Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

By Lynn Venhaus

A personality-driven low-key charmer, the musical ‘[title of show]’ offers a fresh perspective with its vivacious gender-bending cast.

And what’s not to love about a 20-year-old original musical that is unapologetically OK with being “nine people’s favorite thing than a hundred people’s ninth favorite thing”?

In a world of “Cake Boss” and “The Great British Bake Off,” why not choose to be a Rice Krispie Treat? (Nothing wrong with that – and you can have one at intermission, too).

Prism Theatre Company is presenting this enjoyable modest production in two acts with a disarming all-femme quartet of performers and one expert musician accompanying them on keyboard.

Mallory Golden serves as the music director, and they are called “Larry.” They have an occasional spoken line of dialogue and comical in their timing.

They have guy names because Prism did not change those characters when they cast women. The musical’s creators – Jeff Bowen wrote the music and lyrics, Hunter Bell the book – are called Jeff and Hunter, and played by a spunky pair, Katie Orr and Jaelyn Hawkins.

It really doesn’t make a difference – it’s entertaining from this point of view because it is brimming with sly theatrical references and features a classic struggle about pursuing your dreams, no matter what obstacles. Their ambition resonates.

It’s also a tale of friendship, those pals who get you through tough times, who encourage and collaborate – and work through tension and chaos. The four principal actresses project the camaraderie that is necessary to make this show work, under the adroit direction of Sam Hayes.

Being gender-fluid doesn’t change how meta this musical is, because they are two friends who are theater artists writing a musical about writing a musical. Their first goal together is to send in an original work to the inaugural New York Musical Theatre Festival – only its deadline is three weeks away.

Their frantic, fraught creative process, with their real-life obstacles, are what makes the show unique to them. The time and place are New York City, 2004. Starving artists whose endgame is Broadway have their own sets of issues, which factors into the show – all driven by the mindset “If you can make it here, you can make it anywhere.”

And from there, their goals get bigger, their challenges more daunting, and their exasperations and aspirations escalate. It’s clever and funny in a very natural, authentic way.

Rounding out the cast are their two friends they cast in their show. Rachel Bailey is sassy, snarky Susan, a comic actress whose day job is an office worker, and Savannah Fernelius is assertive Heidi, a polished performer who wonders if she is doing the right thing hitching her wagon to this project. They are based on Susan Blackwell and Heidi Blickenstaff, who not only were in the show, but were part of the process.

It is a wild rollercoaster ride of emotions for the quirky characters, all who have skin in the game. They yearn for fame and recognition. They persist. They want to matter, find their place in the world.

The creative team may be “Two Nobodies from New York” but they want to be “Part of It All.” Why not dream big? (“The Tony Award Song”).

The two writers are imaginative and capable. Their progress is chronicled in such witty ditties as “An Original Musical” (with the proverbial blank piece of paper) and “Filling Out the Form.”

Their brainstorming techniques are hilarious in “Monkeys and Playbills.” The second act’s stakes are captured in “Montage Part 1: September Song,” “Montage Part 2: Secondary Characters” and “Montage Part 3: Development Medley.”

The four are not only nimble at comedy, but can crisply sell a showtune with strong melodic voices.

Katie Orr, Rachel Bailey and Jaelyn Hawkins. Photo by Cady Bailey.

The Susan-led “Die, Vampire, Die!” is an ingenious way to vanquish demons and doubts, and Bailey is good at animated delivery.

In her professional debut, Fernelius makes quite an impact with silky-smooth vocals, and powerfully delivers a stunning “A Way Back to Then.” She has been standing out in college and community theater and is indeed ready for her close-up.

The show’s offbeat approach obviously differentiates from fairy tale-fiction in a land of enchantment (“Into the Woods” references abound, by the way). The quartet are more self-aware than naïve, more jaded and cynical about the highs and lows in life yet wear their hearts on their sleeves and they wish.

Their strengths and weaknesses are fully on display, not unlike those four unfiltered millennials in the HBO television series “Girls” that ran for five seasons. Raw and real, they aggravate each other and express their feelings.

Hunter fires off torrents of profanity, easily upset and distracted. (You can imagine him/her erupting at the neighborhood association meeting). Hawkins is funny in her no-holds-barred character’s tendency to go to DEF-CON 1.

Like many well-meaning longtime friends, Jeff knows how to deal with Hunter, and Orr is instinctive in her portrayal of the one who isn’t prone to histrionics.

There is a mature content advisory: “This play contains heavy adult language and open discussion of adult content. Audience discretion is advised.”

The pair of actresses playing actresses are creating an identity through their roles – “I Am Playing Me” and are initially at odds with each other – “What Kind of a Girl Is She?”

Savannah Fernelius is Heidi. Photo by Cady Bailey.

This is Prism’s first musical, and as a love letter to musical theater, it’s an interesting exchange of ideas and talents. It’s yet another version of “The Little Engine That Could,” showbiz style.

And in their hands – heartfelt. Co-producers Joy Addler (managing director) and Trish Brown (artistic director) founded this regional professional theater troupe with the mission of supporting women. This season’s theme is “Raise Your Voice.” I’d say this choice is apt.

The earnest presentation has a rough-around-the-edges quality yet has the enthusiasm of Judy Garland and Mickey Rooney gathering the neighborhood kids in those “Hey kids! Let’s put on a show!” old-timey musicals – but instead of a barn, they’re in a minimalistic rehearsal space with four chairs.

On a much smaller scale, this show follows the world-building on display in big-deal beloved musicals like “A Chorus Line,” “Singin’ in the Rain,” and “Dreamgirls.”

While it may not have a showstopper like “What I Did for Love,” the substantive songs showcase their doubts, fears, instincts, hopes and dreams in a relatable way.

Cady Bailey’s choreography is appropriate for the characters and incorporates snappy theatrical dance moves in an endearing way.

The quartet’s fervor for this material is perceptible, so is their warmth. The way they work together is specific, which adds a distinctive flavor to the show. There isn’t a whiff of artifice or slickness, rather a gutsy “Take us as we are” attitude.

And their work-in-progress show is constantly expanding and involving, as they adapt, evaluate, revise, re-evaluate, and have hissy fits. “Change It/Don’t Change It” illustrates those efforts, and “Awkward Photo Shoot” is a full-out meltdown of dysfunction.

Scenic designer Caleb D. Long has kept things basic and functional, with a nifty arrangement of frames that light up, and the noteworthy lighting design by Catherine Adams is effective. Golden also did the sound design, which is without issues in the intimate Kranzberg Black Box.

Their costumes, designed by Hayes, are everyday casual, look like out-of-their-closet selections. The sense of a team effort, with Sadie Harvey assistant director and props master, Katie Smith props artisan, carpenter William Higley, along with technical director Caleb D. Long, Golden, and Adams is apparent.

Bell and Bowen may not be as well-known as Pasek and Paul or as hip as Kerrigan and Loudermilk, but their memorable original work “[title of show]” earned awards nomination and elevated their credentials.

Bell, a graduate of Webster University’s Conservatory of Theatre Arts, won an Obie special citation award and was nominated for Drama League, GLAAD Media and Tony awards for best book of a musical. Bowen won an Obie special citation award for the music and lyrics.

After the musical debuted at the festival, two years later it opened off-Broadway at the Vineyard Theatre in 2006 and then moved to Broadway two years later, at the Lyceum Theatre, in 2008.

Proactively, in hopes of mounting the show at a Broadway theater, Bell and Bowen created a video blog, called “The [title of show] Show” that documented the musical’s progress and featured famous guest actors in episodes that went viral. In Episode 8, mission accomplished: the New York Times announced the show’s opening date at the Lyceum. (The show continued as a web series with a season 2, music videos and specials.)

What Bell and Bowen have learned the hard way – albeit with a delightfully improbable successful run about what all goes into making a musical — (and they did it before “Something Rotten!”) – can be summed up through the words of philosopher Ralph Waldo Emerson: “It’s not the destination, it’s the journey.”

This cast’s exuberance and the creative team’s efforts result in a satisfying tag-along adventure. Its candor and cheekiness are refreshing. And yes, that was Sutton Foster leaving a voice mail rejecting their offer. Touche!

Prism Theatre Company presents “[title of show]” weekends through Sept. 8.  Performances take place at the Kranzberg Center in Grand Center, 507 N Grand Blvd, St Louis, MO 63103. For more information: prismtheatrecompany.org.

For tickets, visit https://www.metrotix.com/events/detail/prism-theatre-company-title-of-show

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‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

By Lynn Venhaus

A civics lesson brimming with dreamers and doers, the world now knows the name of a game-changing genius with an extraordinary verbal dexterity, who teamed with a creative cabinet of generational talents at their pinnacle, to present the revolutionary musical “Hamilton” that’s a revelation.

Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming, a fascinating inside view on the messy political process.

This monumental work by Lin-Manuel Miranda, who spent seven years writing the book, music and lyrics, was assisted by visionary choreographer Andy Blankenbuehler, director Thomas Kail and Alex Lacamoire, who supervised the music and arranged the orchestrations, to create a synergy that is a thing of beauty.

Now playing at the Fox Theatre in St. Louis, this grand and glorious work courses with electricity, wit and the words to make us better people – and citizens. It speaks to us on so many levels.

This mostly sung epic opera incorporates hip hop, jazz, R & B, pop and Broadway show tunes in a richly dense tapestry. While the score deftly blends different styles, the aching ballads “It’s Quiet Uptown” and heartbreaking “Burn” provide emotional depth.

The use of hip-hop gives it a freshness, an urgency and a unique rhythm. Hamilton’s smackdown on state’s rights vs. federal power, “Cabinet Battle 1 and 2,” should be the standard now for all history classes.

So much history and attitude are packed into the songs. The introduction of “The Schuyler Sisters,” who play an integral part of Hamilton’s personal life, leads to Eliza (Lauren Maria Soosay) and Alexander (Tyler Fauntleroy) falling in love and marrying (“Helpless”) and Angelica’s yearning “Satisfied.” Both Soosay and Marja Harmon, as oldest sister Angelica, have strong melodious voices that bring out the fire and the heart in their songs.

The lyrics have become part of our modern fabric, now ‘catch phrases,’ and you will never get these infectious beats out of your head.

The theatrical world has not been the same since the cultural phenomenon about “the $10 founding father without a father who got a lot farther by working a lot harder by being a lot smarter by being a self-starter” opened off-Broadway nine years ago.

Since “Hamilton” debuted on Jan. 20, 2015, at The Public Theatre in New York City, the musical’s impressive ground-breaking elements cannot be understated.

Miranda was inspired by the Ron Chernow biography to make Hamilton the centerpiece of a hopeful reflection on America as an ‘unfinished symphony.’

How much we learn about this penniless orphaned immigrant from the West Indies is an absorbing history lesson. His gift was his ability to communicate through the written word and public speaking, and that propelled him to be a force in our nation’s founding and our system of government.

Add the dynamic of being Washington’s right-hand man and how he interacts with his political rival Burr adds a complexity – and it is riveting. He embodied the revolutionary spirit that started The American Experiment, and we see his evolution. But his flaws as well as his fears, desires and regrets, are on display, too.

The recurring themes make this musical so compelling. To Miranda-speak, characters must enunciate clearly. Miranda’s stunning verbal dexterity and ability to condense and rhyme history, and make it accessible, is why he is a certified genius.(Seriously, won one of the 2015 grants from the MacArthur Foundation—the so-called “Genius” fellowships.)

The most nominated musical ever on Broadway (16), winning 11, one shy of the record, and winner of the 2016 Pulitzer Prize for Drama, in addition to Olivier Awards, Grammy Awards and a 2021 Emmy Award for Outstanding Variety Special – Pre-Recorded for the filmed performances that were recorded on June 25-26, 2016, with the original cast at the Richard Rodgers Theatre in New York City. Miranda, Kail, Blankenbuehler and Lacamoire also received an unprecedented Kennedy Center Honor for it in 2018.

Its third tour here lives up to its incredible reputation and remains one of the most significant and vibrant works of art ever.

The greatest live theatrical experience of my lifetime is how I first described seeing “Hamilton” in April 2018 at the Fox. Now, after seeing it again in 2022 and on Aug. 28, in addition to watching the film, including the Sing-Along version on Disney +, its magnificence is timeless – and timely.

On opening night you could feel the audience’s palpable electricity, like in the past, but this time felt a little different because it has become “an event.” You could hear it in the crowd’s reaction, how they anticipated lines because they were familiar, and shared a unified feeling.

It’s a sense of how lucky we were to be alive right now, to see “Hamilton” again. Everyone smiled hearing people chuckle as Justin Matthew Sargent made his entrance as the pompous King George. His break-up song “You’ll Be Back” is a crowd-pleasing ‘60s pop ditty that adequately captures the monarchy our “young, scrappy and hungry” rebels overthrew. Sargent makes the most of his nine minutes.

This show is performed by the Angelica Tour, and St. Louis is only the second stop of their national tour that began in Fayetteville, Ark. Passionately presented, this vibrant company showcases the heartfelt connections. The care, skill and attention to detail is obvious.

Overall, this ensemble is stronger vocally than the 2022 touring company, with A. D. Weaver a highlight as George Washington – delivering a rousing “One Last Time” that drew a thunderous ovation.

Some of the principals have been involved in previous tours – including the first Angelica one, Philip one and And Peggy. And a few were on Broadway. Jared Howelton, who’s a nimble Marquis de Lafayette and slick Thomas Jefferson, was a principal standby at the Richard Rodgers Theatre.

Jimmy “JJ” Jeter, who plays the unprincipled Aaron Burr, was instead in the title role on Broadway. He soars in the show’s best songs “Wait for It,” “Non-Stop,” and “The Room Where It Happens.”

The total sensory package that is Miranda’s masterpiece again left me in awe about its creative force and everlasting impact. The words, music, performances, and technical brilliance are unforgettable.

How it continues to resonate and remain fresh with its innovative storytelling while still inspiring in a thrilling patriotic way is a remarkable achievement. As it seamlessly unfolds, you see why it draws people back to see it again and again.

“Hamilton” is a vivid portrait of an infant country, imbued with Miranda’s optimism about what can be achieved, because look at how we started and what we’ve overcome.

The Tony-winning lighting design by Howell Binkley and costume design by Paul Tazewell add to the storytelling, and scenic designer David Korins’ stunning functional brick-walled set with scaffolds, catwalks, staircases and dexterous use of the turntable, which did not win the Tony, keeps everything fluid.

Enhancing the effect is Blankenbuehler’s imaginative choreography. The performers are seemingly non-stop, as movement matters, punctuating the action, and creating this mesmerizing diorama.

Special shout-out to Nathanael Hirst of Belleville, who is a dancer, and portrays George Eacker (who shoots Philip Hamilton) and “Men No. 3.”

A musical about history that made history, it wasn’t as if Miranda was an unknown, but history sure had its eyes on him. He wrote and starred in the Tony-winning 2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and Amanda Green for “Bring It On!” in 2011 (produced by the Mike Isaacson-led Fox Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and lyrics for the 2009 Broadway revival of “West Side Story.”

In 2009, Miranda was invited to the White House to share what he was working on during a night of poetry-inspired entertainment. President Barack and Michelle Obama were a little taken aback by his concept – a hip-hop concert album about a founding father who wasn’t president. Well, the rest, as they say, is history.

Since “Hamilton” became a landmark and won numerous accolades, Miranda has gone on to further acclaim. He directed the Jonathan Larson musical ‘tick, tick…Boom!” film adaptation in 2021, and performed in the animated film “Vivo,” musical adaptation “In the Heights,” and as Bert in “Mary Poppins Returns.”

He was Emmy-nominated as guest actor for hosting “Saturday Night Live” in 2016 and as guest actor on “Curb Your Enthusiasm” in 2018 and won an Emmy for producing the limited series “Fosse/Verdon.”

He has been nominated twice for Best Original Song at the Academy Awards, for the animated Disney movies “Moana” in 2017 and “Encanto” in 2022, and received two more Grammy Awards. He wrote original music for Disney’s live-action remake “The Little Mermaid” and the upcoming “Moana 2” and “Mufasa.” Still making history.

“Hamilton” remains a must-see. A swirling mix of craft, art and talent, “Hamilton” has a signature style that is unmatched. Seeing it again gives us a chance to discover new things and marvel over the rhythms and harmonies. Every performance makes America more beautiful.

Hamilton

The Fabulous Fox presents the national tour of “Hamilton” in St. Louis Aug. 28 – Sept. 8. For more information, visit www.fabulousfox.com and for tickets, www.metrotix.com. More tickets are released daily. There is a #Ham4Ham lottery, where the chosen 21 can purchase $10 tickets for 2. There are also rush tickets on Tuesdays, Thursdays and Sundays.

Note: The production photos by Joan Marcus are from a previous tour, not the current tour.

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Take Ten with Joe Sonderman

Take Ten with Joe Sonderman

By Lynn Venhaus

First time Art Hill was used for sledding?

January 5, 1905. The St. Louis Globe-Democrat reported that Louisiana Purchase Exposition employees had discovered a new use for the hill in front of the Palace of Fine Arts. Now cleared of trees, “Art Hill” made a perfect toboggan slope. The employees used discarded folding chairs as sleds.

A five-home run day for Stan “The Man” Musial?

May 2, 1954. Stan Musial slammed five home runs and drove in nine in a doubleheader against the Giants in St. Louis. The Cardinals won the first game 10–6 but lost the nightcap, 9–7. Musial also set a record with 21 total bases in the two games. He went 4-for-4 with a
walk in game one and 2-for-4 with a walk in game two.

Eight-year-old Nate Colbert was in attendance that day. In 1972, Colbert would become the only other player to hit five homers in a doubleheader.

Those are just two fun facts out of hundreds in Joe Sonderman’s new book, “This Day in St. Louis History.”

A longtime radio host and traffic reporter, Joe enjoys fun facts about his hometown so much so that he’s been in search of interesting nuggets of information nearly his entire life. His fascination with our region has led to him publishing “The remarkable, the outrageous, the spectacular, and everything in between.”

The book, published by Reedy Press, arrives on area bookshelves on Aug. 31. He has book signings scheduled for September and October too. It’s his 18th book.

His answer to the most St. Louis of questions is: “Hazelwood West, 1980.”

Joe said he always loved researching history and trivia, and clipped “Through the Years” feature in the old St. Louis Globe-Democrat, which led to more library research that eventually turned into a database. On the air, he started doing a Day in History feature, which led to a project in 2002 called “St. Louis 365.”

Once he started a Facebook page called “Vintage St. Louis,” he posted daily, and it was so popular with followers that he dug back into research. And ta-da! Now a book.

“So what we have here is what I thought to be an interesting cross section of St. Louis history and trivia. It ranges from the important events to the trivial and pop-culture oriented,” he said.

The colorful book is laden with photographs, magazine covers and other interesting sites.

“The goal is not to present a serious historical work but to provide things you may not know about St. Louis history, personalities, historic
buildings, institutions, roads, bridges, TV and radio, and sports. I hope you find it interesting, no matter where you went to high school,” he said. (And for the record, Academy of Notre Dame, Belleville, Ill., 1972)

His first signing is Saturday, Aug. 31, from 1 to 3 p.m. at the Eugene Field House Museum, 634 S. Broadway, St. Louis.

You may also be familiar with him as “The Route 66 expert” and he was a major contributor to the Missouri History Museum’s comprehensive Route 66 exhibit in 2016, “Route 66: Main Street Through St. Louis.”

His other books on Route 66 include:
Route 66 in St. Louis (Images of America)
Route 66 Missouri
Route 66 in Illinois (Images of America)
Get Your Pics on Route 66: Postcards from America’s Mother Road
Route 66 in the Missouri Ozarks (Postcards of America)
Route 66 Roadside Signs and Advertisements
Travel Route 66: A Guide to the History, Sights, and Destinations Along the Main Street of America

See more books by Joe on Amazon. He wrote about the 1904 World’s Fair in St Louis, more postcard books, and books on other Midwestern cities.


Take Ten Questions and Answers with Joe Sonderman

1.What is special about your latest project?

“It’s the culmination of decades of collecting dates, facts and trivia about St. Louis. I started collecting dates when I was a kid.”

2. Why did you choose your profession?

“It was a love of music radio as it was. I grew up listening to the great top 40 jocks of the 1970s on KXOK, KSLQ and then when KHTR signed on in 1982, it was like a lightning bolt.”

3. How would your friends describe you?

“A perfectionist. Almost to a fault. I want every thing from a traffic report to a book to be just perfect.”

4. How do you like to spend your spare time?

“Driving Route 66 in my pride and joy, a 1957 Chevrolet Bel Air. But it currently is giving me a little difficulty. Old cars can be cantankerous and I think mine needs a little work. I also collect Route 66 memorabilia and have a collection of over 5,000 postcards from Route 66 on line at www.66postcards.com.”

5. What is your current obsession?

“That’s hard to say. In the winter, I would say I am obsessed with our Blues. Over the summer, it’s writing and collecting. And of course, work!”

6. What would people be surprised to find out about you?

“That’s a tough question. I think people might be surprised to discover we do traffic reports for cities all across the Midwest. I also do reports during the day in Kansas City, Des Moines and Springfield, MO. Technology makes it all possible.”

7. Can you share one of your most defining moments in life? 

“Meeting my wife Lorraine. She is my rock. We met while working at the old Flaming Pit Restaurant in Village Square, Hazelwood.”

8. Who do you admire most?

“That’s hard to say right now. I hate to get political but I admire Kamala Harris a great deal. Also Barack Obama.”

9. What is at the top of your bucket list?

“I really want to travel more…..I think I would like to take my wife to Europe one of these days.”

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The effect of the pandemic years was to cause me to appreciate working with people more. I missed not coming into the office as much. Even now, when we are not required to come in every day, I still try to come in as often as I can because I like working from the office better than setting home alone. I think radio was affected in that we became even more isolated from the audience than we already were because of consolidation etc. We have to get that connection back somehow or our business is done for.”

11. What is your favorite thing to do in St. Louis? 

“Blues hockey!”

12. What’s next?
“I haven’t given it much thought. I am going to take a break from writing for awhile because this is my 18th book and I still edit the Route 66 Association of Missouri’s magazine, which really takes a lot of my time.”

“Route 66: Then and Now” is one of Joe’s books.

More Information about Joe Sonderman:

Name: Joe Sonderman
Age: 62
Birthplace: St. Louis
Current location: Hazelwood
Family: Wife Lorraine (Married since 1982). Two daughters, Cathy and Kim.
Education: St. Louis Community College – Florissant Valley
Day job: Traffic anchor at Iheartmedia
First job: Dishwasher, Flaming Pit 1978
Favorite jobs or work in your medium? I loved being a DJ and I also miss the days when traffic reporters were airborne. But those days are gone forever I am afraid.
Dream job/opportunity: My happiest times were on KHTR in the 1980s. I wish it could be like that again.
Favorite quote/words to live by: Each day is a gift. Live like it
A song that makes you happy: I would have a hard time picking just one. It would probably be 1980s pop though, something like “Walking on Sunshine” (By Katrina and The Waves”

Joe and his classic car, 1957 Chevrolet Bel-Air.

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Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer
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Uninspired ‘Blink Twice’ Tackles Abuse of Power By Wealthy Men

Uninspired ‘Blink Twice’ Tackles Abuse of Power By Wealthy Men

By Lynn Venhaus
Neither original nor groundbreaking, “Blink Twice” is a logic-free revenge tale that fails to convince in its twist-filled horror-suspense scenario.

Populated by pretty people playing vapid characters that are woefully underdeveloped, the film’s intent is a good one, but it is so poorly executed that by the time you understand what’s going on, it still leaves gaping holes in any kind of realistic plot.

When tech billionaire Slater King (Channing Tatum) meets catering waitress Frida (Naomi Ackie) at his fundraising gala, sparks fly. He invites her to join him and his friends for a fantasy vacation on his private island.

No worries on not having underwear or toothbrushes, all is provided at this extravagant luxe resort – the women will all be wearing the same white sarongs and swimsuits. And same perfume. Hmmm…

What “King” does or how he made his billions is vague, as are his reasons for stepping away from the business (eluding to a #MeToo incident but no specifics). The film is always light on specifics.

The sketchy, skimpy plot involves some scientific know-how, so is that one of his skills? Don’t ask too many questions, because we’re just supposed to watch, not understand – or be drawn in by any sort of character revelation.

Debut director Zoe Kravitz, who wrote the screenplay with E. T. Feigenbaum, has opted for a trouble-in-paradise story that quickly wears out its welcome. In trying to emulate “Get Out” and “Promising Young Woman,” this mystery-thriller reminds us how very special Jordan Peele and Emerald Fennell’s Oscar-winning original screenplays were (key word ‘original’).

Lacking that game-changing acuity, Kravitz has created a tropical paradise setting a la “White Lotus” – or “The Menu,” with nods to the “Knives Out” franchise. However, it does look beautiful and enticing, and the director, a savvy actress, favors close-ups amply provided by cinematographer Adam Newport-Berry.

It’s 24/7 party people, an endless parade of fun in the sun, where champagne flows non-stop and wild nights involve drug-taking (“with intention”!?!). Until it’s not – like a bad hangover that keeps pounding away. There are nasty-looking snakes slithering around the island – a metaphor, perhaps?

When the reality check takes place – and no spoilers here – the conclusion feels unearned. Head-scratching plot twists abound.

Naomi Ackie, who was terrific as Whitney Houston in the 2022 biopic  “I Wanna Dance with Somebody,” is the sweet but transparently ambitious waitress with stars-in-her-eyes, tantalized by the reckless abandonment she’s a part of, along with best friend Alia Shawkat as Jess (a fine turn).

She befriends the snobby and cynical reality TV star Sarah – feistily played by Adria Arjona – and they become an army in the darkness. (I will say that’s believable, for sisterhoods happen in the strangest places.)

Geena Davis is Slater’s scatterbrained sister Stacy who is always carrying an armful of red giftbags and mumbling things. Hmmm…Her ditzy presence is odd and unexplained, as is Kyle MacLachlan as Slater’s therapist. He has an air of mystery – and deviousness – but that’s not explored either.

The male cast plays mostly characters who work for Slater. There’s the tech whiz kid Lucas, portrayed by Levon Hawke (son of Ethan Hawke and Uma Thurman, brother to actress Maya); Simon Rex embodies chef Cody who takes great delight in preparing Michelin-starred restaurant cuisine for the guests; Haley Joel Osment is a nondescript Tom, a pleasant-enough go-along; and Christian Slater is Vic, not really sure of his status but he seems like a right-hand man.

Things don’t add up, tables turn, things fall apart. End of story. Or is it? So much is crammed into the final third act that it’s dizzying – and ludicrous — in its so-called resolutions, but they don’t wrap up plot points raised or add any more reasoning to characters that are hard to accept, let alone connect to in any way. Hedonism is not enough of a reason to watch.

Cue the “Twilight Zone” theme song. Again, reminding us of much better movies and social satires aimed at the ruling class and their conspicuous entitlement, not to mention casual disregard to treat people as human beings.

“Blink Twice” is all surface glamour turned grisly, a stunning picture-postcard of a film that is ultimately unsatisfying if you are looking for more than girls gone wild, and kicks gone wrong.

“Blink Twice” is a 2024 horror-mystery-thriller directed by Zoe Kravitz and starring Channing Tatum, Naomi Ackie, Alia Shawkat, Christian Slater, Haley Joel Osment, Simon Rex, Geena Davis, Adria Arjoni, and Levon Hawke. It is 1 hour, 42 minutes and rated R for strong violent content, sexual assault, drug use and language throughout. It opens in theaters Aug. 23. Lynn’s Grade: D+.

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The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

The Beauty of Union Avenue Opera’s ‘Into the Woods’ Is No Fairytale

By CB Adams
Union Avenue Opera’s production of “Into The Woods,” stage directed by Jennifer Wintzer, is a rich tapestry. From the set design through the final song, you (figuratively) want to run your hands over the texture and enjoy its quality.

Stephen Sondheim and James Lapine are the weft and weave, but it’s way UAO finely stitches the musical’s balance of humor and humanity with death and disillusionment that delivers a sumptuous and reassuring tapestry – like a Bayreux or Unicorn come to life.

UAO earns these accolades for its season-ending production of “Into the Woods” with excellence in all the theatrical components: direction, staging and set design, costumes and cast performance. If you’re a Sondheim fan but have never attended a UAO performance, don’t let the word opera scare you off. They deliver a traditional interpretation of this classic without any elaborate or ornamental operatic embellishments.

If you’re an opera fan, UAO always ends its season with an operetta or musical. Last year, they concluded the season with a fine production of “Ragtime.” Many opera companies do this, such as the storied New York City Opera, and it’s a way to demonstrate how opera set the stage for subsequent musical theater iterations. It’s also a way to fill the seats.

 Stephanie Tennill as Jack’s Mother and Matthew Greenblatt as Cinderella’s Prince, Photo by Dan Donovan.

The first – and one of the most impressive – aspects of this “Into The Woods” is the stage design by Laura Skroska, whose work on UAO’s production of the moody, atmospheric “Turn of the Screw” set was one of last year’s best. For “Into The Woods,” Skroska’s vision evoked the magical and eerie atmosphere of this fairytale world.

She, along with scenic artist Lacey Meschede and set decorator Cameron Tesson,  maximized the use of the Union Avenue Church’s modest stage by filling it with mossy tree trunks that serve as posts to multiple, rising platforms. The set extended into the sanctuary with the balcony festooned with moss and other elements from the main stage. The balcony also served as Rapunzel’s tower and the home of the heard-but-not-seen giants of Jack and Beanstalk fame.

Before the show began, the set created the ideal visual preparation for the rest of the performance. Skroska’s design elements  — expertly and effectively illuminated by Patrick Huber – underscore the timeless and complex nature of Sondheim’s work, ensuring that the woods felt both enchanting and foreboding, perfectly complementing the story’s themes.

Further enhancing the production are the outstanding costumes by Teresa Doggett. Appropriately tatty and fairytail-ish, Doggett’s costumes play a pivotal role in elevating “Into The Woods” by enhancing the visual storytelling and deepening the understanding of each character’s journey through the intertwined storylines. They reflect the dark, whimsical aspects of the show while paying homage to the traditional fairytale origins.

The movie adaptation of “Into the Woods” could use Disney magic to conjure the special effects. On stage, it’s a bit more challenging. UAO’s production makes fine use of the talents of puppeteer Jacob Kujath to portray Milky White, the emaciated cow, and a flock of birds. The use of these puppets adds a whimsical and imaginative element to the production. Kujath brings them to life through expressive manipulation and playful interactions that seamlessly integrate with the live action.

Rebecca Hatlelid as Lucinda, Gina Malone as Florinda, Debra Hillabrand as Cinderella’s Stepmother. Photo by Dan Donovan.

The cast of 21 showcases the depth and versatility across the roles with performances that rise from solidly good to exceptional. That latter response is earned by mezzo-soprano Taylor-Alexis Dupont for her Witch. Clad in a wickedly good mask, which is almost a character unto itself, Dupont intensely inhabits the character of the Witch and delivers an impressive performance.

It is a sheer delight witnessing Dupont – through powerful song and acting – deliver a full transformation of the Witch, exemplifying the duality of her character. Her believable duality turns “Children Will Listen” into an emotional, cautionary swan song delivered by a once-menacing – but now tragic – figure.

“Into The Woods” isn’t all serious and dark. At the other end of the spectrum from the Witch are Rapunzel’s and Cinderella’s respective, rather vacuous princes, played by tenors James Stevens and Matthew Greenblatt. Their duet “Agony” is usually one of the top-three most favorited songs, and Stevens and Greenblatt do not disappoint in their delivery of this biting, satirical tune.

Sidenote: “Into the Woods” debuted in 1986, and Cinderella’s dum-dum prince with his “I was raised to be charming, not sincere” attitude is definitely a precursor, if not the model, for the Ken character in the recent “Barbie” movie.

Soprano Brooklyn Snow’s portrayal of Cinderella her vulnerability with a growing strength, effectively conveying her journey from innocence to self-awareness through both subtle acting and dynamic vocals. Likewise, soprano Leann Schuering’s Baker’s Wife successfully merges the character’s fairy-tale origins with the weight of her decisions.

Lauren Nash Silberstein as Rapunzel and Taylor-Alexis DuPont as the Witch. Photo by Dan Donovan.

Schuering’s performance is marked by its depth and emotional resonance. Soprano Laura Corina Sanders performance of Little Red Ridinghood [sic] captures the character’s innocence and curiosity and skillfully transforms from naive cheerfulness to a deeper understanding of the dangers and complexities of the world.

Baritone Brandon Bell bakes into his performance as the Baker a balance of warmth with emotional complexity. Like the Witch, he too undergoes a transformation. Bell’s expressive acting and strong vocals make transition from reluctant hero to a more self-assured character both relatable and compelling.

Another baritone – a base baritone – Eric McConnell, delivers another highlight performance as the Wolf, with a blend of seductive charm and menacing undertones. McConnell’s deep voice projects exceptionally well into the sanctuary and masterfully balances the Wolf’s allure and danger with “Hello Little Girls” – a song that could come off as “pervey” with a less skilled performance.

Christopher Hickey plays both the Narrator and the Mysterious Man. Perhaps because the demands of each character are different, the Mysterious Man is the better of Hickey’s performances because there is more opportunity for him to inhabit the character, which he does by subtly weaving together intrigue and depth to create a profound and haunting presence.

Cameron Tyler as Jack. Photo by Dan Donovan.

On opening night, the weakest element of this otherwise satisfying performance was the imbalance of the sound, especially during the first half. The unamplified voices, especially those of the female performers, were repeatedly overwhelmed by the orchestra.

This performance includes supertitles, but with a musical in English, they shouldn’t be necessary to hear what’s going on. This made for a frustrating experience, leaving one wishing to “turn up” their volume a click or two to better enjoy the quality of the singing and dialogue.

This feeling was further exacerbated because the orchestra, under the direction Scott Schoonover, superbly performed the score. It would have been a shame to miss a single note. Perhaps because adjustments were made during the intermission, the sound issue was almost eliminated in the second half.

Another side note: From Greek myths to Joseph Campbell’s “The Hero’s Journey,” Carl Jung’s psychology and the fairytales of the Brothers Grimm, the “dark woods” are often inhabited by archetypal patters and are a place of confusion, danger or the unknown where the hero or heroes confront trials and their shadow selves.

Sondheim and Lapine created a masterful musical that hews closely to the cautionary purpose that fairytales were designed to convey. This cannot be a musical with an empty, happily-ever-after ending. UAO’s production effectively – and accurately – delivers an ending that should leave the audience feeling reflective, with a palpable poignancy that underscores the idea that while fairy tales may end, the journey of growth and understanding continues. It takes two acts and a lot of songs to reach that point.

Union Avenue Opera’s “Into The Woods” plays August 16-24. Visit unionavenueopera.org for more information.

Christopher-Hickey-as-the-Narrator-and-Brandon-Bell-as-the-Baker. Photo by Dan Donovan.
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St Louis Symphony’s Free Community Concert in Forest Park Sept. 19

St Louis Symphony’s Free Community Concert in Forest Park Sept. 19

Denève leads the SLSO in its annual concert for the community in works by Ludwig van Beethoven, Hector Berlioz, Edvard Grieg, Scott Joplin, Hugh Martin, W.A. Mozart, John Philip Sousa, Pyotr Ilyich Tchaikovsky and John Williams, with guest vocalist Kennedy Holmes

Celebratory opening of SLSO’s 145th season includes food trucks on Art Hill and concludes with fireworks display over Forest Park’s Grand Basin

Led by Music Director Stéphane Denève, the St. Louis Symphony Orchestra marks the beginning of its 2024/2025 season with the return of its free concert in Forest Park at 7:00pm CDT, Thursday, September 19, on Art Hill. Since its inaugural Forest Park concert more than 50 years ago, the SLSO has performed for thousands of people each year as a community celebration of music and the kick-off of the SLSO’s season.

A portion program serves as preview for the orchestra’s 145th season and Denève’s sixth as The Joseph and Emily Rauh Pulitzer Music Director. Selections include favorites from symphonies by Ludwig van Beethoven, W.A. Mozart, and Pyotr Ilyich Tchaikovsky. The orchestra brings a local flair to the concert with performances of St. Louis-native Scott Joplin’s The Cascades—written for the 1904 World’s Fair—and a tribute to St. Louis’ turn hosting the 1904 Olympics with John Williams’ Olympic Fanfare and Theme.

The orchestra will be joined by guest vocalist, St. Louis native Kennedy Holmes, a finalist on NBC’s The Voice, for performances of “The Trolley Song” from Meet Me in St. Louis—also a nod to the World’s Fair—in her third appearance with the SLSO. A close collaborator of the inimitable film composer John Williams,

Denève programmed selections of Williams’ score from E.T. the Extraterrestrial, which the orchestra will play in its entirety September 21-22 at Stifel Theatre. The festivities end with a show-stopping fireworks display following John Philip Sousa’s patriotic anthem The Stars and Stripes Forever.

Performed in memory of longtime SLSO supporter Mary Ann Lee, this concert marks the 56th anniversary of the first Forest Park concert in 1968. Attendees are encouraged to come early, bring chairs and blankets, and enjoy food trucks at the top of Art Hill. Designed to engage families with children, the SLSO’s Education and Community Partnerships team will host a family fun zone at the top of Art Hill from 6:00 to 7:00pm, engaging children through musical activities, including music creation and conducting members of the St. Louis Symphony Youth Orchestra.

Annual Forest Park community concert. Photo courtesy of St. Louis Symphony Orchestra.

SLSO staff and volunteers will hand out glow sticks for children to join Denève in conducting the orchestra. Local vendors at the concert will include Angie Burger, ByJack, Cajun Seduction, Delicious Delights, Doggie Mac’s Food Truck, Falafel Saha Food Truck, Fire and Ice Cream Truck, Go Gyro Go, Grace Meat + Three, Holy Crepe, Honey Bee Tea, Picture Perfect Panini, Ron Ron’s Black Fried Rice, Scoops of Joy, STL BarKeep, Takozz Real Mexican Food, The Popcorn Bar, and Urban Chestnut Brewing Company. Food and drink vendors will be available starting at 5:00pm.

Audiences can sign up to receive updates about the concert, including information about food trucks, parking, and shuttles, at slso.org/forestpark.

Following the opening of the season in Forest Park, Denève leads the orchestra in performances of the complete score to E.T. the Extraterrestrial, with music by John Williams, at Stifel Theatre as the film plays (September 21-22). The orchestra’s first classical concerts of the season, September 27 and 29, welcome violinist and friend of the SLSO Gil Shaham for performances of Mason Bates’ Nomad Concerto alongside Hector Berlioz’s Symphonie fantastique.

As the transformational expansion and renovation of the orchestra’s home—Powell Hall—enters its final year, the SLSO will perform throughout the St. Louis region, most notably at the Touhill Performing Arts Center at the University of Missouri–St. Louis and Stifel Theatre.

Tickets for all 24/25 season concerts are on sale now and can be purchased at slso.org or by calling the SLSO Box Office at 314-534-1700.

Thursday, September 19, 2024, 7:00pm CDT
Stéphane Denève, conductor
Kennedy Holmes, vocals

John Stafford Smith                           The Star-Spangled Banner
Arranged by Adam Maness

J. Rosamund Johnson                    “Lift Every Voice and Sing”
Arranged by Hale Smith
Ludwig van Beethoven                   Molto vivace from Symphony No. 9
Hector Berlioz                                    “Hungarian March” from The Damnation of Faust
W.A. Mozart                                         Allegro from Symphony No. 31, “Paris”
Edvard Grieg                                        Selections from Peer Gynt Suite No. 1
Pyotr Ilyich Tchaikovsky                               Finale from Symphony No. 5
Various                                                  Armed Forces Salute
Arranged by Hayman/Kessler
Hugh Martin                                         “The Trolley Song” from Meet Me in St. Louis
Arranged by Salinger/Russ
Scott Joplin                                          The Cascades
Arranged by Virgil Barstad
John Williams                                     Olympic Fanfare and Theme
John Williams                                     Flying Theme from E.T.
John Philip Sousa                             The Stars and Stripes Forever

This concert is performed in memory of Mary Ann Lee.

About the St. Louis Symphony Orchestra

Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.

The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.

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‘Sing Sing’ Is A Powerful, Empathetic Drama

‘Sing Sing’ Is A Powerful, Empathetic Drama

By Alex McPherson

With an impressive ensemble cast and an emotionally satisfying narrative, director Greg Kwedar’s “Sing Sing” is an earnest, occasionally programmatic tribute to the power of art, community, and resilience that foregrounds the humanity of the incarcerated and spotlights a program that deserves center-stage.

Kwedar’s film, shot across multiple decommissioned correctional facilities, takes place at the titular Sing Sing prison in New York, and revolves around the prison’s Rehabilitation Through the Arts program (RTA). The RTA gives inmates opportunities to express themselves artistically and grow personally, most often by performing theater (ranging from the classics to their own creations) to an audience of their peers and family, directed by the shaggy-haired Brent Buell (Paul Raci).

As the group reflects, practices, and performs together, the program offers a chance to get a brief respite from the claustrophobia of their confinement.

We primarily follow John “Divine G” Whitfield (Colman Domingo), a wise, patient, and determined “leader” of the RTA with a history as an actor who, imprisoned for a crime he’s trying to prove he didn’t commit, splits his time writing novels and plays with preparing for an upcoming clemency hearing.

Divine G radiates warmth and generosity but battles his own demons. He finds an essential element of escapism and fulfillment in the group, whose members are largely portrayed by actual alums of the RTA, playing themselves to powerful effect.

While scouting for talent and thinking of ideas for their new production — which ends up being a time-traveling epic featuring mummies, Hamlet, and Freddy Krueger — Divine G and his close friend Mike Mike (Sean San Jose) convince a live-wire inmate named Divine Eye (Clarence “Divine Eye” Maclin) to join the program.

Divine Eye, who has a concerning need to assert dominance and also casually quotes “King Lear,” adds a potentially dangerous element to the group, grappling with his deep-seated insecurities and butting heads with Divine G, who’s miffed when Divine Eye is cast as Hamlet in the new play. As the tight-knit group continues their preparations, Divine G and Divine Eye develop a friendship, teaching each other lessons about life and the power of art to persevere amidst grim circumstances.

Indeed, “Sing Sing” is a gripping experience — depicting a real-life program that changes lives, brought to life by performances that bring raw vulnerability to the table. Kwedar’s film emphasizes the ways that creative outlets can move, transport, and give meaning, without reducing its subjects to simplistic archetypes.

Perhaps most importantly of all, “Sing Sing” empathetically depicts those that society all-too-often defines by their worst instincts. It recognizes its subjects as flawed, but real individuals not seeking to be absolved for their crimes, but to reclaim their humanity within a dehumanizing system.

Based on John H. Richardson’s Esquire article “The Sing Sing Follies” as well as the real-life Divine G and Divine Eye’s experiences in the program, “Sing Sing” is poignant without becoming maudlin, and hopeful without sugarcoating the realities of prison life. Kwedar’s direction radiates authenticity, both emotional and literal, adopting a documentary-esque approach that (for the most part) helps scenes flow organically and with a sense of spontaneity.

Kwedar and cinematographer Pat Scola give ample time for scenes to breathe, observing RTA members as they reflect on their lives and hone their craft together in a manner that’s cinematic without being showy, aided by a moody score from Bryce Dessner. Given that many of the people we see on-screen are actual alums with the program, each performance in “Sing Sing” is memorable, no matter how little time we spend with anyone besides Divine G and Divine Eye. Their pain, yearning, and catharsis is vividly conveyed. 

Through Kwedar’s direction, we feel the claustrophobia, the pressure of always being watched, the sensation of time lost, and the potential for unexpected violence. In most cases, though, “Sing Sing” refuses to simplify, rendering its ideas through exceptional performances and a naturalistic screenplay by Kwedar and co-writer Clint Bentley that’s filled with drama, melancholy, and unexpected humor. It only sometimes sacrifices nuance to hammer home its main points.

Domingo is typically strong here, far more understated than his Oscar-nominated turn in last year’s “Rustin.” Divine G has an assured confidence that belies inner fear and rage at the system. He finds the RTA a sanctuary from the mounting pressure of his clemency hearing and the perils of prison life.

Domingo poignantly conveys Divine G’s psychological layers, often without voicing them outright, as Divine G’s façade gradually cracks and reforms; the RTA community helps him feel whole again even as reality seeks to hold him down. 

But the real star of “Sing Sing” is Maclin, whose performance as Divine Eye is downright masterful, alternating between uneasy and compassionate. Divine Eye’s gradual shift from fatalism is a familiar arc, for sure, but Maclin’s performance really sells the emotions on display, giving even the character’s formulaic moments necessary weight. 

Divine Eye’s burgeoning friendship with Divine G provides much of the film’s throughline. It never becomes sappy, and it evolves convincingly over the runtime. Divine G sees part of himself reflected in Divine Eye, and vice versa, as they grapple with that elusive feeling that is hope. Maclin stands tall alongside Domingo, worthy of serious awards consideration by year’s end.

“Sing Sing” is not immune from cliché in some respects, especially regarding some “climactic” moments that, while crowd-pleasing, come off as conventional in retrospect. A heavy-handed line of dialogue will occasionally rear its head, too, which feels out of place with the otherwise tight screenplay.

These quibbles do not detract much from the film’s impact overall, however, and “Sing Sing” is unquestionably worth watching, a timely reminder of the unifying power of art and community, and the strength of the human spirit.

“Sing Sing” is a 2024 drama directed by Greg Kwedar and starring Colman Domingo, Paul Raci, Sean San Jose and Clarence “Divine Eye” Maclin. It is rated R for language throughout, and is 1 hour, 47 minutes. It opened in limited theatres on Aug. 16, and is currently expanding into others, including Chase Park Plaza Cinema and AMC Creve Coeur Cine Aug. 23 and HI-Pointe Cinema Sept. 6. Alex’s Grade: A-.

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Take Ten with Eric Dean White

Take Ten with Eric Dean White

By Lynn Venhaus

When you see actor Eric Dean White’s name in a cast, you know that he will deliver an authentic performance. His latest role as Gooper, the resentful and ruthless son of Big Daddy, who schemes to control his family’s fortune, in “Cat on a Hot Tin Roof,” is a fine example of his commitment to a character.

Displaying a big chip on his shoulder because his handsome and athletic brother Brick was favored by his parents, White is smooth and shrewd in the supporting role.

This delectable story of big drama, big money and big lies, presented by the Tennessee Williams Festival St. Louis Aug. 8 – 18, is a Southern Gothic excursion into an American dysfunctional family, 1950s style, that won a Pulitzer Prize for Drama in 1955, and Williams considered it his favorite.

From left: Kari Ely, Eric Dean White, Roxanne Wellington, J Samuel Davis, Peter Mayer, Kiah McKirnan, and Brian Slaten in “Cat on a Hot Tin Roof.” Photo by Suzy Gorman.

White is thrilled to be in this ensemble.

“Simply put, ‘Cat’ is one of the greatest American plays by one of the greatest American playwrights, and it’s just an honor to be part of it,” White said. “We have a fantastic cast, and we are being led by director Michael Wilson, who is a renowned Tennessee Williams expert…It has been an honor and a pleasure to work with this team.”

White’s love for the material is evident, and he has previously been part of the Tennessee Williams Festival St. Louis, from its first year, performing in “The Rooming House Plays” in 2016, and in “Small Craft Warnings” in 2017.

Eric Dean White as Satan, with Courtney Bailey and Carl Overly Jr. in “The Last Days of Judas Iscariot.” Photo by Ann K. Aurbach

Throughout his career, he has moved easily between hero and villain roles, showing his versatility, and becoming a reliable fixture of the professional regional theater community. He is a member of Actors’ Equity Association and SAG-AFTRA.

Relishing a unique opportunity to play the most evil villain of them all, he won a St. Louis Theater Circle Award as an arrogant calculating Satan in “The Last Days of Judas Iscariot,” presented by Mustard Seed Theatre in 2018.

He has been nominated four other times, his first nod for playing Felix Turner, the doomed New York Times fashion reporter and activist Ned Weeks’ lover who succumbs to AIDS, in “The Normal Heart” at HotCity Theatre in 2014, which also won the award for outstanding production of a drama.

His other nominations show his impressive range. Earning three nominations in a row, he played a brash guy whose encounter with a stranger on a walk leads to more conversations in “The Kiss” at Upstream Theatre in 2015; Daisy’s exasperated son Boolie in “Driving Miss Daisy” at the New Jewish Theatre in 2016; and recognized as a conflicted fundamentalist Christian minister in the puppet comedy “Hand to God” at St. Louis Actors’ Studio in 2022.

Eric Dean White with Colleen Baker in “Hand to God at STLAS. Photo by Patrick Huber.

Earlier this year, he stood out in dual roles in The Black Repertory Theatre’s “Hold On!” as hot-headed intolerant bigots Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark. The play was about the landmark Voting Rights Act of 1965 after the Selma to Montgomery March organized by civil rights activists.

He has played a cruel racist before, as impresario Stephen Price in “The African Company Presents Richard III” at the Black Rep in 2022, and as a Hitler apologist in Neil LaBute’s one-act “The Fourth Reich” that was presented in 2018 during the LaBute New Theater Festival and off-Broadway in January 2019. (He’s been a frequent contributor in the LaBute Festival).

His work in “Hold On!” was in January, soon after delighting audiences as a seasoned radio announcer in The Repertory Theatre’s triumphant comeback “It’s a Wonderful Life! – A Live Radio Play” in December.

With his mellifluous voice, he played Freddie Filmore and amusingly delivered commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and other St. Louis notables.

Eric Dean White and J Samuel Davis in “It’s a Wonderful Life – Live Radio Play” at The Rep. Photo by Jon Gitchoff.

This fall, he returns to The Rep in their season opener, the classic mystery “Dial M for Murder.” He will play the eccentric but thorough Inspector Hubbard. In announcing the cast, they described him as a “Rep favorite.”

The play, to be directed by Melissa Rain Anderson, who deftly helmed “The Play That Goes Wrong” in 2019, will run Sept. 18 – Oct. 13 at the Loretto-Hilton Center on the campus of Webster University.

He joins the cast that includes Jenelle Chu as Margot, Jordan Coughtry as her former tennis pro husband Tony, Jayson Heil as their friend Max, Ethan Dunne Stewart as police officer Thompson and David Diaz Weynand as Lesgate, Tony’s old schoolmate.

Frederick Knott’s play, which inspired Alfred Hitchcock’s 1954 cinematic thriller, combines passion, blackmail and revenge into an edge-of-your-seat murder mystery when a gold-digging husband’s perfect crime misfires, trapping all parties in a sinister and dangerous web of lies.

He is home on The Rep’s mainstage, for he appeared as the Ghost of Christmas Future in “A Christmas Carol” and as Mrs. Bennett’s brother Mr. Gardiner in “Pride and Prejudice.”

With John Flack in “The Normal Heart” at HotCity Theatre.

He has also performed in other regional theaters around the country, including Houston and Arkansas. He appeared on an episode of “Chicago Fire” in 2015, and has acted in locally shot films, including “Finch,” “Penitentia,” “Cringe” and “Belleville.”

For White, keeping busy in an industry in flux is gratifying. When he’s not working on stage or off, he’s husband to Wendy and dad to daughters Payton and Cassidy.

Take Ten Q & A with Eric Dean White

1.Why did you choose your profession/pursue the arts?

“That’s a very good question and I ask myself that all the time. It’s almost absurd in a way how difficult it is to work professionally in any form of the arts. The rejection and inconsistency of work takes its toll on you. But the simple fact is I love it and maybe more importantly, I’m fascinated by it. Plus, people keep hiring me, so I keep saying yes!”

Eric Dean White in “The Fourth Reich” by Neil LaBute. Photo by Patrick Huber.

2. How would your friends describe you?

“Eric Dean White?  Never heard of him.”

3. How do you like to spend your spare time?

“What is this “spare time” you speak of?”

4. What is your current obsession?

(This was asked before it concluded). “The 2024 Summer Olympics in Paris! Specifically, men’s and women’s soccer and women’s gymnastics.”

5. What would people be surprised to find out about you?

“I’m extremely sensitive to — and irritated by — certain sounds and noises. Often to the point that I have to leave the room.”

6. Can you share one of your most defining moments in life?

“Meeting Wendy.”

At the St. Louis Theater Circle Awards in 2017, with Jason Contini, J. Samuel Davis, and his wife Wendy.

7. Who do you admire most?

“I’m hesitant to place too much admiration on individual people. I’m very moved by acts of selflessness and grace — especially when no one is watching.”

8. What is at the top of your bucket list?

“I’d like to travel more in the coming years.  Haven’t been able to do much of that as of late.”

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The pandemic was terrible for the live arts. There is no way to sugar coat it. I’m not sure if we will ever get back to where we were before the pandemic. There is very little interest in public funding of the arts via state and federal governments and corporate funding has also dried up. I don’t know what the path forward is.  There are arts leaders much smarter than me doing all they can to try and figure out a path forward. I wish them luck.  I encourage individuals to buy tickets to see live theatre and other performances.” 

10. What is your favorite thing to do in St. Louis?

“I love going to Cardinals, St. Louis City SC and Blues games.  I love going to all of our parks and museums. I love all the various art, food and cultural festivals we have.  Oh – and St. Louis has a fantastic theatre and music scene!”

“The Kiss” with Lisa Tejero at Upstream Theater. Photo by Peter Wochniak.

More About Eric Dean White:

Age: 49
Birthplace: Sikeston, Missouri
Current location: St. Louis (City),
Family: One wife, two daughters, one pit bull

Education:  Studied marketing at the University of Missouri and acting at The American Academy of Dramatic Arts (New York City campus)
Day job:  Visitor and Member Services at the Saint Louis Art Museum
First play or movie you were involved in or made: I didn’t do any acting of any kind until I was about 24 years old. I think my first was a production of the play “June Moon” by George S. Kaufman and Ring Lardner during my first year at The American Academy of Dramatic Arts in New York.
Favorite jobs/roles/plays or work in your medium?  I’m just lucky to keep getting cast.  That’s all that matters.
Favorite quote/words to live by: “Did it ever occur to you that no one ever asked us to do this?” – Jack O’Brien at the 2024 Tony Awards.
A song that makes you happy: First one that came to mind was Eddie Vedder’s cover of “Save It for Later” that was recently featured in season 3 of “The Bear” (episode 2). Also check out the original version of the song by The English Beat – great as well!

LaBute New Theater Festival in 2016, with Ryan Foizey. Photo by Patrick Huber.

Cover photo with Kari Ely in “Cat on a Hot Tin Roof” by Suzy Gorman.

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Dance St. Louis’ New Season Is ‘Feast for Eyes, Ears, And Mind’

Dance St. Louis’ New Season Is ‘Feast for Eyes, Ears, And Mind’

World-renowned dancer-athletes PILOBOLUS kicks off Dance St. Louis 24/25 Season at the Touhill, Nov 9

Dance St. Louis continues enduring mission as the region’s GATEWAY TO WORLD DANCE by presenting a 2024/25 season featuring magnificent performances from world-renowned dance companies from across the US and beyond

Dance St. Louis, one of only four remaining dance-only nonprofit presenters in the country, is pleased to announce its 2024/25 season with single tickets ($45-$89) and 4-packs ($144-$285) going on sale Friday, August 23 through MetroTix. Now in its 59th year, Dance St. Louis continues its mission of bringing world-class dance that wouldn’t otherwise be presented to the St. Louis region. 

Dance St. Louis’ 2024/25 season is a feast for the eyes, ears, and mind. The lineup includes a company that has performed on Broadway, at the Oscars and the Olympic Games (Pilobolus, November 9); an international company that has captured the dance world performing to more than 45 million (Ballet Folklórico de México, February 25); a pioneering company of rising stars who made their Kennedy Center debut in 2022 (Collage Dance Collective, April 5); and a smorgasbord of talent from across the country (17th Annual SPRING TO DANCE® Festival 2025, May 23 & 24). All Dance St. Louis presentations take place at the Touhill Performing Arts Center. 

DANCE ST. LOUIS 2024/25 SEASON

Pilobolus re:CREATION

Saturday, November 9, 2024 at 7:30 p.m.
Free “Speaking of Dance” pre-show talk at 6:30 p.m. 
Touhill Performing Arts Center
Single tickets: $50, $75, $89 | 4-Packs: $160-$285
https://www.dancestlouis.org/pilobolus

“Gods and goddesses of physical dance-theatre” — National Public Radio “something more than human” — Observer “signature athleticism and style” — Wall Street Journal 

Since its founding in 1972, the world-renowned dance company Pilobolus has tested the limits of human physicality to explore the beauty and the power of connected bodies. The internationally renowned company has performed on Broadway, at the Oscars, and the Olympic Games, and created more than 120 dance works. Pilobolus is not just a dance performance. It’s an invitation to a transformative experience. It’s an offering that promises to engage, inspire, and leave audiences in awe.

For Pilobolus’ re:CREATION tour, the audience is invited to step into a realm where imagination knows no limits. Emotion, raw talent, and palpable energy come to life right before your eyes! The boundaries of gravity and creativity blur, offering an intimate window into the essence of creativity itself. re:CREATION is a dynamic collection of dance pieces—daring experiments and groundbreaking new collaborations, which stand alongside Pilobolus’ classics that have been recognized as having altered the landscape of dance and theater. re:CREATION is both timely and timeless, keeping the company at the forefront of innovation. It combines wit, sensuality and stunning physical acumen in a sensory-exploding performance sure to thrill and surprise audiences. It’s a transformative experience that promises to engage, inspire and leave audiences in awe.

Ballet Folklórico de México
Friday, February 28, 2025 at 7:30 p.m. 
Free “Speaking of Dance” pre-show talk at 6:30 p.m.
Touhill Performing Arts Center 
Single tickets: $50, $75, $89 | 4-Packs: $160-$285
https://www.dancestlouis.org/ballet-folklorico-de-mexico

“A captivating spectacle… a brilliant visual and theatrical sense” — New York Times

“it is far more than a world-renowned dance company. For the past 60 years it has served as a cultural ambassador of Mexico and become an imaginative repository of the country’s multi-layered history and rich anthropology.”  —  Chicago Sun-Times

Ballet Folklórico de México is the premier folkloric dance ensemble in Mexico. The company has reached more than 45 million spectators worldwide and has received countless awards and accolades. Founded in 1952 by dancer and choreographer Amalia Hernández, Ballet Folklórico de México de Amalia Hernández brings together the music, dance and costume of Mexican folklore from pre-Colombian civilizations to the modern era. The company is permanently in residence at the iconic Palacio de Bellas Artes in Mexico City. It has choreographed more than 120 ballets and is comprised of 60 folk dancers and musicians who continue to perform extensively across Mexico and abroad. 

Amalia Hernández is the visionary and pioneer who revolutionized the concept of Mexican traditional dance and forever transformed its history. Hernández devoted her time to the research of the folklore, music, costumes, and dance of the states that comprise Mexico as a country, and uniquely brought them to life creating performances that are a true portrait of Mexico’s beauty, diversity and rich history through music and dance. Her repertoire has become a classic – one that is renewed, transformed, and enriched with the passage of time.   

Collage Dance Collective

Collage Dance Collective
Saturday, April 5, 2025 at 7:30 p.m.
Free “Speaking of Dance” pre-show talk at 6:30 p.m. 
Touhill Performing Arts Center
Single tickets: $70, $60, $45 | 4-Packs: $144-$224
https://www.dancestlouis.org/collage-dance-collective

“Southern Cultural Treasure” — South Arts and the Ford Foundation
“ballet made utterly, gorgeously beautiful” — Albany Times
“a new model for ballet’s future” — Huffington Post

Recently named a “Southern Cultural Treasure” by South Arts and the Ford Foundation, Collage Dance Collective is a pioneering company making waves across the country and beyond. Rooted in the heartland of Memphis, Tennessee, Collage Dance Collective embodies the greatness of American dance and is at the national forefront of inspiring the growth and diversity of ballet. Collage’s meteoric rise over the last decade is fueled by its dynamic programming, virtuosic company artists and its talent for presenting what the Albany Times calls “ballet made utterly, gorgeously beautiful”.  

Collage Dance is one of the largest Black-led performing arts organizations in the South and is one of just a few professional ballet companies in the world with a roster of BIPOC dancers. The company is also listed among the 50 largest ballet companies in the nation by Dance Data Project. Working to inspire the growth and diversity of ballet, Collage Dance Collective showcases a repertoire of relevant choreography and world-class dancers representative of the communities it serves. 

The professional company has presented 14 full-length seasons in Memphis, plus national and international touring, including the Kennedy Center, presenting a diverse range of classical and contemporary choreography from George Balanchine, Wayne McGregor, Nacho Duato, Ulysses Dove, Joshua Manculich, Amy Hall Garner, Kevin Iega Jeff, and more. The work of Collage Dance Collective has been featured in media outlets including Huffington Post, Allure, New York Magazine, Essence, Memphis Magazine, Dance Magazine, and Pointe Magazine. 

17th Annual SPRING TO DANCE® Festival 2025
Presented by Whitaker Foundation
Memorial Day Weekend
Friday and Saturday, May 23 & 24, 2025 
Doors open at 5:30 p.m. Free “Speaking of Dance” pre-show talk at 6:15 p.m. Lobby performances at 6:45 p.m. Mainstage performances at 7:30 p.m. 
Touhill Performing Arts Center
Single Tickets: $15, $25, $35, $40 | 4-Packs: $120-$45 

“arguably the best dance buffet in the Midwest” — Chicago Tribune
“Successful both as a celebration of dance and as an invitation to bask in its artistry.” — St. Louis Post-Dispatch 

The Midwest region’s most celebrated dance festival returns for its 17th year! Nationally touring professional companies from coast to coast flock to St. Louis to bestow their artistry. It’s an unmatched buffet of dance, featuring two days of nonstop dance from a wide array of companies. As one of the region’s must-see festivals, SPRING TO DANCE offers something for everyone, from modern, ballet and contemporary to tap, aerial, hip hop, flamenco and more, with a distinct, dynamic program each night. Experience what the Chicago Tribune hails as “arguably the best dance buffet in the Midwest.” 

Collage Dance Collective. Photo by Tre’bor Jones

SINGLE TICKETS
Single tickets are $45-$89 and go on sale August 23 via MetroTix at metrotix.com and 314.534.1111. Single tickets to the 17th Annual SPRING TO DANCE® Festival 2025 are $15-$40 and go on sale in January 2025. 

SEASON SUBSCRIPTIONS
2024/25 season ticket packages are also currently on sale and available by phone at 314-534-6622 or by email at boxoffice@dancestlouis.org. Season subscriptions provide subscribers access to the best seats, most advantageous pricing, deferred payment, invitation-only events and free tickets for friends and family. Season subscriptions include a 4-Show Package ($298, $260), 3-Show Package ($273, $235), and You-Pick-Two Package ($198 – $155). For more details, visit https://www.dancestlouis.org/24-25-season-subscriptions.

SPONSORS
Dance St. Louis is grateful for major sponsor support to continue its mission of bringing world- class dance to St. Louis. Major sponsors of the 2024/25 season include Ameren, Missouri Arts Council, National Endowment for the Arts, PNC Arts Alive, Regional Arts Commission, The Shubert Foundation and Whitaker Foundation. Bayer Fund is the education outreach title sponsor.

Pilobus. Photo by Hibbard Nash.

About Dance St. Louis
Founded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 58 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org. 

Cover photo by Steven Pisano.

Ballet Folklórico de México/ Photo courtesy of CAMI.
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