Ana de Armas doesn’t impress in a remarkable transformation as the stunningly gorgeous, breathy-voiced actress whose traumatic childhood forever damaged her psyche. She has the look, the voice, and the demeanor down pat in her recreation, but regrettably, spends a huge chunk of the film in tears.
She wears those memorable outfits well, and costume designer Jennifer Johnson captures every look in meticulous detail.
With such copious nudity and its 2-hour, 46-minute runtime, at least a half-hour of bare breasts could have been cut. Not that more incisive editing would have saved the film, but it sure would have helped.
Writer-director Andrew Dominik worked on bringing this adaptation to the screen for over 10 years. The source material is already suspect anyway because it’s filmed as a dreamy fantasy – so unless you know the factual details of Marilyn’s life, you will be adrift. What’s fake and what really happened? You’ll have to find that out on your own.
For instance, her first husband, baseball legend Joe DiMaggio, is not referred to by name in the credits, only “Ex-Athlete.” To be fair, Bobby Cannavale is a fine embodiment of the slugger.
Bobby Cannavale and Ana de Armas
As her second husband Arthur Miller, Adrien Brody fares better and has the best scene when they first talk. It’s well-established that Miller was captivated by her enthusiasm for ‘the work,’ and her knowledge of literature and characters. She had an intuitive sense of the material, but sadly, wasn’t allowed to realize her great potential.
Growing up with a schizophrenic mother (a terrifying performance by Julianne Nicholson), Norma Jeane was sent to an orphanage. She endured so much hardship that we see why she had massive daddy issues and just wanted to be loved. Young actress Lily Fisher is gut-wrenching as the young Norma Jeane.
Starting out as a model, Monroe transitioned to film – her first role was in the Oscar-winning “All About Eve” as the wicked George Sanders’ date. The studio system’s casting couch is nothing new, but the way Marilyn was brutalized by men in power is upsetting. Treated like a boy-toy and nothing more than a sexual plaything is quite unsettling, and when the film dissolves into porn-like scenes with her lascivious pals Charlie Chaplin Jr. (Xavier Samuel) and Edgar G. Robinson Jr. (Garret Dillahunt), it’s squirm-time.
(I’m wondering how long it will take Netflix viewers to turn off the film after those graphic sexual encounters take place). The sleazier things, especially the lewd JFK scene, are painful..
The fantasy aspect is reason for concern, and after revealing she has a studio-ordered abortion, then she loses a baby through miscarriage, later. Did we need a voice and image of the fetuses?
Dominik’s overly melodramatic and turgid script, which he describes as an avalanche of images and events, is muddled and messy, and does not serve the actress well. No one is depicted in a good light. (Although cinematographer Chayse Irvin’s work with stark black and white vs. scenes of technicolor is interesting).
The movie shows only fleeting snippets of joy, and yes, her public and private images are contrasted in a very uncomfortable way. — lecherous and leery distortions.
“Blonde” is a confusing, perturbing, grim film that does the tragic star a disservice and winds up more of a nightmare because of its fever dream elements. I will never watch this again, and I can’t unsee things I wish I could.
“Blonde” is a 2022 drama-fantasy written and directed by Andrew Dominik and starring Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Garret Dillahunt, Julianne Nicholson, and Lily Fisher. It is rated NC-17 for some sexual content and the runtime is 2 hours, 46 minutes. It streams on Netflix beginning Sept. 28, and is in selected theaters Sept. 23 (but not in St. Louis). Lynn’s Grade: D.
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.
Bigotry is an ugly thing to witness, even in the context of 1821. It’s expected, but always unsettling, no matter what period.
So, when the first scene of “The African Company Presents Richard III” opens with a condescending and arrogant white supremist shutting down a competing Shakespearean production, that sets the tone for a battle between right and might.
As Stephen Price, the haughty and cruel producer at the Park Theatre, Eric Dean White will make your skin crawl. He is threatened by their success and will use his influence to get the powers-at-be to make it hard on them.
While our sympathies lie with the performers in The African Company, they are having their own conflicts to deal with from within that threatens their existence too.
This 1994 play within a play by Carlyle Brown is a provocative showcase for compelling artists in The Black Rep’s latest riveting work. And opens the Black Rep’s 46th season in fine fashion.
Based on a true story, Brown’s drama is set in pre-Civil War New York when two productions of Shakespeare’s “Richard III” are vying for audiences. Slavery was not outlawed yet, but there were more free blacks living there.
Shakespeare famously said, “The play is the thing,” and The African Company, through the Black Rep’s hard-hitting production, shows you why art can break barriers, and all the challenges are worth it.
Cameron Jamarr Davis as James Hewlett as Richard III. Photo by Phillip Hamer.
The first black theatre in the U.S., The African Company of New York was a downtown theater growing in popularity with not only black audiences, but white audiences too. Their satires drew crowds, particularly when it was about the status quo white society. And the unenlightened were outraged those blacks had a voice. How dare they tackle the Shakespeare and other British classics!
William Henry “Billy” Brown had turned his home’s backyard into The African Grove, where blacks could socialize as society became increasingly segregated, then he expanded to theater, founding The African Company.
Price’s company has paid a renowned British actor, Junius Brutus Booth (father of John Wilkes Booth), a pretty penny and a sweet contract promising a full house, so they want a return on the investment, more revenue, and will not play nice.
The black theater doesn’t have the luxuries afforded the other theater, and most of the actors work as domestic servants or as laborers or in other roles.
“We all charade one great role of the happy, obedient Negro,” says character James Hewlett, the first black Shakespearean actor in U.S., and is playing the lead role.
Some of the cast is worried about the police shutting them down. What if they are taken to jail?
Director Ron Himes keeps the tension simmering both in racial friction and the tussling actors. He ensures that the company’s commitment to art is a focal point, while he laces this distinctive history lesson with humor and music.
As Hewlett, Cameron Jamarr Davis is passionate about the work, and doubles-down on his conviction, despite mounting odds – and a complicated romantic entanglement.
Ann Johnson, the actress playing Lady Anne, is exhausted by her day job and feelings that don’t seem to be reciprocated in equal measure. She is confused by the part and the play’s action, and not afraid to say so. Coda Boyce gives a fierce performance as someone speaking up for herself, and not compromising in a world that expects her to be subservient.
Alex Jay is a strong Sarah, who tries to keep things going smoothly, and is an accomplished seamstress. Costume designer Andre Harrington has beautifully captured the period and the royal costumes.
Olajuwon Davis is tough and tenacious in his portrayal as the dedicated, steadfast promoter Brown, who tries to not let what he calls “silly” views of white people grind him down. He channels his anger into action.
In real life, Brown wrote “The Drama of King Shotaway,” which is considered the first play by an African American and was about the black Caribbean war of 1796 against white settlers. Somehow, it’s been lost. However, what he did for blacks in theater will never be forgotten.
Papa Shakespeare is trying hard to keep them together. He’s quite a storyteller, a repository of history and wisdom – and colorful, as played by Wali Jamal Abdull. As the racist constable, Dustin Petrillo is a despicable meanie.
The simple set, designed by Jamie Bullins, doubles as a rehearsal hall and a theatrical stage, well-accented by Jasmine Williams’ lighting design.
This well-acted, well-staged play is a noteworthy moment in time that will resonate with modern audiences, for its power is timeless.
The Black Rep presents “The African Company Presents Richard III” Sept. through Sept. 25 at the Edison Theatre on the campus of Washington University. For 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.
Collaborative Concert “A Little Sondheim Music” Oct 2. at Powell Hall
The St. Louis Symphony Orchestra and The Muny announced details about their latest collaboration: the upcoming concert honoring the late Stephen Sondheim, A Little Sondheim Music on Sunday, October 2, at 3:00pm. Sondheim, who passed away in November 2021 at age 91, is credited with reinventing the American musical, both as a lyricist and composer, throughout his prolific career.
Hosted by Mike Isaacson, Artistic Director and Executive Producer of The Muny, with musical staging by Michael Baxter, and conducted by Muny veteran Ben Whiteley, the concert includes selections from many of Sondheim’s most beloved musicals, including Merrily We Roll Along, Sondheim On Sondheim, Into the Woods, Follies, A Little Night Music, Company, and Sweeney Todd. All lyrics and music by Stephen Sondheim, with various arrangers and orchestrators.
Performing with the SLSO are several veteran theater performers, whose credits include Broadway musicals, West End productions, Muny productions, television, and more: Ben Davis, Bryonha Marie, Matthew Scott, Emily Skinner, and Elizabeth Stanley. Broadway veteran and St. Louis native Ken Page also makes a special appearance.
Collaborations between the two organizations date back to at least 1919, when the SLSO provided entertainment for patrons of The Muny during summer performances including Robin Hood and The Mikado. The tradition of collaboration returned in 1994 when the SLSO performed on The Muny stage in a celebration concert titled “Gateway to the Gold,” a salute to the U.S. Olympic Festival. The SLSO and The Muny last performed together in 2018 as part of The Muny’s centennial celebration.
Tickets are on sale now for this unique concert partnership between two of St. Louis’ most storied and celebrated arts institutions. Tickets can be purchased by visiting slso.org or by calling the SLSO Box Office at 314-534-1700.
Mike Isaacson
A Little Sondheim Music: The Muny and SLSO Celebrate Stephen Sondheim
Sunday, October 2, 2022, 3:00pm
Ben Whiteley, conductor
Ben Davis, vocals Bryonha Marie, vocals Matthew Scott, vocals Emily Skinner, vocals Elizabeth Stanley, vocals With special appearance by Ken Page
Mike Isaacson, host
Artist Bios:
Ben Davis recently received critical acclaim as Sweeney Todd in the Muny’s production of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street. Davis received a Tony Honor for his work as Marcello in Baz Luhrmann’s Broadway production of La Boheme. His extensive credits, spanning from Broadway to London, include Encores! Call Me Madam opposite Carmen Cusack, Dear Evan Hansen, Violet, A Little Night Music, Les Misérables, The Sound of Music, Kiss Me Kate for the BBC at London’s Royal Albert Hall and NBC’s, Annie Live. Concert credits include Philly Pops, RTÉ Orchestra, Tanglewood, Caramoor, and many others.
Bryonha Marie
Bryonha Marie has rapidly established herself as one of the brightest young stars currently on Broadway and in the classical crossover arena. Best known for her tour de force Broadway performance in Prince of Broadway, a career retrospective of the work of Harold Prince, Marie has also thrilled Broadway audiences as Serena in Porgy & Bess. Other Broadway credits include After Midnight (featured and principal cover for Patti LaBelle, Toni Braxton, k.d. lang, and Fantasia), the revival of Ragtime (Sarah’s Friend), and The Book of Mormon.
Matthew Scott has performed as Adam Hochberg in An American In Paris on Broadway and the National Tour; Sondheim On Sondheim with Barbara Cook and Vanessa Williams; and A Catered Affair, Jersey Boys, and Grand Horizons. On the West End he has performed as Lee in I Loved Lucy at the Arts Theatre. Regional credits include The Light In The Piazza (Barrymore Award); Saturday Night, Beaches, Company, Side by Side by Sondheim, Chaplin (San Diego Critics Nomination), A Wonderful Life,Ragtime, My Fair Lady, Carousel, West Side Story (Kevin Kline Award Nomination), Legally Blonde, Swing!, Les Miserables, Sunset Boulevard, and Mamma Mia.
Emily Skinner has established herself as one of Broadway’s most engaging and versatile performers. She was most recently seen in Barrington Stage’s production of A Little Night Music where she received rave reviews for her fresh take on Desiree Armfeldt. Previously she appeared in the Broadway-bound musical Once Upon a One More Time at the Shakespeare Theatre Company in Washington, DC, and on Broadway as Georgia Holt, Cher’s Mother, in The Cher Show.
Heralded as one of the “Breakout Stars of 2020” by The New York Times, Elizabeth Stanley received Tony, Drama Desk, Outer Critics Circle Award nominations, and a Grammy Award for her recent performance as Mary Jane Healy in the musical Jagged Little Pill, inspired by the music of Alanis Morissette, book by Diablo Cody, and directed by Diane Paulus. Stanley has dazzled Broadway audiences as Claire De Loone in the revival of On the Town (Drama Desk Nomination), Dyanne in Million Dollar Quartet, Allison in Cry Baby, and April in the Tony Award-winning revival of Company.
Ken Page is a St. Louis native with a career spanning over 45 years. He is most widely known as the voice of “Oogie Boogie” in the Tim Burton/Disney film The Nightmare Before Christmas and has recreated his role in sold out concerts live to film at The Hollywood Bowl on four occasions as well as at Brooklyn’s Barclay Center, Tokyo, Glasgow, London (with the London Philharmonic Orchestra), and Dublin. Broadway/UK credits include Guys & Dolls, Ain’t Misbehavin’ (Emmy-winning NBC special, Drama Desk Award-Best Actor, Grammy Award), Cats as Old Deuteronomy (Original Broadway Cast, London Video Cast, Grammy Award), The Wiz, Ain’t Nothin’ But the Blues, Wizard of Oz, Children of Eden (London West End Original Cast), My One and Only (London Palladium), Mr. Wonderful (Theatre Royal Drury Lane), and The Little Mermaid (Hollywood Bowl).
SLSO
About the St. Louis Symphony Orchestra
Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.
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.
About The Muny
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. The country’s largest outdoor musical theatre produces seven world-class musicals each year and welcomes over 400,000 theatregoers over our seven-show season. Now celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
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 shimmering visuals and costumes, “House of Joy” shows flashes of dazzling technical brilliance at the Repertory Theatre of St. Louis. Unfortunately, while mysterious and mystical, the storytelling is where it falters.
In a time and a place far, far away, the fictional setting is a South Asian kingdom – let’s just presume the Islamic Mughal Empire (16th-19th century) in around 1666. Apparently, society is segregated and we’re only seeing the females in the palace – and a eunuch who oversees this court of women.
Because it is disorienting at first, the play takes a long time to establish characters and their motives, then crowds the action in the second act, before it rushes to an unsatisfying open-ended conclusion, and overall is not as cohesive as it purports to be.
It’s as if playwright Madhuri Shekar has decided it’s best if we fill in the blanks ourselves, and the tone is all over the place. Dramaturg Salma S. Zohdi hasn’t connected the dots either.
Perhaps it’s because the loyalties shift between the poorly drawn characters and the story, with its multi-thread subplots that aren’t fully realized, doesn’t give us much to invest in during its two-hour runtime.
Questions, I have questions. Most importantly, why did this play need a rewrite that shifted the focus to a 7-person cast with six females and a same-sex love story? Why is it set in an unnamed empire and an unspecified time? Why does so much action take place off-stage?
While I can’t speak of the original one from earlier productions 2017- 2019, but only the rewrite that premiered in St. Louis, this current plot boils down to palace intrigue and chicanery regarding a power struggle between the emperor and his conniving daughter, Princess Noorah (Aila Ayilam Peck), from an earlier marriage. And unseen rebel forces we don’t know about but are alluded to in conversation.
The unseen despicable old emperor is currently married to a naïve young girl, Mariyam (Emily Marso), who is very pregnant, and living an arranged life she never imagined. Her job is to breed, and after she gives birth to an heir, she’s not as useful.
Lonely and miserable, this innocent queen has fallen in love with the newest palace guard, Roshni (Tina Munoz Pandya) of the all-female imperial harem.
Roshni, with a bloody tragic past that’s rather muddled, was befriended by the sly fox eunuch Salima (Omer Abbas Salem), who recommended her for the job. She had to impress the tough captain of the guards Gulal (Miriam A. Laube), who is demanding and still watches her carefully.
She loves the job, and her best bud working long shifts together in this self-described utopia is Hamida (Sumi Yu).
Salima and Gulal are the ones who know everything going on in the palace and where the loyalties lie. You don’t know if they can be trusted, however – they leave it up to interpretation. But if you are on their good side, then you are protected in the power plays.
What the back-stabbing (or merely stabby) princess wants to pull off – toppling the patriarchy! — seems like a disaster waiting to happen and there are shifting moving parts to the unrest/coup/insurrection, so much so that it’s confusing.
The stereotypical evil princess is merely a caricature in Peck’s hands. Overall, we have two sets of actors – the ones who stay in their lane and then the melodramatic ones who go over the top, as if they are in a daytime soap opera.
Yu is strong as Hamida and tries hard to flesh out her character. Regina Fernandez appears in four minor roles to round out the cast. As the couple at its center, Marso and Pandya are convincing in their passion and desire – and I rooted for them (after all, love is love is love is love).
The dialogue is flecked with modern words and phrases. I’m assuming whatever past century the characters are in, no one said “tittie” or “I’m aware.” This habit of writing period pieces in modern vernacular is often distracting – and annoying.
And as we hear long passages of exposition about what’s gone on in the past and what’s taking place off-site or off-stage, the story remains curiously uninvolving.
There is some bewildering mumbo-jumbo – a dead mother re-appearing as a ghost/apparition and a glowing pile of coals centerstage – that means something we’re supposed to figure out.
The love story overtakes the drama, and its romantic structure is clumsy. Paradise now is a prison for Roshni and Mariyam.
And then, we endure an unnecessary and gratuitous staging of a shockingly graphic sex scene in a boat.
What is the point here? We already know they are in love, and it is forbidden – she’s married! To the Emperor! And while everyone seems to know, it still is a situation fraught with danger. Illicit affairs have gone on in royal families, this is nothing new nor does it appear to be anything other than a garden variety plot conceit.
Despite whatever direction the intimacy coordinator (Gaby Labotka, who is also the fight choreographer) decided on, the scene is uncomfortable, with its simulation of stimulation and orgasm, and really takes the audience out of the story.
All I could think about was the teacher who brought a busload of (what looked like) junior high kids that I saw in the lobby, and the comments and complaints he/she would have to deal with, and if any parents came along as chaperones.
Yes, the play is for mature audiences. The Rep has stated, for content transparency: “This production contains adult sexual content, language, moments of violence, haze/fog and suggestive moments of smoking.”
Apparently, I’m not the only one who felt uneasy. Since opening night, people have contacted me, recounting patrons audibly gasping and others walking out. There appears to be a harsh negative backlash among longtime theatergoers. The play is polarizing, for there are others who enjoyed it very much.
Defenders will call us prudes and unenlightened. Us rubes here in flyover country don’t know theater and we need to be lectured at every opportunity by professionals who think they know more than we do, because how could we know anything about theater? (Now is the time to shake your head or chuckle or spit-take or whisper your feelings – or curse and shout that I’m very wrong).
I don’t need a lecture, and quite frankly, I’m tired of being told what I should like because it might take me out of my comfort zone (which I don’t mind at all, if it’s well-constructed, well-acted and says something).
I’m “aware.” Art is subjective. This is only my opinion. Whether or not you agree, I consider my role is to explain my view – and if something is worth your time and money.
Not that I need to explain myself, but I have seen many controversial plays, many heralded shows that fall short in a certain venue or a regional group’s interpretation. It happens. Isn’t the first rule of theater “know your audience”?
Go ahead, push boundaries, if it helps the story and its impact. Was it necessary to convey a romance in such a way? No. Discretion would have gotten the point across with several kisses and embraces.
For the record, I consider The Rep’s “Take Me Out” in 2005, part of its acclaimed but short-lived “Off the Ramp” series, to be one of the finest productions I have ever seen, and I sat very, very close to full frontal nudity while ball player characters rinsed, lathered, and repeated in shower scenes. (Fun Fact: I won an Illinois Press Association award for that review, back when they awarded reviews, and I was a full-time newspaper employee).
Of course, “House of Joy” is more than one incendiary scene, but by the time chaos and revolt occurs, is anyone on the edge of their seat? And do we really understand what is happening, and who’s aligned with who?
Its ambition is to be epic in scope, and the play is being misrepresented by comparing it to more cinematic genre-busting fare, calling it “Swashbuckling”? This is nothing close to DC’s Wonder Woman or the bad-ass Marvel Cinematic Universe women in “Black Panther.”
Of course, I’m all for women power, for I stand on the shoulders of giants. Sisters doing it for themselves is reason to celebrate. Getting away from abuse is necessary, especially for the queen. Can we get something to cheer about that’s lucid?
Playwright Shekar comes with quite a resume, full of awards and recognition, and has television and film credits as well. It doesn’t matter what she did before or after this play to a puzzled audience watching “House of Joy.”
If this is the first time this version has been presented, perhaps it needs to be workshopped further to make it stronger and more appealing.
Nevertheless, the production elements are stunning in execution – particularly what’s swirling on the on-stage screen, the collaboration between Projections Designer Stefania Bulbarella, Projections Programmer Devin Kinch, Projections Animator/Illustrator Joaquin Dagnino and Associate Projections Designer Brian Pacelli, who take it to next-level by changing it constantly and expanding the panoramic vistas.
That technical razzle-dazzle is complemented by Lighting Designer Sarah Hughey and Sound Designer Porchanok “Nok” Kanchanabanca. The costumes designed by Oona Natesan are exotic and elegant, with outstanding hairstyling (no name in program).
Director Lavina Jadhwani utilizes a spare stage designed by Dahlia Al-Habeli where movement flows crisply, and the palace guards are choreographed by Aparna Kalyanaraman.
Because this is what I consider a work-in-progress, in her program notes, Jadhwani described putting this show together as “jumping onboard a moving train.” Maybe some of us found it to be a trainwreck – it needs to be disassembled and put back together logically.
I didn’t find “House of Joy” joyous or fun or exciting or any of the words being used in marketing. Sure, it’s about “all you need is love” or “love is the answer” or “the love you take is equal to the love you make.” I think.
I’d like to have reasons to determine its impact. Spoiler alert: We don’t really know what happens to most of the characters when it ends, so how can we be moved or know what to feel when it leaves us hanging?
Answers, I’d like answers.
Photos by Eric Woolsey.
“House of Joy” is being presented Aug. 28 – Sept. 18 on The Repertory Theatre of St. Louis’ mainstage, 130 Edgar Road, Webster Groves. For schedule of performances and ticket information, visit www.repstl.org.
Proof of a full COVID-19 vaccination and a valid ID, or a negative COVID test taken 24 hours before the performance, are required for entry into any Repertory Theatre event. Masks are highly encouraged, but optional. Front of House Staff will have one-time use masks on hand for patrons that would like to use them.
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.
On October 7–8, Jonathon Heyward makes his SLSO debut conducting the first SLSO performances of Kaija Saariaho’s Ciel d’hiver and Joseph Bologne’s Violin Concerto No. 2 performed by SLSO violinist Hannah Ji; concerts conclude with Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition
On October 15–16, conductor Hannu Lintu returns to Powell Hall with frequent SLSO guest Kirill Gerstein in performances of Sergei Rachmaninoff’s Piano Concerto No. 2 and John Corigliano’s Symphony No. 1
On October 21–22, Music Director Stéphane Denève leads the SLSO in its first performances of Reena Esmail’s Testament (from Vishwas), Florent Schmitt’s The Tragedy of Salome Suite, and rare performances of Francis Poulenc’s Stabat Mater and Final Scene from Dialogues of the Carmelites performed with the St. Louis Symphony Chorus and soprano Jeanine De Bique in her SLSO debut
On October 28–29, Thomas Søndergård makes his SLSO debut conducting Anatoly Liadov’s The Enchanted Lake, Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1, performed by Stephen Hough, and Sergei Prokofiev’s Symphony No. 7
The St. Louis Symphony Orchestra announced details for its classical concerts at Powell Hall throughout the month of October, including rare performances of Francis Poulenc’s Stabat Mater with Music Director Stéphane Denève and the St. Louis Symphony Chorus; the first SLSO performances of works by Joseph Bologne, Reena Esmail, and Kaija Saariaho; performances of John Corigliano’s Symphony No. 1, a modern masterpiece; and beloved favorites including Modest Mussorgsky’s Pictures at an Exhibition and Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1. The month also features the SLSO debuts of two guest conductors, Jonathon Heyward and Thomas Søndergård, who were recently appointed as Music Directors at the Baltimore Symphony Orchestra and Minnesota Orchestra, respectively; and the SLSO debut of Trinidadian soprano Jeanine De Bique.
Tickets start at $15 and are on sale now. Tickets may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. All Saturday night concerts will be broadcast live on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, or online (stlpublicradio.org/listen.php). Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each concert in the auditorium.
The SLSO’s 143rd season runs through June 2023. For more information, visit slso.org.
Pictures at an Exhibition
Friday, October 7, 2022, 10:30am CDT
Saturday, October 8, 2022, 8:00pm CDT
On October 7–8, Jonathon Heyward—the 29-year-old recently named Music Director of the Baltimore Symphony Orchestra— leads the SLSO in a program that transcends boundaries. The program begins with contemporary composer Kaija Saariaho’s celestial work, Ciel d’hiver(Winter Sky), an SLSO premiere. Then, the concert transitions into Joseph Bologne’s Violin Concerto No. 2 performed by SLSO violinist, Hannah Ji. Bologne is often noted as the first Black Classical composer. The concert concludes with a sonic art gallery with Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition, an epic tour of musical paintings and vibrant orchestral colors.
Rachmaninoff’s Second Piano Concerto
Saturday, October 15, 2022, 8:00pm CDT
Sunday, October 16, 2022, 3:00pm CDT
The next weekend, October 15–16, frequent SLSO guest conductor Hannu Lintu returns to the Powell Hall podium for the ninth time to conduct the orchestra in John Corigliano’s Symphony No. 1, a deeply personal work in remembrance of the composer’s friends lost during to the AIDS epidemic. In the first half of the concert Lintu will be joined by frequent SLSO guest and recording partner Kirill Gerstein in performances of Sergei Rachmaninoff’s Piano Concert No. 2, a lyrical and colorful piece.
Stéphane Conducts Poulenc
Friday, October 21, 2022, 7:30pm CDT
Saturday, October 22, 2022, 8:00pm CDT
On October 21–22, Denève leads a program of sacrifice and tragedy. Concerts open with the SLSO’s first performance of Reena Esmail’s Testament (from Vishwas), the story of a saint-poet’s trials. Following is Florent Schmitt’s The Tragedy of Salome Suite, an intense and shimmering piece based on a poem by Robert d’ Humières. Then, the St. Louis Symphony Chorus and Trinidadian soprano Jeanine De Bique join the orchestra for two of Francis Poulenc’s choral works: Stabat Mater, which the composer wrote in response to a close friend’s death, and the Final Scene from Dialogues of the Carmelites, which depicts the fictionalized story of the Carmelite nuns who were executed for refusing to renounce their faith. Known for her “dramatic presence and versatility” (Washington Post), De Bique is a prizewinner in several competitions including the Young Concert Artists, Inc. Music Competition, the Hertogenbosch International Vocal Competition, the Viotti International Music Competition, and the Gerda Lissner Vocal Competition (New York).
Tchaikovsky’s First Piano Concerto
Friday, October 28, 2022, 10:30am CDT
Saturday, October 29, 2022, 8:00pm CDT
To close the month, conductor Thomas Søndergård, who was recently appointed Music Director for the Minnesota Orchestra, makes his debut performance at the SLSO with a program featuring heartfelt expression and vivid imagery. The concert begins with the mystical and idyllic The Enchanted Lake by Anatoly Liadov. Then, pianist Stephen Hough brings Tchaikovsky’s First Piano Concerto to roaring life. The program concludes with Prokofiev’s Symphony No. 7, which balances joy and despair in the composer’s final work.
Calendar listings:
The St. Louis Symphony Orchestra will perform the following concerts in October of 2022:
Pictures at an Exhibition
Guest conductor, Jonathon Heyward makes his SLSO debut in two concerts, October 7–8, which feature SLSO premieres of Kaija Saariaho’s Ciel d’hiver and Joseph Bologne’s Violin Concerto No. 2 performed by Hannah Ji. The concert closes with Modest Mussorgsky’s Pictures at an Exhibition.
Joseph BOLOGNE Violin Concerto No. 2 (First SLSO performances)
Modest MUSSORGSKY (orch. Ravel) Pictures at an Exhibition
Rachmaninoff’s Second Piano Concerto
October 15–16, Guest conductor, Hannu Lintu returns to Powell Hall for two concerts October 15–16 featuring Sergei Rachmaninoff’s Piano Concerto No. 2 performed by frequent SLSO guest, Kirill Gerstein, and John Corigliano’s Symphony No. 1, a deeply moving work.
Saturday, October 15, 2022, 8:00pm CDT
Sunday, October 16, 2022, 3:00pm CDT
Powell Hall, 718 N. Grand Blvd., St. Louis, MO
Hannu Lintu, conductor
Kirill Gerstein, piano
Sergei RACHMANINOFF Piano Concerto No. 2
John CORIGLIANO Symphony No. 1
Stéphane Conducts Poulenc
October 21–22, Music Director Stéphane Denève conducts the SLSO in Reena Esmail’s Testament (from Vishwas) and Florent Schmitt’s The Tragedy of Salome Suite. Then, Trinidadian Soprano Jeanine De Bique takes center stage with the St. Louis Symphony Chorus in Francis Poulenc’s Stabat Mater and Final Scene from Dialogues of the Carmelites.
Francis POULENC Final Scene from Dialogues of the Carmelites
Tchaikovsky’s First Piano Concerto
October 28–29, Thomas Søndergård makes his SLSO debut conducting Anatoly Liadov’s The Enchanted Lake and Sergei Prokofiev’s Symphony No. 7. Then, pianist Stephen Hough returns to Powell Hall’s stage for a performance of Pyotr Ilyich Tchaikovsky’s First Piano Concerto.
Friday, October 28, 2022, 10:30am CDT
Saturday, October 29, 2022, 8:00pm CDT
Powell Hall, 718 N. Grand Blvd., St. Louis, MO
Thomas Søndergård, conductor (SLSO debut)
Stephen Hough, piano
Anatoly LIADOVThe Enchanted Lake
Pyotr Ilyich TCHAIKOVSKY Piano Concerto No. 1
Sergei PROKOFIEV Symphony No. 7
About the St. Louis Symphony Orchestra
Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.
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.
“Clerks III” is strictly for fans, a View Askew production set in that Kevin Smith universe that the writer-director broke through the business with in 1994, which has been his calling card ever since – but actually has a few very adult things to say.
Following a massive heart attack, Randal (Jeff Anderson) enlists his fellow clerks Dante (Brian O’Halloran) and Elias (Trevor Fehrman), along with friends Jay (Jason Mewes), and Silent Bob (Kevin Smith), to make a movie immortalizing his life at the convenience store that started it all.
This third installment is the final chapter in the lives of the New Jersey guys portrayed in the award-winning “Clerks” and its 2006 sequel, “Clerks II.”
As clerks in a convenience store, the characters were neighborhood slackers with obsessive pop culture interests who dealt with bizarre circumstances and oddball customers. Their circle of friends rounded out an eclectic ensemble.
Shot in black-and-white on a very low budget, the comedy became a sensation when the burgeoning independent film scene gave rise to fresh viewpoints. Smith won the Filmmakers Trophy at the ’94 Sundance Film Festival and “Award of the Youth” and the Mercedes-Benz Award at Cannes, and was nominated for three Independent Spirit Awards for first feature, first screenplay and debut performance (Anderson).
The original “Clerks” spoke to Gen X’ers in a relatable way, especially those in dead-end jobs who didn’t see their dreams ever becoming realities. After “Mallrats” came out a year later, Smith cemented his role as a voice of his generation.
In “Clerks II,” set 10 years later, they wear their lack of ambition like a badge of honor. After the Quick Stop and the adjacent video rental store are destroyed by a fire, the guys work at a fast-food restaurant, Mooby’s. Dante, engaged to Emma and planning to move to Florida, falls in love with fellow employee Becky (Rosario Dawson). With help from stoners Silent Bob and Jay, Dante and Randal buy the Quick Stop and RST Video, thus continuing their journey.
The surprise outcome of the first film, in an ‘only in the movies’ way, saw Smith achieving real-world success by tapping into those hopes, dreams, fears, deep love for the “Star Wars” franchise and his encyclopedic knowledge of comic book characters and superhero/fantasy scenarios. He has made 13 feature films since then, but his career has expanded in many directions. Above all, he is an observer of fate’s strange twists.
They say write what you know, and he did. A struggling filmmaker who worked at a convenience store close to a highway gave him an endless source of material.
For this leg of the trilogy, Smith takes more events from his life, notably the near-fatal heart attack he suffered before one of his comedy appearances in 2018. Older, wiser, and healthier, his point is that you are never too old to completely change your life.
Randal’s life-altering experience of winding up in the hospital, near death, triggers his decision to be a filmmaker, convincing Dante to make his movie. They shoot it at the Quick Stop.
It’s very meta, and it knows it. The movie-making experience is a rocky one, presenting hilarious situations and revisiting some of the more controversial plot developments in the previous two.
Jason Mewes as Jay and Kevin Smith as Silent Bob in Clerks III. Photo Credit: Courtesy of Lionsgate
In supporting roles, Amy Sedaris is very funny as a wacky no-filter doctor without any bedside manner and Dawson, as Dante’s beloved wife Becky.
Familiar faces are seen in cameos, with star turns from Ben Affleck as Boston John, Sarah Michelle Gellar, Fred Armisen, Justin Long and others.
But hidden in the bluster of these films is an underlying sentimental theme of pals going through the ups and downs of life together, and those ties that forever bind us.
And those schmoes that you grew up with, no matter how things turned out, are what’s important. That is ultimately Smith’s point. They may be juvenile, vulgar, and misguided, but they have a bond – which is often put to the test.
After all, Dante and Randal must confront their future – because they are grown-ups.
A quick wit and a glib tongue, Smith writes natural dialogue that’s funny and fast. You gotta keep up and pay attention.
The crude dark comedy is Smith’s wheelhouse, and he also edited and produced, besides showing up as the iconic Silent Bob character, who along with Jay, hung out in front of the store. The loitering pot-dealing pair were the core characters in three movies – “Jay & Silent Bob Strike Back” in 2001, “Jay & Silent Bob’s Super Groovy Cartoon Movie!” in 2013 and “Jay & Silent Bob Reboot” in 2019.
Television shows, animated programs, video games and comic books have sprung from Smith’s prolific Viewaskewniverse. In 1999, he made the religious comedy “Dogma,” which became a controversy magnet. Although widely panned, 2004’s “Jersey Girl” is much better than expected (Seriously, Affleck, who also starred in “Chasing Amy,” and Liv Tyler make a sweet couple, Raquel Castro is adorable as young Gertie and George Carlin plays the grandpa).
With a great deal of affection and a very personal perspective, Smith concludes his saga in a satisfying way.
Do not leave until you hear the song, “I’m from New Jersey,” over the closing credits. John Gorka wrote this quintessential Jersey song in 1991, and it is so fitting here. Touche, Mr. Smith.
“Clerks III” is a 2022 comedy written and directed by Kevin Smith and starring Brian O’Halloran, Jeff Anderson, Trevor Fehrman, Rosario Dawson, Amy Sedaris, Kevin Smith, Jason Mewes, Sarah Michelle Gellar and Ben Affleck, It is rated and runs 1 hour, 55 minutes. It opens in theaters on Sept. 13 and runs for one week as a Fathom Event. 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.
COMPETITION Golden Lion for Best Film: “All the Beauty and the Bloodshed,” Laura Poitras Grand Jury Prize: “Saint Omer,” Alice Diop Silver Lion for Best Director: “Bones and All,” Luca Guadagnino Special Jury Prize: “No Bears,” Jafar Panahi Best Screenplay: “The Banshees of Inisherin,” Martin McDonagh Volpi Cup for Best Actress: “Tár,” Cate Blanchett Volpi Cup for Best Actor: “The Banshees of Inisherin,” Colin Farrell Marcello Mastroianni Award for Best Young Actor: “Bones and All,” Taylor Russell
HORIZONS Best Film: “World War III,” Houman Seyyedi Best Director: “Vera,” Tizza Covi and Rainer Frimmel Special Jury Prize: “Bread and Salt,” Damian Kocur Best Actress: “Vera,” Vera Gemma Best Actor: “World War III,” Mohsen Tanabandeh Best Screenplay: “Blanquita,” Fernando Guzzoni Best Short Film: “Snow in September,” Lkhagvadulam Purev-Ochir
Cate Blanchett as Tar
LION OF THE FUTURE Luigi de Laurentiis Award for Best Debut Feature: “Saint Omer,” Alice Diop
HORIZONS EXTRA Audience Award: “Nezouh,” Soudade Kaadan
VENICE CLASSICS Best Documentary of Cinema: “Fragments of Paradise,” K.D. Davison Best Restored Film: “Branded to Kill,” Seijun Suzuki
VENICE IMMERSIVE Best Immersive Experience: “The Man Who Couldn’t Leave,” Chen Singing Grand Jury Prize: “From the Main Square,” Pedro Harres Special Jury Prize: “Eggscape,” German Heller
VENICE DAYS (announced earlier) Cinema of the Future Award: “The Maiden,” Graham Foy Director’s Award: “Wolf and Dog,” Cláudia Varejão People’s Choice Award: “Blue Jean,” Georgia Oakley
CRITICS’ WEEK (announced earlier) Grand Prize: “Eismayer,” David Wagner Special Mention: “Anhell69,” Theo Montoya Audience Award: “Margini,” Niccolò Falsetti Verona Film Club Award: “Anhell69,” Theo Montoya Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution: “Anhell69,” Theo Montoya Best Short Film: “Puiet,” Lorenzo Fabbro and Bronte Stahl Best Director (Short Film): “Albertine Where Are You?,” Maria Guidone Best Technical Contribution (Short Film): “Reginetta,” Federico Russotto
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.
Appointments made to Principal Flute, Associate Principal Viola, Associate Principal Timpani/Section Percussion, and Second Bassoon positions
The St. Louis Symphony Orchestra and Music Director Stéphane Denève are pleased to announce the appointments of four new full-time musicians as the SLSO begins its 2022/2023 season, the orchestra’s 143rd.
The SLSO’s 2022/2023 season begins in mid-September with the annual free community concert in Forest Park. Throughout the season, Denève and the SLSO perform repertoire that spans genre and time and celebrates music without boundaries, offering a musical journey to places near and far, real and imaginary, physical and spiritual.
The SLSO’s new musicians are:
Julia Paine, Second Bassoonist, joins the SLSO following appearances with a variety of orchestras including the St. Paul Chamber Orchestra, the North Carolina Symphony, Charlotte Symphony, the Louisiana Philharmonic Orchestra, and Oregon Symphony. A graduate of the University of Miami and the Shepherd School of Music at Rice University, Paine is a native of the Chicago suburbs.
Paine succeeds Felicia Foland, who held the Second Bassoon position for 31 seasons until her retirement at the conclusion of the 2021/2022 season.
Kevin Ritenauer, Associate Principal Timpanist/Section Percussionist and the Paul A. and Ann S. Lux Chair, was appointed to the SLSO following four seasons as a percussion fellow at the New World Symphony in Miami Beach, Florida. He has performed around the country with orchestras including The Cleveland Orchestra, National Symphony Orchestra, Kansas City Symphony, Atlanta Symphony Orchestra, and the San Francisco Symphony. He received his Master of Music from the Cleveland Institute of Music.
Ritenauer succeeds Tom Stubbs, who held the Associate Principal Timpani position for 51 years prior to retirement in 2021.
Matthew Roitstein, Principal Flutist and the Herbert C. and Estelle Claus Chair, joins the SLSO after eight seasons as the Associate Principal Flutist of the Houston Symphony. He also held positions in the Honolulu Symphony Orchestra and the Sarasota Opera Orchestra. Roitstein has performed as guest principal flute with the Dallas Symphony Orchestra, Fort Worth Symphony Orchestra, and River Oaks Chamber Orchestra. He has also taught extensively in the United States as well as throughout South and Central America. Roitstein received bachelor’s degrees in architecture and music from the Massachusetts Institute of Technology and a Master of Music at Rice University’s Shepherd School of Music.
Roitstein assumes the position formerly held by Principal Flutist Mark Sparks from 2000 to 2021.
Alejandro Valdepeñas, Associate Principal Violist, enjoys a multi-faceted career as a violinist and violist. He has recorded with the Amici Chamber Ensemble and the Toronto Symphony Orchestra Chamber Soloists. He has spent multiple summers as a violinist with the Santa Fe Opera and has also performed with the Calgary Philharmonic Orchestra. In the summers, Valdepeñas has performed at the Aspen Music Festival and School and Norfolk Chamber Music Festival at Yale. Originally from Toronto, Canada, Valdepeñas made his solo debut on violin at age 9 with the Toronto Symphony Orchestra.
Valdepeñas succeeds longtime Associate Principal Violist Kathleen Mattis, who retired in September 2019.
About the St. Louis Symphony Orchestra
Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.
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.
September 9 – 11 located in 7 blocks of downtown Clayton
WHAT: The Saint Louis Art Fair presented by Centene Charitable Foundation (SLAF) and produced by Cultural Festivals host its 29th year as the Art Fair returns. This three-day FREE celebration of art attracts thousands of art enthusiasts from across the region to a space filled with beautiful art from 182 artists this year. There will also be live music, delicious food samplings from some of the area’s premier restaurants, children’s activities, and much more. Interactive artistic experiences including custom-led tours to help you, “Meet the Artists,” larger-than-life floral installations, and chalk art creations are new additions this year. The Saint Louis Art Fair is a nationally juried fine art and fine craft show consistently ranked as one of the nation’s top fine art fairs.
WHEN: Friday, September 9 from 5:00 pm to 10:00 pm
Saturday, September 10 from 11:00 am to 10:00 pm
Sunday, September 11 from 11:00 am to 5:00 pm
The Creative Castle area with hands-on activities for children will have hours on Saturday: 11:00am to 7:00pm and on Sunday: 11:00am to 5:00pm. The Creative Castle is a land ruled by “little people” where strollers have the right-of-way and children are encouraged to explore their creativity and learn about the arts.
WHERE: Located in seven (7) blocks of Downtown Clayton
Main Stage entertainment presented by Enterprise (located at Carondelet and S. Central Avenue) will have Indie Rock to Jazz, R & B to Funk and music that is sure to have guests dancing the day and night away. Musicians include Molly Lovette, All4Nothin, The Burney Sisters, Mark Biehl World Jazz, Retro Boogie, The Yard Darts, The Blue Sparks, The Friday Jam Band, Flying House Band, The Late Greats, Dizzy Atmosphere, Meredith Shaw, Steve Ewing Acoustic Duo, and The Remedy.
Performing Arts Stage supported by the William T. Kemper Foundation (located on Forsyth near S. Central) will feature DJs, Yoga, and include the Saint Louis Story Stitchers Artists Collective that will be host poetry, dance, and other performances throughout the weekend. This will be near the Creative Castle area where children will be able to explore their creativity and learn about the arts.
The Independent artist stage (located at Forsyth and Brentwood) will highlight independent local artists and comedians.
DRINK: Together with Grey Eagle Distributing, the Saint Louis Art Fair provides a selection of offerings at the beverage booths. The beverage booths are staffed with non-profits in Saint Louis area; they share in the proceeds of the sales, supporting community organizations and keeping the Art Fair FREE!
FOOD: Pleasures of the Palate, restaurant row, features some of the most diverse brick-and-mortar restaurants from all around the St. Louis area. Each of these restaurants are ready to offer their special delicacies and feature food from different regions around the world! Restaurants include: Hacienda, Juniper, Pappy’s, Kimchi Guys, La Colombianita, Seven Gables Inn, Sador Del Sur, Steve’s Hot Dogs, Tivanov Catering Company, The Capital Grille, Clementine’s Naughty and Nice Creamery, Sedara Sweets & Ice Cream.
New this year will feature Clarendale Clayton Luxury Senior Residences showcasing its culinary arts, offering chef demonstrations and tasty culinary delights for guests to sample.
FOR MORE INFORMATION: Please refer to saintlouisartfair.com for more details and a full schedule.
About Cultural Festivals and the Saint Louis Art Fair: Cultural Festivals enhances the cultural landscape of St. Louis, offering innovative programs that bring the arts to dedicated arts enthusiasts.
The Saint Louis Art Fair presented by Centene Charitable Foundation and produced by Cultural Festivals is a not-for profit corporation, designated by the Internal Revenue Service as a 501(c)3 organization and is tax-exempt in the state of Missouri. Governed by a local board of directors, all support goes directly toward presentation of the annual St. Louis Art Fair and its cultural outreach programs and services presented throughout the year. Donations to the Art Fair are tax-deductible as a charitable contribution. For more information, visit www.saintlouisartfair.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.
