Transformative in the very best of ways, both heartbreaking and heartwarming, “American Symphony” is an ode to believing in art, hope, and love.
It’s a portrait of two artists, musician Jon Batiste and writer Suleika Jaouad, at a crossroads in life, and how their devotion to each other, and their creative expression become their survival mechanism.
The longtime couple are two remarkable and talented human beings whose hearts beat as one. What started as a documentary detailing Batiste putting together an ambitious and genre-jumping symphony became something different when they found out Suleika’s leukemia had returned after 10 years in remission.
It was the same week in November 2021 that Jon became the most celebrated artist of the year with 11 Grammy nominations. For the next seven months, they share their intimate journey as they experience the highest of highs and the lowest of lows.
Directed with keen insight and empathetic sensitivity by Matthew Heineman, Oscar nominee for “Cartel Land” in 2016, this film is not only one of the best feature documentaries of the year, but also one of my favorite films of the year.
Jon Batiste in concert
When he is not composing and rehearsing “American Symphony,” an original work that reimagined the traditions of the classical form, bringing together an inclusive cultural group for a one-night-only performance at Carnegie Hall on Sept. 22, 2022, he is at his wife’s hospital bedside while she recovers from a bone-marrow transplant.
Batiste, Oscar winner for the music score to “Soul” (along with Trent Reznor and Atticus Ross), and five-time Grammy winner, including Album of the Year for “We Are,” is likely most known as the bandleader of “Late Show with Stephen Colbert” from 2015 to 2021. He left that job to help care for his wife.
Jaouad is a best-selling author whose book “Between Two Kingdoms: A Memoir of a Life Interrupted” was about how she began again after her first four-year battle with cancer – a diagnosis she had received post-college graduation, at age 22. She writes The Isolation Journals, which has developed an online community.
Suleika Jaouad
Now 35 and 37, they met at a summer band camp when she was 12 and he was 14, and they’ve been in a relationship since 2014.
The love song that plays over the end credits, “It Never Went Away,” is one of many lullabies that he wrote Suleika during her cancer treatment. He composed the song, “Butterfly,” that is included on his “World Music Radio” album, in her hospital room and it is now nominated for a Grammy for Song of the Year.
Gayle King once described Batiste as “walking joy,” and he exudes that performing. But here, he’s open about his grappling with the weight of Suleika’s treatment on his mental health.
During a concert performance, he dedicates his last song to Suleika, but frozen with raw emotion, he must ‘compartmentalize’ his feelings to push forward. It’s these genuine moments that define the film.
Suleika and Jon at Memorial Sloane Kettering Cancer Center
Just like their bodies of work soothe the soul, they have collaborated on a touching chronicle of their tremendous courage, resilience, and deep love for each other.
They trusted Heinemann, and consented to have cameras present during some of their most vulnerable moments, and their willingness to be honest about their struggles deepens our connection.
“American Symphony” is a testament to the human spirit, and will be able to reach a lot of people who need that assurance.
“American Symphony” is a 2023 documentary directed by Matthew Heineman. It is rated PG-13 for strong language and runs 1 hour, 43 minutes. It streams on Netflix beginning Nov. 29. Lynn’s Grade: A.
(Note: I am a paid subscriber to Suleika’s Isolation Journals and highly recommend signing up for her Sunday writings – free or fee, for anyone, but especially those who have loved ones or themselves who have undergone serious illness, a loss, or setbacks out of our control.)
Even the most mean-spirited holiday-hater won’t be muttering “Bah! Humbug” after sampling the jolly high-octane hip-hop musical remix of Charles Dickens’ classic because “Q Brothers Christmas Carol” will make them laugh instead.
This unique 80-minute variation makes it easy to be swept up in the merriment, a welcome antidote to the ongoing misery in a turbulent world.
With the recognizable imprimatur of the incredibly talented Q Brothers Collective, those unconventional creatives from the Chicago Shakespeare Theatre, this joyous boogie beat mashes reggae, rap, and epic rock ballads together.
Dickens’ novella was published in 1843 and there have been numerous interpretations in the 180 years since, including Muppets and Disney movies, a rom com with Matthew McConaughey, and musical comedy with Will Ferrell and Ryan Reynolds, not to mention TV shows and specials, and countless stage versions.
This modern madcap romp is a special presentation by the St. Louis Shakespeare Festival in a festively decorated nook of the National Blues Museum downtown. Performances take place from Wednesday through Saturday at 8 p.m. and Saturday at 3 p.m. too, from Nov. 24 to Dec. 23.
Written and directed by GQ, JQ, Jax and Pos of the Q Brothers Collective, they proclaim they make art that rhymes, and they are not slackers in that department, following through with impressively snappy lyrics. Not a ninny-muggins among them.
They bring the same level of rat-a-tat-tat quick-change artistry that characterized their two-hander “Dress the Part” here in the Grove in early 2020. That was locally produced by the Shakespeare fest folks and won several St. Louis Theater Circle Awards when we resumed honoring regional theater post-pandemic in 2022.
If you attended that show, then you know you are in for a special treat.
This don’t-miss variation was developed with Rick Boyton and the music composition is by JQ. It’s such a spirited blend of dance, dubstep, and DJ-spun beats that it has become a holiday tradition on Chicago’s Navy Pier.
Photo by Phillip Hamer.
Spreading goodwill with the rhythms and rhymes, the cast includes Victor Musoni as Jacob Marley, Lil Tim and others; Maya Vinice Prentiss as Bob Cratchit, Ghosts of Past and Present, and others; and Mo Shipley as Oliver, Fred, and others.
Garrett Young, memorable in the aforementioned “Dress the Part,” feigns crotchety as a scowling Scrooge (who can remarkably bust a move). The fleet-footed quartet seem to be in constant motion and grooves in sync to Steph Paul’s kinetic choreography. Perhaps you recall her outstanding designed movements in “The Royale” at the Repertory Theatre of St. Louis in 2017. Mel Bady keeps the jingle jangling as DJ Stank.
The performers are all superb entertainers, with crisp comic timing and engaging personalities. As nimble as a skilled improvisational troupe, you’ll marvel at their energy.
The story follows the familiar tropes of Dickens’ story about a horribly selfish, mean jerk who is redeemed after visits from four ghosts enlighten him on the error of his ways. This script leans into the humor and the heart to connect with an eager-for-adventure crowd.
A delightful surprise is that this supple presentation includes many references to contemporary Christmas movies, songs, and pop culture shorthand. They might not pull out a Red Ryder BB gun, but someone’s tongue is going to wind up on a frozen pole.
The sparkly scenic design by William Attaway is evocative of the Dickensian settings, enhanced by lighting designer Jesse Klug’s moody illumination. Costume designer Erika McClellan, a St. Louis native, has fashioned outfits more street savvy than Victorian era. And Stephen Ptacek’s expert sound design keeps the flow percolating.
Stage Manager Kathryn Ballard, who worked on “Dress the Part,” and assistant Patrick Siler are veterans who know how to keep things fluid, and there isn’t a minute wasted, no draggy middle whatsoever. The show runs without an intermission.
The engaging troupe exudes warmth and a playful attitude. However, if you’re seeking an old-fashioned family-friendly cup of cozy Hallmark comfort, this show is not that. Nor will any phrase be needlepointed onto a throw pillow. The material includes mature themes and adult language, so it’s best enjoyed by ages 12 and up.
For more information, tips on parking and what seasonal cocktails are available at the pop-up bar Club Fezzy: https://stlshakes.org/production/carol.
Back in his day, John Barrymore was considered one of the most influential and idolized actors of stage and screen. He died at age 60 in 1942, and by then, his personal life — four divorces, alcohol abuse — had overshadowed his professional career. However, his glorious stage work, particularly his “Hamlet” in 1922, drew rave reviews for his tragic portrayals, and his body of work has been a testament to his legendary impact.
So, it seems fitting that John Contini, one of St. Louis’ most respected and tenacious actors, would assume the title role for a new production at the St. Louis Actors’ Studio in a limited engagement Dec. 1 -10 at the Gaslight Theatre, 360 N. Boyle. Performances are Friday through Sunday Dec. 1-3, and Tuesday through Sunday, Dec. 5-10, at 8 p.m. except for Sundays, which are at 3 p.m. For more information, visit: www.stlas.org
John Contini as “Barrymore.” Photo by Patrick Huber
The two-person play “Barrymore” by William Luce depicts the famous actor a few months before his death as he is rehearsing “Richard III,” which would be a revival of his 1920 Broadway triumph. Each act begins with a grand entrance onto the stage that he has rented to prepare for his comeback performance. He jokes with the audience, spars with the offstage prompter, reminisces about better times, and does delicious imitations of his siblings Lionel and Ethel. Frank, the stage manager that can be heard over the theatre’s loudspeaker, is voiced by Alexander Huber. The play is directed by Erin Kelley.
Produced on Broadway in 1997, Christopher Plummer won the Tony Award for Best Performance by a Leading Actors in a Play, and reprised the role in a 2011 film adaptation.
Contini, who describes the actor as fascinating, has portrayed the larger-than-life thespian before, for the Avalon Theatre Company at the ArtSpace at Crestwood Court, both no longer in existence, in the summer of 2009. For that effort, he won a Kevin Kline Award for Outstanding Lead Actor in a Play.
“I am grateful I get to revisit and revive John Barrymore,” he said.
His award-winning performance as Willy Loman in “Death of a Salesman” in 2014.
He has been an Equity and SAG/AFTRA actor for more than 40 years, and has performed in over 300 productions across the country. He has been in shows at the St. Louis Repertory Theatre, The Black Repertory Theatre, New Jewish Theatre, and The Muny in St. Louis, as well as the Fox in Atlanta, Starlight Theatre in Kansas City, August Wilson Theatre in New York City, Ozark Actors’ Theatre in Rolla, Mo., Maples Repertory Theatre in Macon, Mo., and the Bluff City Theatre in Hannibal, Mo., among others.
He won a St. Louis Theater Circle Award for Outstanding Actor in a Drama for his portrayal of Willy Loman in Insight Theater’s “Death of a Salesman” in 2014. For his “King Lear” at St. Louis Actors’ Studio, he received the GO Magazine Award as Best Actor. Other favorite roles include Tevye in “Fiddler on the Roof,” Norman Thayer in “On Golden Pond” and Henry Drummond in “Inherit the Wind.” He’s appeared in the film “Four Color Eulogy” with his son Jason Contini, who is also an actor.
He has also directed over 60 productions, including “Who’s Afraid of Virginia Woolf”: at St. Louis Actors’ Studio, for which he won Outstanding Director from the St. Louis Theater Circle. Other credits include “The Gin Game,” “American Buffalo,” “Tuesdays with Morrie,” “Deathtrap” and “I Do! I Do!”
John Contini in the movie “Four Color Eulogy”
Take Ten Q &A with John Contini:
1. What is special about your latest project?
I like that I get to revisit and revive John Barrymore, who I find fascinating.
2. Why did you choose your profession/pursue the arts?
I could never see myself doing anything other than something in the Arts. The arts are the windows to our culture.
3. How would your friends describe you?
Loyal, dependable and dedicated…I hope
4. How do you like to spend your spare time?
Watching old movies, researching movies and writing and drawing.
5. What is your current obsession?
Godzilla movies and drawing at the moment
6. What would people be surprised to find out about you?
That I am a comic book collector, writer and artist.
7. Can you share one of your most defining moments in life?
Professionally : the first time I appeared on stage at the age of 18. I just knew that this is what I had to do for the rest of my life.
8. Who do you admire most?
I have always admired the actor and the man Vincent Price and how he handled his life and his career.
9. What is at the top of your bucket list?
I’m pretty easy. Go to the Oscars or the Tonys LIVE would be fun.
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?
Father and son awards
The Covid years gave me a chance to finish the book I was writing and soon publishing, and to spend more time at home also to make plans for the future when things could open up again. It gave me time to reflect on what was important to me and how I wanted to spend the time I have left. As for how Covid effected the Arts, I would say that the Arts became more private and personal because of the isolation.
11. What is your favorite thing to do in St. Louis?
Walking in different parks
12. What’s next?
I am working on a small independent film with my son Jason and promoting my book.
Inherit the Wind
More About John Contini Birthplace: St Louis Current location: St Louis Family: wife Sharon, sons Jason and Nathan, daughter-in-law Danielle Education: highest level Master in Theatre Arts from St. Louis University Day job: retired First job: Bagger at South Public Market First movie you were involved in or made: Escape From New York Favorite jobs/roles/plays or work in your medium? Tevye in Fiddler on the Roof, Wily Loman in Death Of A Salesman, Barrymore, directing: classic dramas like Who’s Afraid of Virginia Wolff Dream job/opportunity: Work for Spielberg Awards/Honors/Achievements: Go Magazine Award Best Actor for King Lear, Kevin Kline award Best Actor for Barrymore, St Louis Theatre Circle awards: Best Actor for Wily Loman (Death of a Salesman) and Best Director for Who’s Afraid of Virginia Wolff Favorite quote/words to live by: Love the ART in yourself, not yourself in the ART. A song that makes you happy: “Comedy Tonight” from “A Funny Thing Happened on the Way to a Forum“
Bobby Miller and John Contini in “King Lear”
“Barrymore” is a limited engagement Dec. 1- 10, with shows performed Thursday through Saturday at 8 p.m. and Sunday at 3 p.m., with special performances Tuesday, Dec. 5 and Wednesday, Dec. 6. General admission tickets are $40 each plus fees, $35 each plus fees for students with valid ID and seniors 65+, available via Ticketmaster or at the theater box office one hour before showtime. For more information, visit stlas.org or email help@stlas.org.
About St. Louis Actors’ Studio
St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.
See the trailer for “Barrymore”: https://youtu.be/3h-7-XfS13k?si=__jG3lsqRCMFCNkV
John Contini, David Wassilak, Richard Lewis in “The Dresser” in 2018 at STLAS, directed by Bobby Miller.
SATE is seeking submissions for Directors and Writers for the Eighth Annual Aphra Behn Festival, which will be presented March 29-31, 2024. The theme for the 2024 Festival is “Transformations”.
When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.
The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, “Or,” by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, “The Rover”, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. “The Rover” was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.
For artists interested in applying to be a director, email stl.sate@gmail.com by December 11, 2023 with a personal experience that inspired your interest in directing for theatre. SATE’s co-producers, Rachel Tibbetts and Ellie Schwetye, will contact applicants for a further interview.
For artists interested in submitting a play, email it to stl.sate@gmail.com by December 11, 2023. The play must contain the following ingredients:
Theme: Transformations
3 characters max
Must be no longer than 20 minutes
A reference to a fairytale/childhood story or character
A mention of a Shakespeare play or character
A magic trick
One element (air, water, fire, earth) used in excess
A moment of music using one of the following songs:
SATE is partnering with Prison Performing Arts (PPA) and their Spoken Word artists in Vandalia, MO, who have written poems following the season theme and inspired by fairy tales and children’s stories. Click the link above or here to read these poems.
The Eighth Annual Aphra Behn Festival will be performed at the Chapel (6238 Alexander Drive, 63105), across from Forest Park, March 29-31, 2024. Rehearsals will begin the first week of March 2024.
SATE will be hiring three directors and three writers for the 2023 Aphra Behn Festival. Artists of all ethnicities, races, ages, abilities, and backgrounds are encouraged to apply. Submissions from applicant directors and writers will be reviewed by members of SATE’s Artistic Advisory Ensemble.
SATE is grateful for the support of the St. Louis Regional Arts Commission, the Missouri Arts Council, the Steve Nelson Memorial Playwright’s Fund, and the Siteman Family Charitable Fund for making the Eighth Annual Aphra Behn Festival possible.
Waiting for Winter Opera’s production of “Don Giovanni,” I was reminded of the forward to Milton Cross’ “Complete Stories of the Great Operas,” in which he begins, “This is a book of stories – the stories of the great and enduring operas…Some of them have become so familiar that I return to them each year, almost as one returns each season to the Christmas story.” Just a week or so before Thanksgiving and the holiday season, Winter Opera’s timing for a production of “Don Giovanni” seemed perfect for a return – Christmas-like – to one of opera’s (and Mozart’s) great and (and greatly rendered) stories.
Before the opening notes of the overture, it was clear that this production would hew closely to a traditional interpretation (kudos to stage director John Stephens) of this work with an understated, yet architecturally appropriate, set (kudos to Scott Loebl, scenic designer). There were the requisite Corinthian columns, graceful arches and stone fountain – providing the neutral setting for the intricate, sublime story to follow.
As the orchestra began the overture to the three-hour performance to come (under the confident and sure baton of conductor Scott Schoonover), I was reminded of how these early, foreboding chords – repeated in the last act – symbolize the fate that awaits Don Giovanni.
Photo by ProPhotoSTL
I was reminded, too, of that Mozart’s original title was “Il Dissoluto Punito, Ossia il Don Giovanni” (“The Rake Punished, or Don Giovanni”). From the opening, this production faithfully unfurls the looping story of Don Giovanni as well as explores the dynamics of power, control and fate – with its major events presented at the beginning and searing conclusion.
The dynamic, muscular-voiced Robert Mellon was a winning Leporello, the Don’s youthful, sometimes blustery servant. Mellon brought his character’s famous register aria – “Madamino, il catalogo è questo” – confidently and humorously to life.
One of the strengths of Winter Opera’s production is its treatment of women in the story. Gina Galati’s portrayal of Donna Elvira was exceptional, especially her affecting, poignant phrasing in “Mi tradì quell’alma ingrata.”
Raphaella Medina provided a sweet-voiced and beguiling Zerlina, especially during “Batti, batti o bel Masetto,” a love song-aria (with Mark Hosseini as Masetto) beloved for its teasing trills. Medina also paired very well with the strong performance of Jacob Lassetter as Don Giovanni, for a hugely satisfying performance of the duet “La si darem la mano.” Throughout, Lassette’s portrayal demonstrated tremendous range as well as nuance demanded by Mozart’s composition.
Nathan Whitson’s strong bass more than met the imposing demands of the character Commendatore. His performance was equal parts stentorian, imperious and stone-like (as the singing statue).
The singers were well-adorned, thanks to the costume design by Jen Blum-Tatara and wigs/makeup by Jessica Dana.
Winter Opera’s “Don Giovanni” played at the Kirkwood Performing Arts Center on November 17 and 19. The season continues with Puccini’s “Manon Lescaut” January 19 and 21, 2024. More information is available at the Winter Opera website.
By Lynn Venhaus The idealist in me wants to believe in Disney magic, of good triumphing over evil, of the power of community, and memorable moments, often with hopeful songs, that “Wish” embodies.
Nevertheless, the cynic in me wonders if Disney’s reliance on their formula, just in time for the holidays, to endear a whole new line of toys to their loyal fans, makes the film lack the luster that “Frozen” and “Encanto” did.
Because the leading lady Asha’s pet goat Valentino, voiced by Disney regular Alan Tudyk, is certain to fly off the shelves, with its lovable demeanor and snappy dialogue. And the cosmic force that changes the plot’s trajectory, a Star, is drawn as a golden ball of energy. Cha-ching.
But we should be used to this, especially after the Disney Renaissance of the 1990s, where the Disney princesses became icons and prestige was bestowed with many awards for the animated musicals’ songs and scores. The bar was raised.
However, in recent years, the Disney output has been a mixed bag of highs and lows. For every “Zootopia,” there’s a “Strange World.” And I’m not even going to mention the live action remakes.
For all its good intentions to celebrate the Walt Disney Studios’ centennial, “Wish,” which is supposed to be the musical origin story for the “Wishing Star” that Disney is famous for, feels like a cut-and-paste tribute.
Co-written by the “Frozen” team of Chris Buck and Jennifer Lee, along with Allison Moore, “Wish” follows a young girl named Asha who attempts to save the fantastical Kingdom of Rosas from darkness. She wishes on a star and that trouble-making beacon comes down from the sky to join her because King Magnifico, a sorcerer, isn’t all that he seems to be.
Asha has seven friends who are grumpy, dopey, sneezy, and so forth – wink, wink. Sure, plenty of Easter eggs, but the homages are often nods to better efforts, and are missing the magic they are trying so hard to create.
The plucky heroine, a compassionate and smart peasant girl, rallies her beloved community because the cunning ruler, King Magnifico, voiced by a first-rate Chris Pine as both unctuous and ruthless, becomes a megalomaniac before our eyes. The whole wish symbolism gets a little muddled if you think about what all that means — putting your hopes and dreams into an omnipotent ruler.
As Asha, Ariana DeBose is a powerhouse vocalist, and the animators wisely capture her lithe dancing style, plus she can emotionally connect as the character.
While female empowerment is always worthy, with positive portrayals to propel this musical comedy, the other message is a noble one, and actually a little daring with its cautionary tale on authoritarianism and fascism. (Real world headlines intrude!)
The vocal work is fine – among the recognizable names, Victor Garber is a sympathetic grandfather Sabino, Evan Peters is Simon, one of Asha’s friends, and Ramy Youssef is Safi.
But the script is rather slight, and the music doesn’t seem to have a break-out original song like the “Encanto” or “Moana” songbook. Nevertheless, “This Wish” and “Knowing What I Know Now” are catchy – just not earworms like “Let It Go” or the Menken-Ashman canon.
Stay for the credits because they will include every Disney animated feature in artwork, and there is a bonus scene with an iconic Disney song.
“Wish” is pleasant enough – just not as endearing as we’ve come to expect from the Mouse House. But its statement, perhaps aimed at a certain governor of the state where Disney World is based, is funny in a sly master stroke way. The movie’s message: Be careful what you wish for.
“Wish” is a 2023 animated musical fantasy directed by Chris Buck and Fawn Veerasunthorn and starring Ariana DeBose, Chris Pine, VIctor Garber, Alan Tudyk, Angelique Cabral, Evan Peters and Ramy Youssef. It is rated PG for thematic elements and mild action, and the run time is 1 hour, 35 minutes. It opened in theatres Nov. 22. Lynn’s Grade: B-.
A lightweight, enjoyable treat that leans into sports movie cliches while adding some wrinkles, director Taika Waititi’s “Next Goal Wins” doesn’t try to be high art, but succeeds where it counts, and offers a breath of fresh air in our cynical times.
Inspired by the 2014 documentary of the same name, and introduced by a priest played by none other than Waititi himself, the film follows disgraced coach Thomas Rongen (Michael Fassbender) on a journey of personal growth. He’s sent by the American Soccer Federation – led by Alex Magnussen (Will Arnett), who’s dating Rongen’s ex-wife Gail (Elisabeth Moss), also on the Board – to coach the American Samoan national soccer team to FIFA World Cup qualification. It’s really about punishment for his hot-headed behavior and a nudge to “help himself” while floating in career purgatory. When the Board delivers the news to Rongen, he experiences the five stages of grief, explained via a crude PowerPoint presentation by Waititi-regular Rhys Darby.
Unfortunately for Rongen, his newly assigned team doesn’t have the best track record. They infamously lost to Australia 31-0 in a 2001 World Cup qualifying match: the worst defeat in international soccer history. The team lacks drive and organization, rendering Rongen’s assignment quite an uphill battle. The former coach, lovably goofy and earnest Tavita (Oscar Kightley), who works various odd jobs around the island, merely wants Rongen to help the team score one goal. “One goal,” Tavita repeats, as he slowly backs away from Rongen at a beachside restaurant, “One goal.”
It’s all infuriating for the temperamental, alcoholic, and close-minded Rongen – a fish-out-of-water in an unfamiliar culture with traditions and ideals that buck against his hard-assed attitude. In his view, nobody on the team takes soccer, or him, seriously, especially Jaiyah Saelua (Kaimana), a transgender woman whose identity Rongen refuses to accept and respect, while the rest of the team does.
It’s little surprise that Rongen’s hatred gradually fades away as he learns more about American Samoan culture and bonds with the players. Their patience, compassion, and kindness help Rongen conquer his demons and open his heart, which in return helps the team come together and try their best, no matter the outcome, delivering plenty of zany jokes along the way.
Indeed, “Next Goal Wins” follows a familiar template that yields few real surprises. Thanks to strong performances, Waititi’s signature brand of awkward-funny humor, and some emotional moments that (despite their predictability) hit with earnest impact, though, it’s an eminently enjoyable watch. Waititi’s preference for jokes over “dramatic” moments lessens their potency, and the focus on Rongen is less compelling than Jaiyah’s experiences, but “Next Goal Wins” still manages to score that elusive goal, no matter its faults.
Fassbender (coming fresh off his awards-worthy turn in David Fincher’s “The Killer”), fits the gruff, damaged Rongen well – often seeming at odds with the beaming, idiosyncratic people surrounding him on the island. Like Fincher’s nameless hitman, it’s another performance from Fassbender that mocks his character’s “masculine” refusal to be vulnerable and acknowledge his faults, consumed by his work and suffering past trauma to the detriment of everyone around him (except those laughing at his childish behaviors). Rongen’s arc is easy to foresee, but it’s heartwarming, particularly his eventual bond with Jaiyah, the film’s real MVP.
Rongen’s initially awful treatment of Jaiyah is difficult to watch – a scenario that, despite the film’s largely comedic atmosphere, seems plausible and disquieting. It’s thanks to Jaiyah’s refusal to view Rongen in black-and-white absolutes, though, that helps them connect. She won’t write him off or give up her dreams to play soccer. Kaimana brings warmth, pathos, and groundedness to her portrayal, leading to several tear-inducing scenes later on when the empathy she exhibits to others is returned. Her story is inspirational, and the most winning aspect of Waiti’s film.
The rest of the team (including performances from a pitch-perfect David Fane as assistant coach Ace, and Uli Latukefu as former goalie Nicky Salapu, haunted by past failures during the Australia match) aren’t given anywhere near as much depth as Rongen and Jaiyah. Waititi instead paints them in broad strokes – there for pun-filled, pop-culture-heavy punchlines over three-dimensionality.
It’s an unfortunate choice, perhaps due to the film’s 104-minute runtime, which speeds through the story without lingering on gags or otherwise poignant beats. Rongen’s arc notably falls prey to Waititi and Iain Morris’s rushed screenplay – a short heart-to-heart can make him change his tune to an unbelievable, if crowd-pleasing, extent, and a late-movie plot twist with his character is easy to foresee.
This applies to the meat and potatoes of what Rongen and the team are actually doing, too. “Next Goal Wins” is less focused on the game of soccer itself (or the players’ reasons for participating in the first place), and more on the thawing of Rongen’s tough exterior and the formation of community and friendship above all else. Viewers shouldn’t expect many thrilling sequences of last-minute saves and goals. In fact, Waititi seems to actively resent it, shifting attention to relationships and team-building with comparatively small-scale (but important) stakes in the final stretch.
We’re left with an imperfect, tonally inconsistent sports film that aims to put a smile on one’s face and raise awareness of a culture’s, and team’s, continued striving and resilience. On those merits, “Next Goal Wins” wholeheartedly succeeds. It’s no masterpiece (and one yearns for the daring Waititi of “Jojo Rabbit” and “Hunt for the Wilderpeople”), but sometimes films like this are needed, just to restore one’s faith in humanity a little bit more, because every bit counts.
“Next Goal Wins” is a 2023 Sports Comedy directed by Taika Waititi and starring Michael Fassbender, Elisabeth Moss, Will Arnett, Oscar Kightley, Kaimana, and David Fane. It’s rated: PG-13 for some strong language and crude material and runs 1 hour, 43 minutes. It opened in theatres Nov. 17. Alex’s Grade: B.
Think a second tier “Ted Lasso” meets a “Cool Runnings” vibe in this rough-around-the-edges underdog sports comedy-drama that is based on a true story.
The now infamous American Samoa soccer team, known for a historically brutal 2001 FIFA match they lost 31-0 to Australia, seeks redemption — and a goal — in 2014 or they’ll be booted out of the football federation.
Aimed at the heart with emphasis on quirky, director and co-writer Taika Waititi focuses on the likability of the Pacific Islanders involved with the soccer team, and the colorful inhabitants of American Samoa, a U.S. territory in the South Pacific Ocean.
It’s a mixed result. Waititi and co-screenwriter Aian Morris follow the template of the 2014 documentary of the same name, but naturally embellished for a narrative.
Set in 2014, many people still have not gotten over the 2001 humiliation and are doubtful about the next World Cup qualifying match as the team hasn’t scored a goal since. Football Federation President Tavita, wonderfully played by charmer Oscar Kightley, is determined to get the team across that hurdle, so he hires a hothead Dutch-born coach Thomas Rongen (Michael Fassbender), who has been fired for egregious behavior, four weeks away from the game.
Naturally, he’s a fish out of water – faced with the ultimatum to leave or take the American Samoan job. His surly demeanor is at odds with the happy-go-lucky islanders, and does he even like soccer? He drinks too much, yells too much, and cares far too little.
Following the familiar beats of goodness triumphing over meanness, like every true-story sports movie, “Next Goal Wins” is a crowd-pleaser but average paint-by-numbers movie.
New Zealander Waititi is known for his offbeat work in “What We Do in the Shadows” and “Hunt for the Wilderpeople” won an Oscar for “JoJo Rabbit,” and has directed a couple mega budget “Thor” movies.
Michael Fassbender and Jaiyah
Most surprising is seeing the intense Michael Fassbender cast as the down-on-his-luck maverick coach Thomas Rongen, who is tasked with turning the world’s worst soccer team around as World Cup Qualifiers approach. American Samoa is ranked last, and if they do not win, will be booted.
Fassbender, two-time Oscar nominee for “Steve Jobs” and “12 Years a Slave,” is known for serious roles. He is an odd choice, but this rage-aholic coach is a high-strung guy, so playing cantankerous, screaming so much his veins stand out, is within his specific set of skills.
The character is designed to be redeemed, of course, and he gets his big speech, although throws a couple curves in, to explain some of his behavior. Fassbender is never going to be warm and fuzzy, or funny, for that matter, but you do root for him to get out of his own way.
In the spirit of “The Mighty Ducks” and “Bad News Bears,” the team players espouse the ‘old college try’ philosophy, and fit the kooky mold Waititi was going for, along with providing a strong sense of community.
The likable Jaiyah, a transgender player, portrayed by a winsome Kaimana, is horribly disrespected by Rongen, and that relationship development is a focus of the plot, but the others aren’t given much to work with – Beulah Koale as Tavita’s son, Semu Filipo as police officer Rambo, and Uli Latukefu as the former goalie Nicky Salapu stand out.
Armani, the kid helping Rongen, is another source of comic relief, and Waititi uses the young actor Armani Makaiwa wisely.
In supporting roles are Elisabeth Moss as Rongen’s divorce-headed wife, Will Arnett, who replaced Armie Hammer, as football federation board’s Alex Magnussen, and Rachel House as Tavita’s wife Ruth.
Showcasing the natural beauty of the island makes for a pleasant backdrop, with beaches, reefs and stunning cliff outlooks. And the characters’ relaxed way of life adds to the authentic depiction.
If you’re looking for heartwarming, you can find it here. However, if you are seeking a rousing underdog sports film that’s a cut above the usual, seek out the Oscar-winning documentary “Undefeated.”
“Next Goal Wins” is a 2023 Sports Comedy directed by Taika Waititi and starring Michael Fassbender, Elisabeth Moss, Will Arnett, Oscar Kightley, Kaimana, and David Fane. It’s rated: PG-13 for some strong language and crude material and runs 1 hour, 43 minutes. It opens in theatres Nov. 17. Lynn’s Grade: C.
In a culturally enriching evening that seamlessly melded tradition and innovation, Trinity Irish Dance Company delivered a performance of depth and resonance in St. Louis at the Touhill, presented by Dance St. Louis under the guidance of Michael Uthoff, its artistic director and unerring cultural curator.
Let’s dispense, from the get-go, the obvious association that, if you’re anything like me, you might make when you see the words “Irish dance.” You immediately think of That Other, perhaps more well-known, dance company. No need to drop that name.
Having attended both, I much prefer Trinity. That’s to throw no shade on that other group. Both draw inspiration from traditional Irish step dancing that has been performed for hundreds of years. Choosing one over the other would be to provide short shrift to the genre and would ignore the fact that some of the same dancers have performed in both.
It would be like choosing a favorite among your children, or comparing The Pogues with The Chieftains (or U2 with the Joanie Madden or the Boomtown Rats, for that matter) or “The Commitments” with “My Left Foot.” So choose your vibe.
Abi Graham-Luke, Ali Doughty, Anna Gorman, Kelsey Parry, Michael Fleck; Trinity Irish Dance Company, 2020
Given the option, I would choose Trinity, even though both present Irish dance at its most skilled – agile footwork, stiffened with formality from the waist up with synchronized precision while transitioning from lines to circles to diamonds. And for the record, I own albums from all of the musicians listed above and love both of those movies.
Trinity distinguishes itself in several ways. The performance is modernized with theatrical lighting effects and features an onstage band that accompanies the dancers with wonderful musical selections and music-only interludes.
The band was composed of Brendan O’Shea, the composer on guitar and vocals, Jake James on fiddle and bodhran, Christopher Devlin on guitar and vocals and Steven Rutledge on percussion. One of the musical highlights was a folk-based “Listen,” by O’Shea is delightful. Another was the fiddle work of James, who performed an intriguing “duet” with a fairy-like dancer (not identified in the program).
Trinity’s contemporary approach results in dance pieces that are awe-inspiring. Helmed by founding artistic director and choreographer Mark Howard, collaborating with associate artistic director and co-choreographer, Chelsea Hoy, this pioneering company has been innovating for more than 30 years. The company celebrates individuals, especially the women in the mostly female company that are bringing dynamic works to life with incomparable style.
The program of 13 pieces included a diverse repertoire that showcased the evolution of Irish dance. The performance, choreographed by artistic director Mark Howard, artfully blended traditional elements with contemporary influences. The audience was keyed into Trinity’s unique approach at the beginning of the evening as a spectral voice-over expresses a desire to break free from the constraints of rules, conformity and over-produced formulas.
Trinity’s dancers demonstrated remarkable technical skill and emotional depth throughout the evening, from the rhythmic intensity of “Soles” to the poignant storytelling of “Thank You for Hearing Me,” and from the hopeful optimism of “A New Dawn” to the mysterious allure of “Black Rose.” Each piece offered a unique perspective on the beauty and complexity of Irish dance.
The dynamic energy of “Sparks” and the meditative grace of “Communion” were complemented by the introspective exploration of “Listen” and the nostalgic resonance of “Johnny.” The spirited vitality of “Push” and the modern reinterpretation of “American Traffic” added layers of depth and dimension to the evening’s program. The performance culminated with the triumphant finale of “An Sorcas,” aka “The Circus” – an effective bookend to the opening piece, “Tokyo.”
It’s hard to choose among the 13 pieces to highlight one that stood out among the others. One of my personal favorites was “Johnny,” a piece Howard created for “The Tonight Show” in 1991. I also marveled at “Communion,” a piece created by Howard with Sandy Silva in 2014.
The dancers perform barefoot, blending Irish dance with body percussion reminiscent of African American stepping. In “Push,” an exhilarating series of solos, they demonstrate their ability to push the boundaries of technique, multiplying heel clicks in the air to create a sound reminiscent of the break at the start of a pool game.
Dance St. Louis is one of the oldest and one of only four nonprofit dance presenters in the country and is focused on fostering a vibrant dance community. Reflecting on the organization’s mission, Uthoff has said, “At Dance St. Louis, we strive to bring diverse and innovative dance experiences to St. Louis, enriching our community with a range of perspectives and styles.”
Mission accomplished – again – with the presentation of Trinity Irish Dance Company. Through their artistry and innovation, they brought the richness and vibrancy of Irish dance to life in a way that resonated deeply with all who were fortunate enough to witness it. Next up is Ailey II on March 1-2, also at the Touhill.
On Thanksgiving weekend, SLSO strings perform Antonio Vivaldi’s The Four Seasons and Astor Piazzolla’s The Four Seasons of Buenos Aires at three locations throughout the region, featuring Concertmaster David Halen and Associate Concertmaster Erin Schreiber
On December 1, conductor David Danzmayr leads the orchestra in Ludwig van Beethoven’s Symphony No. 2, along with Jessie Montgomery’s Strum and Ralph Vaughan Williams’ Oboe Concerto featuring SLSO Principal Oboist Jelena Dirks
The second of five Live at The Sheldon concerts, curated by SLSO violinist Angie Smart and SLSO cellist Bjorn Ranheim, features SLSO strings players in music by Jessie Montgomery, Christian Quiñones, and Franz Schubert, plus the world premiere of a new work by University of Missouri student Harry González, December 6
On December 8, Kevin McBeth leads the SLSO and the SLSO IN UNISON Chorus in the annual Gospel Christmas concert, featuring baritone Wintley Phipps
The SLSO performs the scores to two films while the movies play on the Stifel Theatre big screen: Home Alone (December 9-10) and Back to the Future (December 28-29)
On December 12-17, the SLSO performs its traditional Mercy Holiday Celebration with a selection of holiday tunes, led by Stuart Malina and featuring vocalist Scarlett Strallen in her SLSO debut, in St. Charles and downtown St. Louis
The surprise-filled New Year’s Eve Celebration rings in 2024 with conductor Norman Huynh and vocalist Jimmie Herrod in his SLSO debut
The St. Louis Symphony Orchestra has announced details of its holiday concerts—a wide range of symphonic concerts performed across six venues throughout the region. Concerts include classical favorites, chamber music, films with scores performed live, and concerts that celebrate the holiday season. Two vocalists will make their SLSO debuts: musical theater veteran Scarlett Strallen and America’s Got Talent finalist Jimmie Herrod.
Tickets are on sale now and may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. A broadcast of the December 1 classical concert will be aired on December 2 on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, and online. Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each classical concert.
While the expansion and renovation of Powell Hall continues, the SLSO will perform holiday concerts at several venues throughout the region: St. Joseph Catholic Church Cottleville (November 24), Manchester United Methodist Church in Manchester (November 25), The Sheldon in Grand Center (November 26 and December 6), the Touhill Performing Arts Center at the University of Missouri–St. Louis (December 1), Stifel Theatre in downtown St. Louis (December 8-10, 16-17, 28-29, 31), and the J. Scheidegger Center for Performing Arts at Lindenwood University (December 12-13). Shuttle service will be available for concerts at the Touhill at UMSL and Stifel Theatre starting at $15 per seat. There will be two shuttle pick-up locations for performances at Stifel Theatre: Plaza Frontenac and St. Louis Community College–Forest Park. Shuttles for performances at the Touhill Performing Arts Center at UMSL will depart from Plaza Frontenac, and free parking is available on the UMSL campus.
The Eight Seasons of Vivaldi and Piazzolla
Friday, November 24, 7:30pm St. Joseph Catholic Church Cottleville 1355 Motherhead Road, Cottleville, MO 63304
Saturday, November 25, 7:30pm Manchester United Methodist Church 129 Woods Mill Road, Manchester, MO 63011
Sunday, November 26, 3:00pm The Sheldon 3648 Washington Ave, St. Louis, MO 63108
David Halen, violin Erin Schreiber, violin
Antonio VivaldiThe Four Seasons
Astor Piazzolla (arr. Desyatnikov)The Four Seasons of Buenos Aires
The SLSO brings the melodies of the changing seasons to life in three performances on Thanksgiving weekend. The timeless charm of Antonio Vivaldi’s The Four Seasons transports listeners to the northern Italian countryside, brilliantly contrasting with the passionate soundscape of Argentina in Astor Piazzolla’s The Four Season of Buenos Aires. From Vivaldi’s iconic Spring to Piazzolla’s intense Winter, the SLSO’s own gifted violinists, Concertmaster David Halen and Associate Concertmaster Erin Schreiber, weave a seasonal musical tapestry. Tickets for general admission are $30.
David Danzmayr
Beethoven’s Second Symphony
Friday, December 1, 10:30am CST* Friday, December 1, 7:30pm CST Touhill Performing Arts Center at the University of Missouri–St. Louis 1 Touhill Circle, St. Louis, Missouri, 63121
David Danzmayr, conductor Jelena Dirks, oboe
Jessie Montgomery Strum
Ralph Vaughan Williams Oboe Concerto (First SLSO performances)
Ludwig van Beethoven Symphony No. 2
Presented by the Thomas A. Kooyumjian Family Foundation.
*Refreshments courtesy of Kaldi’s Coffee and Eddie’s Southtown Donuts.
Conductor David Danzmayr returns to the SLSO for two concerts on December 1 that pair the familiar with the new. Danzmayr pushes Ludwig van Beethoven’s Second Symphony close to the edge, revealing the magic behind one of the composer’s lesser-known symphonies. SLSO Principal Oboist Jelena Dirks’ goal is to sing through her instrument. She has every opportunity in the songful, break-your-heart musical world of Ralph Vaughan Williams’ Oboe Concerto, performed by the SLSO for the first time in these concerts. Strum by Jessie Montgomery, the in-demand American composer of this moment, salutes American folk music.
St. Louis Symphony Orchestra: Live at The Sheldon Wednesday, December 6, 7:30pm CST The Sheldon Concert Hall 3648 Washington Ave., St. Louis, Missouri, 63108
Angie Smart, curator and violin
Bjorn Ranheim, curator and cello
Andrea Jarrett, violin
Shannon Farrell Williams, viola
Aleck Belcher, double bass
Jessie MontgomeryStrum
Harry González New Work (World premiere)
Christian QuiñonesPasemisí, Pasemisá
Franz Schubert String Quintet in C major
Curated by Angie Smart (SLSO violin) and Bjorn Ranheim (SLSO cello).
The performance of Harry González’s work is presented in partnership with the Mizzou New Music Initiative.
Sponsored by the Sinquefield Charitable Foundation.
The second in a five-concert chamber series in partnership with the SLSO’s Grand Center neighbor, The Sheldon, celebrates the virtuosity of SLSO string players on December 6. Curated and led by violinist Angie Smart and cellist Bjorn Ranheim, a quintet of SLSO string players performs a rich array of music by Jessie Montgomery and Christian Quiñones, as well as Franz Schubert’s Quintet in C major. In a unique partnership with the Mizzou New Music Initiative at the University of Missouri, the musicians also give the world premiere of new music by Harry González, a student composer. The St. Louis American called this new series “the hottest ticket in town.”
A Gospel Christmas
Friday, December 8, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Kevin McBeth, conductor
Wintley Phipps, vocals
St. Louis Symphony IN UNISON Chorus | Kevin McBeth, director
Leroy Anderson A Christmas Festival
Jeffrey Ames (orch. Dunsmoor) A Festive Praise
Traditional “Walk Together Children”
Traditional (arr. Wilberg) “The Virgin Mary Had a Baby Boy”
Traditional (arr. Lawrence) “O Come, O Come, Emmanuel”
G.F. Handel (arr. Warren/Jackson/Kibble/Hey/Chinn) “Hallelujah” from Handel’s Messiah: A Soulful Celebration
Traditional (arr. Smith) “Go Tell It On the Mountain”
Traditional (arr. Stoddart/Turner) “Here’s One”
Alfred Burt (arr. Smith) “Some Children See Him”
Jill Jackson (arr. Clydesdale) “Let There Be Peace On Earth”
Traditional (arr. Davis) Deck the Halls
Brandon A. Boyd (orch. Joubert) “Sign Me Up”
Traditional (arr. Johnson/Davis) “Children, Go Where I Send Thee”
Franz Gruber (arr. Tyzik) “Silent Night”
Cliff Duren Star of Wonder Medley
Traditional (arr. Clydesdale) “Kum Ba Yah”
Adolph-Charles Adam (arr. Smith) “O Holy Night”
Traditional (arr. Keveren) “Amazing Grace”
Supported by Bayer Fund.
The SLSO IN UNISON Chorus returns for a beloved tradition on December 8, the Gospel Christmas concert with the SLSO, led by Chorus Director Kevin McBeth at Stifel Theatre. Joining the IN UNISON Chorus is baritone Wintley Phipps, whose silky-smooth voice highlights the soulful stylings of holiday music. Supported by Bayer Fund since 1994, the IN UNISON Chorus performs and preserves music from the African diaspora.
Jason Seber
Home Alone in Concert
Saturday, December 9, 7:00pm CST Sunday, December 10, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Jason Seber, conductor
Webster University Chorale | Trent Patterson, director
John Williams Home Alone
Back by popular demand, the SLSO performs John Williams’ iconic score to Home Alone live to the hilarious and heartwarming holiday classic at Stifel Theatre on December 9-10. When the McCallisters leave for vacation, they forgot one thing: Kevin! Discover an experience the whole family can share. Limited tickets are available for this holiday favorite.
Mercy Holiday Celebration
Tuesday, December 12, 7:30pm CST Wednesday, December 13, 7:30pm CST J. Scheidegger Center for the Arts at Lindenwood University 2300 W. Clay St., St. Charles, Missouri, 63301
Saturday, December 16, 2:00pm & 7:30pm CST Sunday, December 17, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Stuart Malina, conductor
Scarlett Strallen, vocals (SLSO debut)
Cally Banham, English horn
Samuel Coleridge-Taylor (arr. Baynes) Christmas Overture
George Wyle (arr. Clydesdale) “It’s the Most Wonderful Time of the Year”
James Pierpont (arr. Waldin) “Jingle Bells”
Pyotr Ilyich Tchaikovsky (arr. Ellington/Strayhorn; orch. Tyzik) Selection from The Nutcracker Suite
Irving Berlin (arr. Maness) “White Christmas”
Richard Rodgers (arr. Bennett) “My Favorite Things” from The Sound of Music
Adolphe Adam (arr. Clydesdale) “O Holy Night”
Various (arr. Stephenson) A Charleston Christmas
Traditional (arr. Tyzik) Chanukah Suite
Tom Lehrer (arr. Malina) “Chanukah in Santa Monica”
J. Fred Coots (arr. Holcombe) “Santa Claus in Coming to Town”
Sergei Prokofiev “Troika” from Lieutenant Kijé Suite
Leroy Anderson Sleigh Ride
Felix Bernard (arr. Harper; orch. Blank) “Winter Wonderland”
Various (arr. Waldin) “The Christmas Song/Have Yourself A Merry Little Christmas”
Various (arr. Stephenson) A Holly and Jolly Sing-Along!
Presented by Mercy.
The SLSO and conductor Stuart Malina bring the music of the holiday season to the stage at Stifel Theatre and Lindenwood University in St. Charles for a cherished holiday tradition—the Mercy Holiday Celebration. Full of favorite carols and sounds of the season, this year the orchestra will be joined by special guests, Broadway and West End veteran vocalist Scarlett Strallen and SLSO English horn player Cally Banham. Even Santa makes time for these festive concerts December 12-13 (Lindenwood) and December 16-17 (three concert at Stifel Theatre)!
Back to the Future in Concert
Thursday, December 28, 7:00pm CST Friday, December 29, 7:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Norman Huynh, conductor
Alan SilvestriBack to the Future
Recharge your flux capacitor…and get ready to celebrate the unforgettable 1985 classic, Back to the Future, with the SLSO performing Alan Silvestri’s score live as the film plays on Stifel Theatre’s big screen on December 28-29. Back to the Future topped the box office chart, spawned two wildly successful sequels, and stamped an enduring imprint on pop culture. Join Marty McFly (Michael J. Fox), Doc Brown (Christopher Lloyd), and a time traveling DeLorean for the adventure of a lifetime.
Jimmie Herrod
New Year’s Eve Celebration
Sunday, December 31, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Norman Huynh, conductor
Jimmie Herrod, vocals (SLSO debut)
Repertoire announced from the stage.
Send 2023 off in style at the SLSO’s annual bash—the New Year’s Eve Celebration concert. Frequent guest conductor Norman Huynh leads this musical party filled with surprises. Although the repertoire is a secret, it’s sure to be a fun-filled evening with the SLSO and guest vocalist Jimmie Herrod, a Pink Martini and America’s Got Talent alumnus. This one-night-only concert takes place at the stylish Stifel Theatre on December 31.
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.
Jelena Dirks, oboe
About the University of Missouri–St. Louis Touhill Performing Arts Center
Designed by the renowned architectural firm I.M. Pei, Cobb, Freed and Partners, the Blanche M. Touhill Performing Arts Center is a landmark performance facility on the campus of the University of Missouri-St. Louis (UMSL). The Center hosts an average of 120 events, 200 performances, and 90,000 visitors per year.
The Touhill staff manages several collaborative relationships and programs that, along with campus and community partners, bring together a diverse season of dance, theatre, music, festivals, and special events.
About Stifel Theatre
Stifel Theatre is a historic, 3,100 seat theatre in the heart of downtown St. Louis. Originally opened in 1934, Stifel Theatre’s stage has welcomed some of entertainment’s greatest performers and was the primary venue for the St. Louis Symphony Orchestra from 1934-1968. Following a $78.7 million restoration, this historical gem has been restored to its original splendor and undergone state-of-the-art upgrades.
Stifel Theatre plays host to a wide variety of events, including concerts, comedies, theatricals, family shows, holiday productions, and more.
