David Taylor Little’s New Book Shines in Winter Opera’s 17th Season Finale
By C.B. Adams
What passed for a naughty narrative in 1910 would hardly raise an eyebrow (or much interest) in 2024, so it’s a good thing that David Taylor Little wrote a new book for Victor Herbert’s once-popular “Naughty Marietta.” Winter Opera staged this now-charming operetta on March 1 and 3, ending its 17th season with a delightful blend of wit, whimsy and musical allure.
In a lighthearted operetta like “Naughty Marietta,” the best parts are the songs. With Little’s retooling of the story and under the direction of John Stephens, the songs, including “Ah! Sweet Mystery of Life,” “Neath a Southern Moon,” “Tramp! Tramp! Tramp! (Along the Highway) “and “Falling in Love with Someone” really had the chance to shine.
All the songs benefited from the lively performance by the orchestra, conducted by Mark Ferrell. Choreographer Rachel Bodl added to the experience with lively dance numbers that enhanced the production’s charm.
Brittany Hebel. Photo by Peter Wochniak.
Any fans of “Young Frankenstein” and “Thoroughly Modern Millie” probably recognized “Ah! Sweet Mystery of Life,” which was repurposed in those films.
For “Naughty Marietta,” Winter Opera assembled a remarkable cast, including soprano Brittany Hebel who sparkled in the title role of Marietta, a spirited Italian Contessa who finds herself embroiled in a love triangle and a rebellion.
Hebel’s voice was rich and expressive, perfectly capturing the emotional depth of her character. Her performance of the “Italian Street Song” was a highlight and showcased her vocal agility and dramatic flair.
Opposite Hebel was tenor Zachary Devin as Captain Warrington, the gallant hero who captures Marietta’s heart. Devin’s warm tenor and affable charm made him a perfect match for Hebel, and their duets were a joy to experience.
Michael Colman brought a menacing presence to the role of Etienne, the villainous son of the Governor. Colman’s rich bass-baritone was well-suited to the role. His “You Marry a Marionette” was a highlight of his performance and of the entire show.
Mezzo-soprano Melanie Ashkar delivered another standout performance as Adah, a woman wronged by Etienne. Her rendition of “Under the Southern Moon” was hauntingly beautiful and showcased her rich, sultry voice. The supporting cast was equally strong, including Schapman as the bumbling Simon, Gary Moss as the comic puppeteer, Rudolfo, and Grace Yukiko Fisher as the lovelorn Lizette.
Grace Yukiko Fisher and Marc Schapman. Photo by Peter Wochniak
Under scene design by Scott Loebl, “Naughty Mariette” was perfectly scaled for the stage at the Kirkwood Performing Arts Center. In their heyday, operettas were known for their elaborate costumes and sets, and Winter Opera’s creative team further that tradition.
Loebl’s set design was beautiful and practical, including the standout Act II scene at Rudolfo’s puppet shop. Jen Blum-Tatara’s costumes were appropriately colorful and evocative of 18th-century New Orleans.
Winter Opera’s production of “Naughty Marietta” was a delightful romp that showcased the best of the operetta form in general and the best of this reborn operetta. With a talented cast, beautiful production design and unforgettable music, Winter Opera has set a high bar for itself in the coming years.
Winter Opera’s “Naughty Marietta” was performed at Kirkwood Performing Arts Center March 1 and 3.
Ensemble performs “Naughty Marietta.” Photo by Peter Wochniak, ProPhotoSTL.
St. Louis, MO (March 4, 2024) – A new musical written for students at the Missouri University of Science & Technology will have a brief run in New York City this month before having its World Premiere at the Tesseract Theatre Company in St. Louis this July.
Cascade’s Fire, a modern adaptation of Sophocles’ Antigone story, was written by Taylor Gruenloh and Kyle Wernke, professors at Missouri S&T.
“The students at this university,” Gruenloh says, “are super bright and drawn to creative adventures. Like other theatre programs at schools across the country, we came out of the pandemic swinging and haven’t slowed back down yet.”
Gruenloh and Wernke’s Cascade’s Fire had a workshop production on the campus of Missouri S&T in October 2023. Since the university doesn’t have a theatre major, the acting ensemble featured students studying in majors like engineering management, physics, education, and biological science.
“It was a staggeringly new experience,” said David Pisoni, a chemical engineering major. “Not only do you get to go through the rehearsal process with the writer and composer of the piece, but you’re approaching it with completely fresh eyes.”
Cascade’s Fire sees the character of Cascade return to her old college campus looking for answers after the death of her ex-girlfriend.
Taylor Gruenloh
The same cast from the October production will travel with the show to New York this month.
“It has always been a dream of mine to perform in New York,” said Madison Kastner, an education major. “I’m so grateful to have the opportunity to do the thing I love.”
While the student actors perform Cascade’s Fire during the evenings at Under St. Marks Theatre in the East Village, Gruenloh will be escorting them to career related activities during the day.
“Not only do these few students get to perform a new musical in New York, the university is helping send a larger student group with us to visit an entertainment engineering firm, talk with technical theatre professionals, and seeing a new Broadway show.”
Gruenloh says it’s his mission at Missouri S&T to showcase pathways for engineering students to achieve careers in the arts. “A lot of students came in around the start of the pandemic, thinking they weren’t going to have many opportunities in theatre, thinking this school only championed STEM activities, and now they’re taking a show to the busiest theatre city in the world.”
Cascade’s Fire won’t stop after the brief run in New York. St. Louis’ Tesseract Theatre Company will produce the musical’s official World Premiere as part of their 2024 New Musical Summer Fest in July.
Gruenloh has a strong history with Tesseract Theatre, co-founding the company in 2012 with current Creative Director Brittanie Gunn. Gruenloh stepped away from the company in August last year to focus on building the theatre program at Missouri S&T. “We’re excited to bring Taylor back,” said Kevin Corpuz, a Creative Director at Tesseract. “To share his new musical with St. Louis audiences is very special and we can’t wait to get started.”
While the St. Louis production of Cascade’s Fire will have a new cast at Tesseract for the World Premiere, the titular role of Cascade will be played by Josie Schnelten, who originated the role in October and will lead the show in New York this month.
“I never thought that I’d get the opportunity to bring a brand-new character to life,” said Schnelten, an engineering management major at Missouri S&T. “It’s been special to work on Cascade from her very beginnings and I cannot wait to be a part of her professional debut in St. Louis.”
The Tesseract Theatre Company will run Cascade’s Fire July 19 – 24 at the Marcelle Theatre in Midtown St. Louis. The 2024 New Musical Summer Fest will also feature My Heart Says Go, a show about a first-generation college student, Indigo, who defies his father and drops out of medical school to become a singer-songwriter.
Gruenloh, who is directing Cascade’s Fire in St. Louis, said, “This is the best possible outcome for this little experiment. I wanted to give the theatre students at Missouri S&T a taste of new play development, the bragging rights of originating roles in a musical, but the support from the university and the excitement at Tesseract Theatre has made this project a years long journey that is leaving a lot of people with some great memories.”
By CB Adams In ballet, tradition often reigns supreme. And like opera, ballet is sometimes (make that, often) misunderstood – as stuffy, fussy, and old-fashioned as your Aunt Minnie’s doilies.
St. Louis Ballet, under Gen Horiuchi, executive and artistic director, provides proof that the new and innovative can comfortably be performed with the traditional on the same program, providing the best of both of these dance worlds – especially when the pieces are thematically and resonantly linked.
St. Louis Ballet has created a distinct niche with its contemporary productions, such as LoveX3 (Feb.16-18 at the Kirkwood Performing Arts Center), that deliver a satisfying, captivating blend of the dance pieces. LOVEX3 was part of the company’s annual “Love” series. And by curtain call at the Feb. 17 (with Cast 2) performance, I was left with an enthusiastic, “What’s not to love?”
The well-curated and paced program included three parts that began with a classic then transitioned to a piece premiered by the company last year and concluded with the premiere of “St. Louis Blues.” This progression of choreographic style and approach, from Balanchine to Brian Enos and Horiuchi, was perfect – and perfectly enjoyable.
“St. Louis Blues” is an exuberant celebration of love through the transcendent language of ballet with direct ties and references to this city. “St. Louis Blues” was choreographed by Horiuchi, who collaborated with composer Atsushi Toya Tokuya to turn W.C. Handy’s six-minute song into a much longer narrative of passion and longing.
What distinguishes “St. Louis Blues” is its ability to seamlessly intertwine two distinct art forms, creating a visual and auditory experience that is both captivating and immersive. Set against the backdrop of St. Louis’s rich musical heritage, the ballet unfolds as a dynamic narrative that pays homage to the city’s cultural legacy while showcasing the technical prowess and emotive depth of the dancers.
Horiuchi’s choreography is a masterful blend of fluidity and precision, mirroring the improvisational nature of jazz while maintaining the grace and poise characteristic of classical ballet. Through intricate sequences and expressive movements, the dancers convey the raw energy and emotional resonance of the blues, transporting audiences to the vibrant world of jazz clubs and smoky dance floors.
Tokuya’s musical finesse was captivating, and his composition added an extra layer of depth and richness to the performance. His mesmerizing rendition of the “St. Louis Blues” showcased his versatility and mastery across genres, further enhancing the emotional resonance of Horiuchi’s choreography.
Tokuya’s composition and arrangement were brought to life by the soulful strains of an on-stage New York-based jazz ensemble and the vocal stylings of jazz luminary Denise Thimes, who is no stranger to our city. I have reviewed other performances of Thimes, and she’s a treasure.
Of the three pieces in LOVEX3, “St. Louis Blues” had the largest cast with four couples engaging singly and as an ensemble. Charles Cronenwett and Zoe Middleton were one couple prominently featured. Cronenwett is a native of St. Louis and currently a company artist for the St. Louis Ballet. He has been trained by renowned dancers and directors like Horiuchi, Devon Carney and Christopher Ruud, and that training showed with his unique and charismatic approach.
Middleton has graced the St. Louis stage in a variety of roles. Under the direction of Horiuchi, she has showcased her skills in performances such as “The Nutcracker” (as Coffee), “Classique, and “Cinderella” (as Winter Fairy). Middleton also performed in Brian Enos’s productions, including the 2023 premiere of “In Reel Time.” Her performance in “St. Louis Blues” shone with artistry and a captivating combination of grace and skill.
LOVEX3 began with George Balanchine’s classic “Square Dance,” a piece that has been part of the St. Louis Ballet’s repertoire for years and is a good showcase for the company’s commitment to artistic excellence and refined expression.
Balanchine’s choreography set the stage for LOVEX3’s exploration of tradition and innovation. In this performance, the Cast 2 dancers navigated Balanchine’s intricate spatial choreography that demands precise movements within geometric formations and delivered a delicate fusion of ballet technique with the spirited rhythms of square dancing.
“Square Dance” featured the performances of the two leads, Olivia Cornelius and Michael Burke. Cornelius’s portrayal of the iconic role was delicate and clear. Her en pointe balances were sustained and appeared remarkably light and effortless. Burke’s performance was marked by a confident technique, characterized by a razor-sharp line and remarkable ballon. His execution was meticulous, with every movement impeccably placed.
Sandwiched in the LOVEX3’s pieces was Brian Enos’s “In Reel Time,” which St. Louis Ballet premiered last year. It’s a contemporary gem that pulses with rhythmic energy provided by the ensemble and music by Philip Daniel, Nova, Outland and Spearfisher and arresting visual beauty.
Enos’s choreography pushes the boundaries of traditional ballet, offering a dynamic and innovative perspective on the art form. Berry’s lighting design made dramatic and effective use of projection and visual effects to create a stage where the physical and digital realms converge.
From intimate solos to dynamic ensemble sequences, each movement is executed with precision and grace, captivating viewers with its depth and complexity, though throughout the evening there were some inconsistent lines and synchronized movements among the dancers.
Ultimately, though, St. Louis Ballet’ s rendition of “In Reel Time” was satisfying and engaging with its blend of artistic innovation and storytelling. It definitely left me with an indelible impression.
The St. Louis Ballet presented LOVEX3 February 16-18 at Kirkwood Performing Arts Center.
A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.
After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.
Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.
While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.
In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).
Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).
‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.
By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.
The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.
To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.
It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.
Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.
Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.
Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.
His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.
Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.
Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”
In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.
Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.
On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.
New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.
Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.
The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.
Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.
If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.
It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.
The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.
Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.
The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”
Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.
With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.
“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.
A charming origin story with a winsome Timothee Chalamet as a joyful chocolatier with grand ambitions, “Wonka” is a super-sized old-fashioned musical. It’s a sweet treat for families, but also anyone who is captivated by pure imagination.
While the British-based film might not soar to exciting uncharted horizons, it has a comfortable, whimsical feel amid its eye-popping magical world.
After traveling the seven seas gathering exotic ingredients, a young and poor Willy Wonka (Timothee Chalamet) dreams of setting up a candy shop in London, but discovers that the industry is run by a cartel of greedy chocolatiers.
As a prequel, there is no foreshadowing of a darker candy emperor, but a hint of the eccentricity and mischief Gene Wilder displayed in 1971’s now beloved “Willy Wonka & The Chocolate Factory,” or Tim Burton’s weirdness in the 2005 Johnny Depp take “Charlie and the Chocolate Factory” — just a sincere motherless son who will need pluck and luck to overcome the many hurdles in his path.
Inventive writer-director Paul King gave us a most enchanting double-shot of “Paddington” and “Paddington 2” that we didn’t know we needed in 2014 and 2017 — but were so grateful to receive (don’t miss the sequel and thank me later).
Inspired with the best of intentions, he approached Roald Dahl’s 1964 novel, “Charlie and the Chocolate Factory” with a big-sized heart.
Leaning into the anticipation of a fanciful adventure, he gives us a storybook tableau that’s part Dickensian London and part funhouse.
He’s also enlisted a splendid supporting cast to boost the entertainment value, with Keegan-Michael Key as the shady police chief who has a chocolate addiction and Rowan Atkinson, aka “Mr. Bean,” as a chocoholic priest.
Featuring exaggerated performances by a cadre of villains, the meanies are just obnoxious, not terrifying, starting with Oscar winner Olivia Colman as a cruel captor, Mrs. Scrubbit, who foils lodgers into signing rigged long term labor contracts. Character actor Tom Davis plays her boyfriend, “Bleacher,” a hulking enforcer.
The main trio of bad guys are a chocolate cartel straight out of old-timey melodramas – Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton). They can’t have competition in the form of a wide-eyed world traveler, eager to elevate candy-making to high art.
They do everything they can to block him. But Chalamet’s Wonka is such a charming dreamer that he quickly forms friendships with the other downtrodden captives, and their newfound family bond will help him through many pickles he gets into while trying to succeed.
Calah Lane plays his orphaned wingman, Noodle, and they are a beguiling duo. Jim Carter, familiar to “Downtown Abbey” fans, is a kind leader in the sweat shop, Abacus Crunch.
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Stealing the show, however, is Hugh Grant as an annoyed Oompa Loompa, sporting a green wig – yet dances with glee.
The script was co-written by King’s frequent collaborator Simon Farnaby, who is also an actor known for the British version of “Ghosts.” He plays a goofy zoo security guard here. There are many good-natured dollops of humor, especially sight gags.
Six original songs are featured in the movie, composed by Joby Talbot, who worked on “Sing” and its sequel, and his former Divine Comedy bandmate, lyricist Neil Hannon. “A World of Your Own,” “A Hatful of Dreams,” and “For a Moment” are solid tunes that add flavor to the story.
While no one is going to mistake Chalamet for Josh Groban, he does an adequate job, eliciting a few tears from me with his heartfelt rendition of “Pure Imagination.” Anthony Newley and Leslie Bricusse’s classic is evergreen.
The big number establishing the chocolate rivalry is “You’ve Never Had Chocolate Like This (Hoverchocs)” and it’s a dandy in execution.
This new release is somewhere in the middle between the 1971 and 2005 films but offers an amusing and fresh perspective on a delightful story. And was a pleasant diversion amid more bombastic and edgy fare.
And if you didn’t get any candy at the concession stand beforehand, you’ll be craving a confection soon enough. An Everlasting Gobstopper won’t suffice – must involve a cacao bean,
If you want to view paradise, simply look around and view it, Anything you want to, do it. Want to change the world? There’s nothing to it…
A sentimental, nostalgic and earnest “Wonka” has all the ingredients to be a big crowd-pleaser, especially with its adorable reveal in the finale.
“Wonka” is a 2023 musical fantasy adventure film directed by Paul King and starring Timothee Chalamet, Hugh Grant, Olivia Colman, Keegan Michael Key, Rowan Atkinson, Sally Hawkins and.Calah Lane. It is rated PG for some violence, mild language and thematic elements and the runtime is 1 hour, 55 minutes. It was released in theaters Dec. 15 and as of Feb. 27, is now available on DVD, Blu-ray and Digital Code, 4K Ultra HD + Digital Doe, VOD and Digital. Lynn’s Grade: B
Blu-ray extras: “Unwrapping Wonka: Paul King’s Vision”; “The Whimsical Music of Wonka”; “Welcome to Wonka Land”; “Hats Off to Wonka”; “Wonka’s Chocolatier”: Chocolatier Gabriella Cugno provides an in-depth look at the creation of the beautiful chocolates seen in “Wonka.”
R.E.M. co-founder Mike Mills, violinist Robert McDuffie, and a rock band join the orchestra for performances of Mills’ Concerto for Violin, Rock Band, and Orchestra; concert opens with symphonic arrangements of R.E.M. hits
The St. Louis Symphony Orchestra has announced a one-night-only symphonic tribute to the music of R.E.M., the award-winning American rock band. Mike Mills, R.E.M. co-founder and bassist, joins the orchestra in the second half of the concert for a performance of his new Concerto for Violin, Rock Band, and Orchestra, with celebrated violinist Robert McDuffie, who collaborates with the SLSO for the first time in more than 20 years. The concert is 7:30pm, Friday, April 5, at the Stifel Theatre in downtown St. Louis.
Tickets starting at $45 are on sale now and may be purchased at slso.org or by calling the Box Office at 314-534-1700.
R.E.M. Explored Friday, April 5, 2024, 7:30 pm Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Ward Stare, conductor Mike Mills | bass, piano, and guitar Robert McDuffie, violin Gerry Hansen, drums John Neff, guitar William Tonks, guitar Note: This concert does not feature vocalists.
R.E.M. Co-Founder Mike Mills and Robert McDuffie in “R.E.M. Explored” with Winston-Salem Symphony. J Farley Photography
The SLSO explores some of the greatest hits of R.E.M.—the Grammy Award-winning American rock band hailing from Georgia—in newly reimagined orchestrations of the band’s legendary catalogue. The orchestra performs many of R.E.M.’s chart toppers including “It’s the End of the World As We Know It,” “Man on the Moon,” and “Everybody Hurts.” Then, Mike Mills—R.E.M. co-founder, singer-songwriter, and bassist—joins the SLSO for performances of his eponymous Concerto for Violin, Rock Band, and Orchestra, a synthesis of his rock background fused with symphonic form that also draws partially from the band’s catalogue, including the 1993 song “Nightswimming.” Grammy-nominated violinist Robert McDuffie joins Mills and a rock band for the St. Louis premiere of this concerto.
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 144th year with the 2023/2024 season and its fifth 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.
Concerto for Violin and Rock Band. Photo J. Farley Photography
If you didn’t know it really happened, “Ordinary Angels” is the type of schmaltzy movie aiming straight for the heart that some would scoff at, yet even though cynics will pick it apart, people seeking an uplifting jolt will be touched by the selfless acts of human kindness.
Inspired by the true story of Kentucky hairdresser Sharon Stevens (Hilary Swank) who single-handedly rallied an entire community to help a widowed father Edward Schmitt Jr. (Alan Ritchson) save the life of his critically ill young daughter Michelle (Emily Mitchell), who needed a liver transplant.
Those who need their faith in humanity restored can find plenty to respond to in this tearjerking drama, from the heartfelt performances to the duplication of a harrowing effort by a community responding to a life-or-death situation that really took place in Louisville, Kentucky, during an historic snowstorm when 17 inches fell on Jan. 17, 1994.
Two-time Oscar winner Swank plays a hot mess of a hairstylist who decides to help a widowed father and his two daughters after she reads a newspaper article detailing the youngest’s battle with an incurable liver disease. As brassy as she is, Sharon finds purpose in this mission and gets things done.
You know the adage, “People come into your life for a season or a reason,” well this is that moment. Thirty years ago, in one of Kentucky’s worst blizzards, a life was saved by people going the extra mile, coming together, and making things happen against impossible odds.
Alan Ritchson as Ed and Emily Mitchell as Michelle in Ordinary Angels. Photo Credit: Allen Fraser
Not that life was easy for the Schmitts under any circumstance. Think: The Book of Job. Or Stevens, for that matter.
The film is set mostly in 1993. Ed’s beloved Theresa (Amy Acker) has died of a congenital liver disease, biliary atresia, which their daughters have, Ashley (who received a transplant in 1991, which the film leaves out), and Michelle, who is in desperate need of a transplant, as medical bills mount, and her condition worsens. The film is at its best when focusing on the not-enough time and money scenario.
And then the cavalry arrives when Stevens becomes their lifeline, starting a fundraiser and then crusading for financial breaks, corporate donations and helping Ed find more work as a roofer.
It is one of these incredulous examples of divine intervention. The film, in partnership with Kingdom Story Company, a faith-based operation responsible for Kurt Warner’s story “American Underdog,” isn’t preachy, in case you were wondering, or pandering. The filmmakers display earnest intentions, and it’s a terrific public service announcement for organ donors.
Stevens is fictitiously written as an alcoholic with an estranged grown son, and Swank sympathetically shows a tormented woman masking her pain by throwing herself into the role of miracle worker. She leans in as this sassy, saucy do-gooder who won’t take no for an answer, but her undivided attention and tenacity help a grieving family in need.
This is the kind of role Swank excels at, transforming into a force of nature. It’s inspiring to watch this flawed woman’s journey as she makes a difference, called to action (my sister refers to these ‘Godwinks’ as ‘Angels with skin on”), and restores her faith – and those around her.
Hilary Swank as Sharon in Ordinary Angels. Photo Credit: Allen Fraser
Ritchson, who has played a wide array of tough action heroes, from Aquaman on “Smallville” and Raphael in “Teenage Mutant Ninja Turtles” movie reboots to Lee Child’s retired military police officer Jack Reacher on the current Amazon Prime Video TV series, is good at depicting the strong, silent type who’s hiding his pain. He’s overwhelmed by grief, medical bills and a nagging feeling he isn’t doing enough for his family.
The conflict here – because of course we need one – is that Ed resents Sharon swooping in and helping his family when he thinks he should be the superhero. He’s wary of her pushiness and questions her motives. But as he pushes back, she pushes forward. His mom Barbara (Nancy Travis), helping with the girls, considers her a gift, and so do the kids.
The young actresses playing Ashley (Skywalker Hughes) and Michelle (Emily Mitchell) couldn’t be cuter, and the situation resonates easily (and not in a manipulative way – but have tissues nearby).
Director Jon Gunn’s filming of the race-against-the-clock sequence to get to an Omaha hospital for Michelle’s liver transplant is truly remarkable when empathy and mutual aid are tested by nature’s harsh elements. Cinematographer Maya Bankovic intensely captures the raging blizzard and editor Parker Adams’ work ramps up the tension.
Co-screenwriters Meg Tilly, the actress now retired, and Kelly Fremon Craig, who wrote and directed “Are You There God? It’s Me, Margaret” highlight the transformative power of human connection and what happens when people collectively meet a moment.
If a film celebrating community and kindness doesn’t elicit some joy during this dreary winter, then we, as a people, are in a truly sad place. We need every opportunity to see how people can respond to others in need with extraordinary compassion and resourcefulness. “Ordinary Angels” is a welcome beacon of hope in these difficult divisive modern times.
Hilary Swank as Sharon and Alan Ritchson as Ed in Ordinary Angels. Photo Credit: Allen Fraser
“Ordinary Angels” is a 2024 drama based on a true story, directed by Jon Gunn and starring Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes. It is rated PG for thematic content, brief bloody images and smoking and the run time is 1 hour, 56 minutes. The film opens in theaters Feb. 23. Lynn’s Grade: B.
The Fabulous Fox Theatre is ecstatic to announce its electrifying 2024-2025 Broadway season that will take audiences on a journey of timeless entertainment. The 2024-2025 Broadway Subscription will include the beloved, cinematic classic that’s now a smash-hit on Broadway, BACK TO THE FUTURE: THE MUSICAL, the untold true story A BEAUTIFUL NOISE: The Neil Diamond Musical,the newly-imagined PETER PAN, the highly anticipated return of SIX, the “corniest” hit SHUCKED, the spectacular Grammy Award® winning SOME LIKE IT HOT, the most Tony Award®-winning musical of the season KIMBERLY AKIMBO, and the sensational & JULIET.
Off-Series specials include CHICAGO, Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical, MEAN GIRLS, RIVERDANCE- 30th Anniversary Tourand AIN’T TOO PROUD- The Life and Times of The Temptations.As previously announced, the return of HAMILTON will kick off the 2024-2025 Broadway Season August 28 – September 8. Subscribers will have priority access to purchase tickets to HAMILTON before the general public.
BACK TO THE FUTURE: The Musical | September 24 – October 6, 2024
Great Scott! BACK TO THE FUTURE, the beloved, cinematic classic is now a Broadway musical with its destination set for St. Louis in 2024. Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the BroadwayWorld Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.” When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When BACK TO THE FUTURE hits 88mph, it’ll change musical theatre history forever.
A BEAUTIFUL NOISE: The Neil Diamond Musical | October 29 – November 10, 2024
Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America. Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE- The Neil Diamond Musical is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hit maker became a star, set to the songs that defined his career.
PETER PAN | November 13-24, 2024
This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought
back to life in a new adaptation by celebrated playwright Larissa FastHorse, with direction by Emmy® Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when PETER PAN and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning–your entire family will be Hooked!
SIX I January 21 – February 2, 2025
From Tudor Queens to Pop Icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a Euphoric Celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over! SIX won 23 awards in the 2021/2022 Broadway season, including the Tony Award® for Best Original Score (Music and Lyrics) and the Outer Critics Circle Award for Best
Musical. The New York Times says SIX“TOTALLY RULES!” (Critic’s Pick) and The Washington Post hails SIXas “Exactly the kind of energizing, inspirational illumination this town aches for!”
SHUCKED | February 11-23, 2025
SHUCKEDis the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.
SOME LIKE IT HOT | February 26 – March 9, 2025
Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times. Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime. And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show this season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”
KIMBERLY AKIMBO | March 25 – April 6, 2025
A new musical about growing up and growing old (in no particular order), KIMBERLY AKIMBO is the winner of 5 Tony Award® including BEST MUSICAL. It features Tony Award®-winning book and lyrics by David Lindsay-Abaire (Shrek), a Tony Award®-winning score by Jeanine Tesori (Fun Home), choreography by Danny Mefford (Dear Evan Hansen) and direction by Tony-nominated director Jessica Stone. Kimberly is about to turn 16 and recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim is forced to navigate family dysfunction, a rare genetic condition, her first crush … and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.
& JULIET | May 20 – June 1, 2025
Created by the Emmy®-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told. & JULIETasks: what would happen next if Juliet didn’t end it all over Romeo? Get whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.
Series Specials
Including HAMILTON, six Broadway shows will be offered as specials to 2024–2025 season ticket holders for priority seating before their public on-sale dates. The longest-running American musical in Broadway history, CHICAGO, will razzle-dazzle St. Louis audiences November 29 – December 1. In Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical, the classic holiday tale comes to life on stage at the Fox December 27-29. You know you’ll want to sit with us when Tina Fey’s hilarious hit musical MEAN GIRLS returns for a limited engagement March 14-16. The 30thAnniversary production of RIVERDANCEwill return May 2-4. Get ready to dance in your seats with the signature dance moves and silky-smooth harmonies of the legendary quintet in AIN’T TOO PROUD- The Life and Times of The Temptations May 9-11.
A seven show package is also available to subscribers that will exclude the show SIX. New seven and eight-show season ticket packages will go on sale Friday, May 10. Current Broadway season ticket holders will receive their renewal information in the coming days. On-sale dates for individual shows will be announced later. For more information, please visit FabulousFox.com.
2024 – 2025 Broadway Series Shows and Specials: (The Season Ticket Package shows are in bold) HAMILTON * August 28 – September 8, 2024 BACK TO THE FUTURE * September 24 – October 6, 2024 A BEAUTIFUL NOISE: The Neil Diamond Musical * October 29 – November 10, 2024 PETER PAN * November 13-24, 2024 CHICAGO * November 29 – December 1, 2024 Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical * December 27-29, 2024 SIX * January 21 – February 2, 2025 SHUCKED * February 11-23, 2025 SOME LIKE IT HOT * February 26 – March 9, 2025 MEAN GIRLS * March 14-16, 2025 KIMBERLY AKIMBO * March 25 – April 6, 2025 RIVERDANCE * May 2-4, 2025 AIN’T TOO PROUD- The Life and Times of The Temptations * May 9-11, 2025 & JULIET * May 20 – June 1, 2025
With its sinister hints of Adam-and-Eve symbolism, “Dutchman” is a daring and thought-provoking ritual drama that indicates Soul Siren Playhouse is a new group with something to say.
The gritty and raw one-act is now playing at the well-appointed Greenfinch Theatre (formerly the Way Out Club), the newest performing space in St. Louis. The intimate setting lends itself to focus on the two bravura performances by Cameron Jamarr and Eileen Engel.
Written by Amiri Baraka, aka poet activist LeRoi Jones, he had much to say about black men in ‘60s society during the heightened civil rights struggle. With its themes of racism, sexism, and discrimination, it may make people uncomfortable, but its intention is to start a dialogue, and that’s necessary.
Soul Siren’s co-directors – Jamarr, Engel, Bradford Rolen and Zahria Moore — unpacks the complexities of this revolutionary play related to bias, stereotypes, race relations in America and our social responsibility as bystanders. An interactive dramaturgy display designed by Moore is at the back of the room and illuminating the period that influenced Baraka – beat poets, emerging black artists and the avant-garde movement in a vibrant Greenwich Village.
Photo by Zak Littrell
Fast forward to the 21st century, and divisions, misinformation and social media outrage fan flames that point out that we have a long way to go towards understanding common humanity.
Jamarr and Engel are fearless in undertaking this challenging work, which is as disturbing as it was in 1964. Bakara boldly presented a distinct sociological situation, heavy on symbolism, to propel audiences into action, and the pair convey the intensity required. It’s quite the tango.
The first slave-bearing ship to America was from the Dutch, and Bakara also references the legend of “The Flying Dutchman,” a doomed ship cursed with never finding safe harbor.
In describing his short play’s metaphorical setting, Bakara wrote: “In the flying underbelly of the city, steaming hot and summer on top, outside. Underground. The subway heaped in modern myth.”
Rolen’s scenic design puts us on the subway car, and Lenny Banks’ lighting design sets the mood well. De’Janna Scales-Hand’s sound design has enhanced the experience too.
Jamarr is an unsuspecting sharp-dressed man named Clay on a mass transit train who encounters a mysterious white woman, Lula, who looks like a wild flower-child dressed in Bohemian attire. Unfiltered, Lula is obviously trying to seduce the man, who is at first wary, but then gives in to the temptation.
Engel’s character is no hippy-dippy chick, although she looks like a poster-girl for 1967’s “Summer of Love.” Presenting herself as a flirty seductress with a good time on her mind, she slowly indicates her intensions are not noble.
Calculating, with a maniacal unhinged laugh, Lula tries to manipulate, but Clay is no push-over. An eerie aspect is that Lula seems to know things about Clay and that is both mysterious and unsettling.
The confrontations become emotionally charged, compelling in a horror-movie jump-scare kind of way. This collision course of a play, unpredictable and with actions unexpected, will linger. It’s certain to spark conversations.
Photo by Zak Littrell.
That, of course, was Baraka’s point. The fact that we can still talk about social injustice in a meaningful way is a unifying message, but it also points out that much more change is needed.
This production takes a timeless approach to the story – a cell-phone! – as the play will celebrate its 60th anniversary next month, of its premiere off-Broadway in March 1964 It won the Obie Award for Best Play that year.
The cast includes Jeremy Thomas and alternate DeAnte Bryant as the conductor and an annoying drunk passenger, and Donald Kidd in a brief role.
Racially explicit language is used, and physical violence is part of the piece.
One can see and feel the passion and commitment involved in this well-produced show, and I look forward to seeing what’s next on their schedule.
Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” Feb. 1 through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m. The cost is free (donations can be made), but RSVPs are necessary. For more information: www.playsiren.com
THE SLSO OFFERS PERFORMANCES THROUGHOUT ST. LOUIS WHILE TRANSFORMATIONAL EXPANSION AND RENOVATION OF POWELL HALL PROCEEDS
SUBSCRIPTIONS ON SALE NOW; ADDITIONAL PROGRAMMING TO BE ANNOUNCED LATER
Highlights include:
The free Forest Park concert on Art Hill on September 19, 2024, a St. Louis tradition for more than 55 years
World premieres of two SLSO commissions: Anna Clyne’s PALETTE and Nina Shekhar’s Accordion Concerto; an SLSO co-commission and U.S. premiere of Magnus Lindberg’s Viola Concerto; U.S. premieres of Guillaume Connesson’s Lost Horizons Violin Concerto and Daniel Slatkin’s Voyager 130; and the first SLSO performances of works by Mason Bates, Gabriela Lena Frank, Detlev Glanert, Adolphus Hailstork, James MacMillan, Cindy McTee, Kevin Puts, Outi Tarkiainen, John Williams, and more
Denève leading two programs exploring Mozart’s output from musical prodigy to Classical era icon
A theatrical version of Edvard Grieg’s Peer Gynt, led by Denève with writing and direction by Bill Barclay and actors from Concert Theatre Works, to conclude the season
A program celebrating Conductor Laureate Leonard Slatkin’s legacy, with music by himself and his family
The second season of the Live at The Sheldon series, chamber music concerts curated by SLSO musicians featuring a variety of chamber music repertoire including world premieres by student composers at the University of Missouri, building on a successful inaugural season
The 21st Live at the Pulitzer season, curated by St. Louis-based composer Christopher Stark
Artists making their first SLSO appearances include conductors David Afkham, Patrick Dupré Quigley, and Ruth Reinhardt; pianist Yeol Eum Son; Hardanger fiddle player Vidar Skrede; violist Lawrence Power; cellist Andrei Ioniță; accordionist Hanzhi Wang; and vocalists Ben Bliss, Brandon Cedel, and Jamez McCorkle
Returning artists include conductors Daniela Candillari, David Danzmayr, Jonathon Heyward, Hannu Lintu, Cristian Măcelaru, Gemma New, Leonard Slatkin, and John Storgårds; pianists Behzod Abduraimov, Saleem Ashkar, Kirill Gerstein, Nikolai Lugansky, and Conrad Tao; violinists James Ehnes, Gil Shaham, Akiko Suwanai, and Christian Tetzlaff; and vocalists Dashon Burton, Sasha Cooke, Joélle Harvey, Kelley O’Connor, Susanna Phillips, Michael Spyres, and Camilla Tilling
Programming that showcases the entire family of SLSO ensembles: the St. Louis Symphony Chorus, St. Louis Symphony IN UNISON Chorus with Director Kevin McBeth, and the St. Louis Symphony Youth Orchestra
The St. Louis Symphony Orchestra (SLSO) and Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director, have announced programming for the orchestra’s 2024/2025 season, the orchestra’s 145th and Denève’s sixth as Music Director.
While the transformational expansion and renovation of the orchestra’s historic home at Powell Hall progresses, the orchestra will perform throughout the St. Louis region, connecting with communities where they are and showcasing the signature sound of the orchestra and the talents of its remarkable musicians. As the orchestra spends a second season away from its musical home, programming reflects themes of new perspectives discovered through traveling.
Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director of the SLSO, said, “The versatility, virtuosity, and vibrancy of our wonderful musicians will be on display throughout this season—from well-known symphonic favorites and family concerts to film scores and chamber music. As we spend a second season away from our beloved Powell Hall, our 24/25 season will reflect on the meaning of home—from Mozart’s travels as a rising composer to Guillaume Connesson’s musical search for the Shangri-La paradise and Mason Bates’ Nomad Concerto, and more. Many amazing guest artists will bring their talents to St. Louis, and we are excited to offer music from voices of today including Anna Clyne, Detlev Glanert, Nina Shekhar, Adolphus Hailstork, and many others. It is a joy to be living in St. Louis and to connect with audiences throughout the community as the SLSO and I anticipate returning to our musical home in 2025.”
Marie-Hélène Bernard, SLSO President and CEO, said,“Our 24/25 season offers a wide variety of memorable music experiences, tapping into the remarkable talents of our musicians, and meeting audiences where they are as the transformational expansion and renovation of Powell Hall progresses. Under Stéphane’s spirited and creative leadership, some of today’s most celebrated artists, composers, and conductors will join our orchestra and choruses to share beloved works, world and U.S. premieres, and meaningful musical experiences unique to St. Louis. We look forward to making new memories with our audiences this year as we share the joyous and transformative power of music throughout the region.”
Bjorn Ranheim and Chris Tantillo, co-chairs of the SLSO Musicians’ Council, said, “It is a joy and honor for the musicians of the SLSO to share our music throughout the community during this time of renovation and renewal of our beloved Powell Hall. We are incredibly grateful for the support of our loyal audiences and excited about the tremendous variety of world-class programming that we will present during the 2024/2025 season.”
Throughout the season, the orchestra will share music in several venues throughout the community, including:
The Touhill Performing Arts Center at the University of Missouri–St. Louis
Stifel Theatre
J. Scheidegger Center for Performing Arts at Lindenwood University (St. Charles)
The Sheldon
Pulitzer Arts Foundation
The E. Desmond Lee Concert Hall, 560 Music Center at Washington University (University City)
Curated and Compose Your Own Subscriptions are on sale now. Single tickets for specials, films, and holiday concerts go on sale in May 2024. Single tickets for classical concerts go on sale in summer 2024. Visit slso.org/season or call the Box Office at 314-534-1700 for more information.
Camilla Tilling
Season highlights and collaborations with Denève
Denève leads a host of programs, with repertoire spanning genre and time. Following the annual community concert in Forest Park, he opens the season with the much-anticipated return of violinist Gil Shaham, a close collaborator of Denève’s and frequent SLSO guest, giving the first SLSO performances of Mason Bates’ Nomad Concerto. Denève closes the season with a semi-staged version of Edvard Grieg’s opera Peer Gynt, with internationally renowned soprano Camilla Tilling serving in the lead role of Solveig and Vidar Skrede on Hardanger fiddle. These performances of Peer Gynt include staging, costumes, and actors, led by acclaimed writer and director Bill Barclay in adaptation of the Henrik Ibsen play.
Throughout the season, Denève conducts the SLSO in some of symphonic music’s most beloved works including Hector Berlioz’s Symphonie fantastique, Gustav Mahler’s Symphony No. 1, Pyotr Ilyich Tchaikovsky’s Romeo and Juliet Overture-Fantasy, and Maurice Ravel’s Bolero, alongside the first SLSO performances of many works, including Guillaume Connesson’s Lost Horizons Violin Concerto, Adolphus Hailstork’s An American Port of Call, John Williams’ Theme from Seven Years in Tibet, and more. Denève also leads the orchestra in a live presentation of John Williams’ score to E.T. the Extra-Terrestrial, a formative film in his life, while the film plays.
Denève and the orchestra take audiences a two-week exploration of the music of W.A. Mozart. The first week features Mozart’s brooding late-in-life works including the Requiem with vocalists Joélle Harvey, Kelley O’Connor, Ben Bliss, and Dashon Burton and the Adagio and Fugue in C minor. The second week explores Mozart’s journeys away from home in works including the Symphony Nos. 1 and 31, “Paris”; Piano Concerto No. 20 with Behzod Abduraimov; and the overture to the rarely heard opera Mitridate, rè di Ponto. Additional pieces from contemporary composers Detlev Glanert and Anna Clyne connect Mozart’s music to today.
Denève extends his tradition of meaningful artistic partnerships, collaborating with internationally renowned artists, including Grammy Award-winning violinist James Ehnes on Beethoven’s Violin Concerto,and Akiko Suwanai on the U.S. premiere of Guillaume Connesson’s Lost Horizons Violin Concerto. A leading interpreter of the music of Maurice Ravel, Denève and pianist Kirill Gerstein, a frequent SLSO guest artist, collaborate on Ravel’s Piano Concerto in G and Concerto for the Left Hand in the same program in celebration of the composer’s 150th birthday. Pianist Nikolai Lugansky returns for performances of Sergei Rachmaninoff’s Piano Concerto No. 2 and tenor Michael Spyres, who received critical acclaim in the title role in the 2023 SLSO performances of Hector Berlioz’s The Damnation of Faust, returns to sing Benjamin Britten’s Les Illuminations and Mahler’s Songs of a Wayfarer in a program of signature music for Denève.
Magnus Lindberg
WORLD AND SLSO PREMIERES
More than 20 pieces enter the SLSO’s repertoire during the 2024/2025 season, including 12 works by living composers. In addition to world premieres by Anna Clyne and Nina Shekhar and U.S. premieres by Guillaume Connesson, Magnus Lindberg, and Daniel Slatkin, the SLSO performs works by living composers including Mason Bates, Gabriela Lena Frank, Detlev Glanert, Adolphus Hailstork, James MacMillan, Cindy McTee, Kevin Puts, Outi Tarkiainen, and John Williams.
Nina Shekhar’s Accordion Concerto, an SLSO commission,will receive its world premiere with conductor Daniela Candillari, Opera Theatre of Saint Louis’ Principal Conductor, and accordionist Hanzhi Wang (January 10-11). Wang, a noted interpreter of her instrument, makes her SLSO debut to perform the concerto.
Anna Clyne’s PALETTE, an SLSO commission, combines electronically augmented sounds captured from microphones placed among the musicians with the live orchestral performance for a unique sonic experience (February 14-15). Denève leads this world premiere. A champion of Clyne’s music, Denève has conducted three of Clyne’s pieces since beginning his tenure in September 2019. The SLSO gave the U.S. premiere of Clyne’s PIVOT in November 2021 with conductor David Danzmayr.
Magnus Lindberg’s Viola Concerto,an SLSO co-commission, will receive its world premiere in February 2024 with the Finnish Radio Symphony Orchestra and soloist Lawrence Power, who will also give the U.S. premiere performance with the SLSO and conductor Hannu Lintu, a fellow Finn and close collaborator (March 14 & 16).
Guillaume Connesson’s Lost Horizons Violin Concerto tells the story of the search for the famed paradise, Shangri-La, and will be performed by Akiko Suwanai as violin soloist (March 21-22), led by Denève. Since his Music Directorship began in 2019, Denève has championed Connesson’s music in St. Louis, leading performances of three of his works with the orchestra, including the world premiere of Astéria in November 2022.
Daniel Slatkin’s Voyager 130completes the opening half of a program celebrating the legacy of Conductor Laureate Leonard Slatkin, Daniel Slatkin’s father (October 25 & 27). A prolific composer for film and television, Slatkin found inspiration for this concert piece, which tells the story of the Voyager spacecrafts, from Beethoven’s 13th string quartet.
Leonard Slatkin
CELEBRATING LEONARD SLATKIN’S LEGACY
A weekend of concerts celebrates the legacy of SLSO celebrates Conductor Laureate Leonard Slatkin. Slatkin—who served as the SLSO Music Director from 1979 to 1996—leads the orchestra in a family-oriented celebration. The program includes Timepiece by Cindy McTee, Leonard’s wife; the U.S. premiere of Voyager 130 by Daniel Slatkin, Leonard’s son; Leonard’s own arrangement of piano sonatas by Domenico Scarlatti for winds; and Tchaikovsky’s Symphony No. 5, a signature work which Leonard took on multiple tours with the orchestra. Details of additional events will be announced later.
24/25 SEASON VENUES
The SLSO will welcome audiences at venues throughout the St. Louis region, while the transformative expansion and renovation of Powell Hall, the orchestra’s historic home, progresses. Concerts will take place at several venues:
The Touhill Performing Arts Center at the University of Missouri–St. Louis will serve as a venue for symphonic programming, after serving in the same capacity throughout the current season. The SLSO will perform in the Anheuser-Busch Performance Hall, which seats 1,600.
· Stifel Theatre, a 3,100-seat venuein downtown St. Louis, will host a combination of symphonic, choral-orchestral, film, holiday, and special concerts.
The J. Scheidegger Center for Performing Arts at Lindenwood University in St. Charles will again host SLSO holiday concerts (December 17-18).
The Pulitzer Arts Foundation in Grand Center will again serve as the venue for the Live at the Pulitzer series, providing an intimate atmosphere for the 21st season of the adventurous chamber music series.
The Sheldon in Grand Center will again host the Live at The Sheldon chamber music series, providing an acoustically rich environment to elevate the individual talents of SLSO musicians.
The E. Desmond Lee Concert Hall, 560 Music Center at Washington will welcome the orchestra for a weekend of Baroque Music featuring SLSO soloists (December 6-7).
ARTIST DEBUTS
Yeol Eum Son
Throughout the 24/25 season, many acclaimed artists will make their SLSO debut.
Conductor David Afkham, Chief Conductor and Artistic Director of the Spanish National Orchestra and Chorus, makes his SLSO debut on a program that includes Johannes Brahms’ Symphony No. 1. Rising German conductor Ruth Reinhardt makes her SLSO debut conducting music by Grażyna Bacewicz, Antonín Dvořák, and Paul Hindemith.
Instrumentalists making their SLSO debuts include: pianist Yeol Eum Son, a prizewinner at the International Tchaikovsky and Van Cliburn competitions, performing Sergei Prokofiev’s Piano Concerto No. 2; violist Lawrence Power, who will give the U.S. premiere of Magnus Lindberg’s Viola Concerto; cellist Andrei Ioniță, the Gold Medal winner of the 2015 International Tchaikovsky Competition, tackles Antonín Dvořák’s Cello Concerto; and accordionist Hanzhi Wang, an international ambassador for her instrument, gives the world premiere of Nina Shekhar’s Accordion Concerto. Vidar Skrede makes his debut on Edvard Grieg’s Peer Gynt on Hardanger fiddle.
Tenor Ben Bliss debuts in performances of W.A. Mozart’s Requiem, while tenor Jamez McCorkle and bass-baritone Brandon Cedel join the SLSO for Ludwig van Beethoven’s Symphony No. 9.
Federico Ramos, featured guitarist on the soundtrack of the Disney Pixar film Coco, reprises the role for the SLSO performances of the Germaine Franco score.
IN UNISON chorus
RETURNING ARTISTS AND SLSO ENSEMBLES
The world’s leading conductors Daniela Candillari, David Danzmayr, Jonathon Heyward, Hannu Lintu, Cristian Măcelaru, and John Storgårds return to lead the SLSO along with pianists including Behzod Abduraimov (Mozart’s Concerto No. 20), Saleem Ashkar (Mozart’s Concerto No. 24), Kirill Gerstein (Ravel’s Concerto in G and Concerto for the Left Hand), Nikolai Lugansky (Rachmaninoff’s Concerto No. 2), and Conrad Tao (Camille Saint-Saëns’ Concerto No. 2). Returning violinists include James Ehnes (Beethoven’s Concerto), Gil Shaham (Mason Bates’ Nomad Concerto), Akiko Suwanai (Guillaume Connesson’s Lost Horizons Concerto), and Christian Tetzlaff (Brahms’ Concerto).
Two SLSO musicians take center stage in the Baroque Christmas program: Associate Principal Violist Alejandro Valdepeñas in Telemann’s Viola Concerto in G major and piccolo player Ann Choomack in Vivaldi’s Piccolo Concerto in C major.
The St. Louis Symphony Chorus, which has performed repertoire from the entire choral-orchestral canon to critical acclaim since its formation in the 1976/1977 season, performs a trio of large-scale choral works: Mozart’s Requiem; Beethoven’s Symphony No. 9; and Grieg’s Peer Gynt. All choral performances will take place at Stifel Theater.
The St. Louis Symphony IN UNISON Chorus, which preserves and performs music from the African diaspora and is directed by Kevin McBeth in his 14th season, returns for its annual holiday-time soulful celebration: IN UNISON Christmas with award-winning a cappella group Take 6 (December 13). The chorus performs its annual Lift Every Voice: Celebrating Black History Month concert, also under McBeth’s direction and featuring veteran Broadway singer and actor Brian Stokes Mitchell (February 28).
The St. Louis Symphony Youth Orchestra, the region’s premiere training orchestra for young musicians aged 12-22, will present three concerts in its 55th season, which include free seats for the community. Concert details will be announced later.
E.T.: The Extra-Terrestrial Sept. 21-22 at Stifel Theatre
COMMUNITY, FILM, FAMILY, AND HOLIDAY PROGRAMMING
Denève and the SLSO open the season with the much-anticipated concert in Forest Park for a free night of music on Art Hill (September 19). The concert is performed in memory of Mary Ann Lee.
Film presentations with the SLSO playing the score live include E.T. the Extra-Terrestrial, led by Stéphane Denève(September 21-22); Coco (November 2-3); The Muppet Christmas Carol (December 14-15); and Casino Royale (March 8-9). On Mother’s Day weekend, the SLSO will present Disney Princess–The Concert (May 9-10) featuring songs from popular Disney films. All film presentations will take place at Stifel Theatre.
Holiday concerts include the popular IN UNISON Christmas concert, previously known as Gospel Christmas (December 13, 2024), which features a cappella group Take 6 and the IN UNISON Chorus led by Kevin McBeth. The Mercy Holiday Celebration presents four concerts of beloved holiday music with conductor Norman Huynh and vocalist Capathia Jenkins—two at the J. Scheidegger Center for the Arts at Lindenwood University in St. Charles (December 17-18, 2024) and two at Stifel Theatre (December 21-22, 2024). Former Assistant Conductor Stephanie Childress leads the annual New Year’s Eve Celebration Concert (December 31). The SLSO also performs its annual Lift Every Voice: Celebrating Black History Month concert with the IN UNISON Chorus and Broadway veteran Brian Stokes Mitchell (February 28).
In May 2024, the SLSO will announce plans for additional programming, including:
Family Concerts, 45-minute performances designed for families with young children
Special, one-night concerts that celebrate a breadth of musical styles and artists
Programming for the 21st Live at the Pulitzer series, chamber music by composers of today programmed in response to art exhibitions at the Pulitzer Arts Foundation
Programming for the second Live at The Sheldon series, a broad range of chamber music curated and performed by SLSO musicians at The Sheldon
OPERA THEATRE OF SAINT LOUIS
The SLSO will conclude its season as the resident orchestra of Opera Theatre of Saint Louis (OTSL), the 47th year of this partnership. The 2025 Festival Season runs May 24–June 29, 2025. Programming for OTSL’s 2025 Festival Season will be announced later this summer. The current 2024 Festival Season takes place this May and June; tickets and more information can be found at ExperienceOpera.org.
PREMIERES AND FIRST PERFORMANCES
Classical concerts in the 2024/2025 season include the first SLSO performances of 20 different works, with 12 by composers of today. Denève remains committed to discovering and performing works by living artists that will become mainstays of the orchestral repertoire, as well as developing deep relationships with composers of today.
World Premieres/SLSO commissions Nina Shekhar Accordion Concerto (January 10-11, 2025) Anna Clyne PALETTE(February 14-15, 2025)
U.S. Premiere/SLSO co-commission Magnus Lindberg Viola Concerto (March 14 & 16, 2025)
U.S. Premieres Daniel Slatkin Voyager 130 (October 25 & 27, 2024) Guillaume Connesson Lost Horizons Violin Concerto (March 21-22, 2025)
Nina Shekhar
First SLSO Performances Mason Bates Nomad Concerto(September 27 & 29, 2024) Gabriela Lena Frank Concertino Cusqueño (October 4 & 6, 2024) Samuel Coleridge-Taylor Ballade(October 18-19, 2024) James MacMillan One(October 18-19, 2024) Domenico Scarlatti (arr. L. Slatkin) Five Sonatas for Orchestral Wind Ensemble (October 25 & 27, 2024) Cindy McTee Timepiece (October 25 & 27, 2024) W.A. Mozart Overture to Mitridate, rè di Ponto (November 15-16, 2024) William Grant Still Threnody: In Memory of Jean Sibelius(November 22 & 24, 2024) Outi Tarkiainen The Ring of Fire and Love (February 21 & 23, 2025) Kevin Puts Hymn to the Sun (March 1-2, 2025) J.S. Bach (arr. Elgar) Fantasia & Fugue in C minor (March 1-2, 2025) John Williams Theme from Seven Years in Tibet(March 21-22, 2025) Adolphus Hailstork An American Port of Call (March 21-22, 2025) Jean Sibelius Lemminkäinen Suite (Four Legends from the Kalevala)(April 11-13, 2025)* Grażyna Bacewicz Concerto for String Orchestra (April 26-27, 2025) Edvard Grieg Peer Gynt (May 3-4, 2025)*
*First complete performances
MEDIA PARTNERSHIPS
The SLSO’s partnerships with 90.7 KWMU St. Louis Public Radio and Classic 107.3 continue with select Saturday night symphonic concerts broadcast and streamed online by St. Louis Public Radio for a 16th year, and simulcasts on Classic 107.3 continuing for a fifth year.
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 upcoming 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The core of the SLSO’s artistic foundation is its dynamic partnership with Denève, whose energetic musicianship, visionary storytelling, and collaborative spirit have created stronger connections with local and visiting artists, as well as advanced the SLSO’s role as a leader in music education. The SLSO musical family also includes two resident choruses: the St. Louis Symphony Chorus, founded in 1976, performs choral-orchestral music from the Baroque era to today; and the St. Louis Symphony IN UNISON Chorus, founded in 1994, focuses on the performance and preservation of music from the African diaspora. The St. Louis Symphony Youth Orchestra, founded by Conductor Laureate Leonard Slatkin in 1970, is the region’s premiere training orchestra for high school and college students.
The transformational, 65,000-square foot expansion and renovation of the orchestra’s home, Powell Hall, begun in 2023, continues. Led by the internationally acclaimed architecture firm Snøhetta, the project will transform the audience and artistic experience while protecting Powell Hall’s historic character and celebrated acoustics, creating a state-of-the art center for community, innovation, and powerful music experiences. The revitalized Powell Hall will open in 2025 to coincide with the building’s centennial.
An integral part of the vibrant St. Louis community, the SLSO enjoys a long history of robust and enduring artistic collaborations with individuals and organizations locally and around the world. Orchestra musicians share dozens of education and community performances throughout the region each year at medical facilities, places of worship, community centers, and schools. For 20 years, the St. Louis Symphony Orchestra: Live at the Pulitzerseries has highlighted today’s leading musical voices through innovative performances in collaboration with, and reaction to the exhibitions at, the Pulitzer Arts Foundation. The SLSO has served as the resident orchestra for Opera Theatre of Saint Louis for more than 45 years. The orchestra also continues to develop new artistic collaborations, continuing a chamber music series in collaboration with The Sheldon, begun in the 23/24 season, as well as regular partnerships with The Muny, The Big Muddy Dance Company, the Saint Louis Art Museum, and others. Beyond the St. Louis region, the SLSO’s impact is realized through Saturday night concert broadcasts on St. Louis Public Radio and Classic 107.3, acclaimed recordings, regular touring activity, and a digital portfolio that includes a robust online education platform with digital concerts and learning activities for all ages.
Since the arrival of Marie-Hélène Bernard as President and CEO in 2015, the SLSO has aligned its mission to make music more accessible, while fostering a culture welcoming to all. Building on its momentum, the SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
About Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director
Stéphane Denève is The Joseph and Emily Rauh Pulitzer Music Director of the St. Louis Symphony Orchestra, the Artistic Director of the New World Symphony, and the Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Chief Conductor of the Brussels Philharmonic and Principal Guest Conductor of The Philadelphia Orchestra, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra.
Recognized internationally for the exceptional quality of his performances and programming, Denève regularly appears at major concert venues with the world’s greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century.
He is a frequent guest with the New York Philharmonic, The Philadelphia Orchestra, The Cleveland Orchestra, Los Angeles Philharmonic, Royal Concertgebouw Orchestra, NHK Symphony Orchestra, Bavarian Radio Symphony Orchestra, Royal Stockholm Philharmonic Orchestra (with whom he conducted the 2020 Nobel Prize concert), Orchestre national de France, Czech Philharmonic, NDR Elbphilharmonie Orchestra, Vienna Symphony, DSO Berlin, Orchestre philharmonique de Radio France, and Rotterdam Philharmonic.
A graduate and prize-winner of the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre and Seiji Ozawa. A gifted communicator and educator, he is committed to inspiring the next generation of musicians and listeners, and has worked regularly with young people in programmes such as those of the New World Symphony, Tanglewood Music Center, the Colburn School, the European Union Youth Orchestra, and the Music Academy of the West.
