Feast, Fete & Fun in Ste. Genevieve on Saturday, Sept. 9
In celebration of the 350th anniversary of explorers Marquette & Jolliet’s historic Mississippi River voyage, French Colonial America presents the Voyageur Rendezvous, a special event on Saturday, September 9.
This culturally significant evening takes place on the grounds of the historic Bolduc House in Ste. Genevieve, Missouri. The event features historic food of the French Colonial period, live period music, historic interpreters and a one-act play by Jim Healy, “Louis Jolliet: A Solid Path Through Water.” Baroque guitarist Patrick Rafferty will play period music.
The event takes place on Saturday, September 9, 2023, from 4:30 to 8:00 p.m, The theater performance begins at 5 p.m., followed by a buffet at 6 p.m. on the grounds of the Historic Bolduc House,125 Main Street, Ste. Genevieve, Missouri 63670. Tickets are $125 each and include all event activities, music, theatrical performance, dinner and parking. French Colonial attire is welcome. Comfortable footwear is recommended.
French Colonial attire is welcome. Historic interpreters will be on site.
VOYAGEUR RENDEZVOUS DINNER
Amuse Bouches: pâté, charcuterie, French Sorrel Soup, Herb Gougères
Buffet: Cochon de Lait, Poulet Fricassée, Missouri Rice Ragoût (with local pecans and mushrooms), Ratatouille, Late Summer Salad, Pain et Dessert
The Evening’s Culinarians: Chef Craig Basler, Dalie’s Smokehouse; Suzanne Corbett, food historian & Foodways Interpreter; René Waterhouse-Sackett, locavore & culinary professional
ABOUT MARQUETTE & JOLLIET
In 1673, Father Jacques Marquette, a Jesuit missionary, and fur trader Louis Jolliet led an expedition to explore the French-claimed territory in North America from the Great Lakes region to the Gulf of Mexico. They ended the expedition in present-day Arkansas when warned by native tribes that Spanish colonial powers controlled territory from the mouth of the Arkansas River to the Gulf. The expedition was the first time non-native people explored the central portions of the Mississippi River and was the first to determine the courses of the rivers that ran through the interior of the continent.
Marquette and Jolliet’s Voyage.
ABOUT FRENCH COLONIAL AMERICA
French Colonial America preserves and promotes French and Creole culture and the history of the Mississippi Valley during the Colonial period. French Colonial America also owns and operates the Centre for French Colonial Life Museum Campus. This unique, historical museum site consists of four historic houses as well as an education and exhibits facility. For more information, visit http://www.FrenchColonialAmerica.org
French Colonial America 198 Market Street Sainte Geneviève, MO 63670 583-883-3105
By Lynn Venhaus Known as “The Iron Lady of Israel,” Golda Meir was a shrewd, smart, intuitive and empathetic leader during a tumultuous time. The film “Golda” focuses on three horrific weeks when her country was in serious jeopardy, and the decisions she made then.
During her term as prime minister from 1969 to 1974, Meir not only had to deal with the surprise attack by Egypt and Syria in 1973, but also the tragic deaths of 11 Israeli athletes at the Munich Summer Olympics in 1972.
Set during the tense 19 days of the Yom Kippur War in 1973, Meir (Helen Mirren) must navigate overwhelming odds, a skeptical cabinet, and a complex relationship with the U.S. Secretary of State Henry Kissinger (Liev Schreiber). Millions of lives are in the balance.
In a cloud of cigarette smoke, Mirren is transformed into the Ukrainian-born head of state, who lived in the U.S. in her younger days, and became a prominent activist and politician after moving to Palestine with her husband in 1917. She was one of two women who signed Israel’s declaration of independence in 1948.
Meir is a fascinating historical figure, but you won’t find out her backstory or much information about her life other than the period the movie focuses on, which is detrimental to its appeal. But Mirren depicts her revered toughness without being showy.
The 78-year-old actress is practically unrecognizable, with an expert job done by Karen Hartley on hair and make-up design and Suzi Battersby on prosthetic design. Hunched over, defiantly chain-smoking (up to and after her cancer treatments), and walking in comfortable orthopedic shoes, Mirren assumes the persona as a courageous, maternal grandmother.
She’s not the only Oscar winner to tackle playing Golda. In her final role, Ingrid Bergman won an Emmy for the 1982 TV-movie “A Woman Called Golda,” and Anne Bancroft played the role in William Gibson’s play on Broadway.
With its focus on the maneuverings in The War Room, we only hear the terrified cries of soldiers in combat, and don’t see that action up close and personal. That’s director Guy Nattiv’s choice, but the film feels remote and stodgy without war scenes.
He specifically uses cigarettes and the act of smoking as part of the storytelling, and overflowing ashtrays are meant to signify passage of time. But the billowing smoke becomes distracting, and its heavy use debatable.
Nattiv may have intended his film to be more like a thriller, but its serious-mindedness turns it dull at times. He and his wife, Jaime Ray Newman, won an Academy Award in 2019 for their short film “Skin,” which looks at a reformed neo-Nazi and racism.
Screenwriter Nicholas Martin, who wrote the 2016 movie starring Meryl Streep as socialite singer “Florence Foster Jenkins,” concentrates on the complex Meir’s total commitment to her country. He chronicles Israel’s course of action during the crushing losses, makes it personal, and touches upon the career-ending controversy by showing the Agranat Commission investigating Meir regarding the high number of casualties: 2,656 dead soldiers and 7,251 injured; 294 prisoners of war had been captured by the enemy
Nattiv uses archival footage sparingly to give us the bare minimum of facts.
In a brief but pivotal role, Liev Schreiber portrays U.S. Secretary of State Henry Kissinger as an ally helping to negotiate peace, but with steely resolve, Meir gets the support and assistance she wants in a face-to-face meeting at her modest home.
Camille Cotton is memorable as compassionate longtime personal assistant Lou Kaddar.
Rami Heuberer is Defense Minister Moshe Dayan, who was blamed for the unpreparedness of the Israeli Army, decimated by invading Syrians and Egyptians, and this ended his career as well.
The supporting cast includes other advisors – Lior Ashkenazi as Chief of Staff David “Dado” Elazar and Ohad Knoller as Field General Ariel Sharon (a future prime minister), as they hash out strategies.
The string-heavy score by Dascha Dauenhauer underscores the high stakes and the human toll. And this story takes place in the early ‘70s, so the sound design by Niv Adiri to make it sound authentic is noteworthy.
Meir died in 1978, at age 80, from lymphoma. She lived long enough to witness the infamous Camp David Accords that led to a peace treaty signed by Israel’s Prime Minister Menachim Begin and Egyptian President Anwar Sadat with President Jimmy Carter.
While Mirren’s performance as a major historical figure is praise-worthy, the film is a missed-opportunity drama. In theory, it should have been more captivating, and in execution, much more dramatic and gripping.
“Golda” is a 2023 biographical historical drama directed by Guy Nattiv and starring Helen Mirren, Liev Schreiber, Camille Cotton, Zed Josef, Lior Ashkenazi, Ohad Knoller, and Rami Heuberer. It is rated PG-13 for thematic material and pervasive smoking and the runtime is 1 hour, 40 minutes. It opens in theatres Aug. 25. Lynn’s Grade: C+.
Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.
Special Guests Include Dr. Athena Aktipis, Dr. Coltan Scrivner andEmmy Award-Winning Horror Director Patrick Rea
Shift Films and the Haunted Garage Podcast are back with their 3rd Annual Haunted Garage Horror Festival taking place October 5-7 at the historic Hi-Pointe Theatre, located at 1005 McCausland Avenue in St. Louis. Tickets range from $10 Pit Stop Passes for specific events to an all-access weekend pass for $100.
Find ticket details and prices at FilmFreeway or at the Hi-Pointe box office. The event kicks off Thursday, October 5 with a horror-themed cocktail meet-and-greet with festival guests and a Trunk-or-Treat event for families benefitting Stray Rescue of St. Louis.
Producers and festival creators Franki Cambeletta, Jeremy King, Travis Brown and Lily Schenck are excited to bring both local and national filmmakers together in the third year of the acclaimed Haunted Garage Horror Festival. “We are excited to work with the Hi-Pointe Theatre this year on bringing a world-class horror fest to St. Louis,” says Cambeletta.
Golden Piston Award
“We will be awarding Golden Piston Awards for categories such as Best Short, Best Feature Film, Best of Fest, Best Student Film, Best Cinematography, Best Screenplay and the Film with Most Grit.”
In addition to the horror micro-shorts, shorts, and feature, horror experts in the field will participate in “Dead Talks” over the three-day festival such as Professor Athena Aktipis, Founder of Zombie Media, last year’s “Best of Fest” winners Aaron Irons and Josh Croft, and Director Patrick Rea will talk about how to get your film distributed.
Dr. Coltan Scrivner, a leading expert on the psychology of horror and morbid curiosity, will also present over the weekend with more guests to be announced. For more information and a full itinerary and film schedule, visit www.hauntedgaragehorrorfest.com.
From a previous Haunted Garage Horror Fest. Photo Provided
Metro Theater Company (MTC), St. Louis’s premiere professional theater for youth and families and St. Louis’ third-oldest professional theater company, announces its 51st season.
Metro Theater Company’s 2023-24 season celebrates the strength and power we find within ourselves through our connections with others, and the joy that friendship brings, especially in those moments where it is tested. “Season 51 productions are filled with joy. They celebrate acceptance of difference, the importance of friendship, and the strength and wisdom we find in ourselves and our community,” stated Artistic Director Julia Flood. Managing Director Joe Gfaller adds, “As we continue our commitment to reach every child in the St. Louis region over the next decade, this season of live theater and in-school residencies deepens young people’s relationships to one another, our community, and their own imagination,”
The season kicks off with a tour of Maddi’s Fridge (September 11 – October 22), followed by two productions at The Grandel Theater: Eddie & Vinnie (October 18 – November 5) and the Tony-nominated A Year with Frog and Toad (February 7 – March 3). Through a new partnership with St. Louis County Children’s Service Fund, MTC’s programming in Season 51 will include in-school residencies of anchor programs Building Community Through Drama and Say Something, Do Something with fourth graders across the University City, Ferguson-Florissant, and Hazelwood school districts. In addition, a special two-day family festival to celebrate 50 years of MTC will be held October 21 and 22. Tickets go on sale to the general public on August 29.
Metro Theater Company 23-24 Season
Maddi’s Fridge By Anne Negri
Adapted from the book by Lois Brandt
Directed by Jess Shoemaker
September 11 – October 18
Touring to schools across the St. Louis metropolitan region. Limited public performances in September and October 2023.
What if the only way to help a friend was to break a promise? Sofia and Maddi are best friends. They live in the same neighborhood, go to the same school, and play at the same rock-climbing gym. But when Sofia learns a secret about Maddi’s family, she’s faced with a difficult decision: to keep her promise or tell her parents about Maddi’s empty fridge to help her friend. With humor and heart, this play is sure to inspire conversations with your young people about honesty, sensitivity, empathy and helping others. The cast includes Sarah Lantsberger, Gabrielle Watson Torres, and DeAnté Bryant. Maddi’s Fridge is recommended for ages 5 to 11.
Free Public Performances
September 16, 10 am Buder Library
September 16, 2:30 pm Central Library
October 1, 2 pm Stone Barn Hermann Farm
Fall Family Festival Performances*
October 21 & 22, 10:30 am** & 1:30 pm Grand Center Arts District On Oct 22, the 10:30 am performance of Maddi’s Fridge will be Audio Described and ASL-Interpreted. Audio Description by MindsEye.
Eddie & Vinnie
A New Play by Jenny Millinger
Directed by Alicia Revé Like
October 18 – November 5, 2023
Grandel Theatre
Eddie is an unstoppable artist with a uniquely beautiful mind – and his best friend is a gecko. Together, the pair spends hours making intricate and beautiful puzzles. But he’ll be stuck in summer school if he can’t get his grades up. In a last-ditch effort, Eddie teams up with the overly helpful new girl for the dreaded end-of-year report. Will their presentation on MC Escher save his grades? Eddie & Vinnie reminds us that there is more than one way to learn – and more than one way to shine. The cast of Eddie & Vinnie includes Caleb Long, Hailey Medrano and Rae Davis. Eddie & Vinnie is best enjoyed by ages 6-12.
Public Performance Schedule
Ticketed Public Performances October 27 – November 5 Fridays at 7 pm Saturdays at 10:30 am & 2 pm Sundays at 2 pm
Free Fall Family Festival Performances* October 21 & 22, 12** & 3 pm **The October 22 12 pm performance of Eddie & Vinnie will be Audio Described and ASL-Interpreted. Audio Description by MindsEye.
A Year with Frog and Toad Music by Robert Reale Book and Lyrics by Willie Reale Based on the books by Arnold Lobel Presented through special arrangement with Music Theatre International (MTI) Directed by Julia Flood Music Direction by Jeremy Jacobs Choreography by Tyler White February 7 – March 3, 2024 Grandel Theatre
Hibernation is over, and it’s time to celebrate! Even though Frog and Toad find joy and wonder in very different things, their year together is filled with adventure. Dive into the delight of Arnold Lobel’s award-winning books in this three-time Tony-nominated musical. Across a jazzy, upbeat score, this nostalgic duo reminds us that individuality makes a friendship stronger – delighting longtime fans and the youngest tadpoles alike! The cast of A Year with Frog and Toad will be announced at a later date. Recommended for all audiences. Best enjoyed by ages 3 – 8.
Public Performance Schedule
Fridays at 7 pm Saturdays at 10:30 am & 2 pm Sundays at 2 pm
Tickets to the mainstage 2023-2024 Season productions are $20- $38. Tickets go on sale to the general public at 10 am CST on August 29 and are available through metroplays.org. For school bookings, email community@metroplays.org of fill out a bookings interest form online at metroplays.org/education.
*Fall Family Festival October 21-22, 2023 Grand Center Arts District This fall Metro Theater Company partners with some of our region’s most loved arts and education organizations to create two days filled with artmaking, learning, food, and fun. Anchored by MTC’s productions of Maddi’s Fridge and Eddie & Vinnie, this festival will
help the young people in your life sample all the best of the visual, creative, and
performing arts. Food trucks on site. General admission is free for all. Advance registration is strongly recommended.
Institutional and 2023-2024 Season support for Metro Theater Company is provided by
Regional Arts Commission, Emerson, Crawford Taylor Foundation, Shubert Foundation, Whitaker Foundation, Fred M. Saigh Foundation, Missouri Arts Council, and National Endowment for the Arts.
About Metro Theater Company: Since 1973, Metro Theater Company has been creating productions that respect young people’s intelligence, tell compelling stories, stimulate curiosity and provoke thoughtful reflection. The Company has reached a total audience of more than two million and has a national reputation for excellence in the field of professional theater for young audiences. Metro Theater Company has received major honors and awards, both locally and nationally. The company is led by Artistic Director Julia Flood and Managing Director Joe Gfaller. For more information, visit metroplays.org.
HILARY HAHN RETURNS TO OPEN THE ST. LOUIS SYMPHONY ORCHESRTA’S 144TH SEASON WITH MUSIC DIRECTOR STÉPHANE DENÈVE; SEASON-LONG BEETHOVEN PIANO CONCERTO CYCLE BEGINS, SEPTEMBER 23-30
Season-opening classical concerts at Stifel Theatre September 23-24, led by Denève, feature violinist Hilary Hahn in Felix Mendelssohn’s Violin Concerto; concerts also include Richard Strauss’ Don Juan and Till Eulenspiegel’s Merry Pranks, W.A. Mozart’s The Magic Flute Overture, and Paul Dukas’ The Sorcerer’s Apprentice
In September 29-30 concerts at the UMSL Touhill Performing Arts Center, Denève conducts Robert Schumann’s Symphony No. 4, Ludwig van Beethoven’s Coriolan Overture, and first SLSO performances of Unsuk Chin’s subito con forza; pianist Jonathan Biss performs Beethoven’s First Piano Concerto to begin the season’s complete cycle of Beethoven Piano Concertos
(August 24, 2023, St. Louis, MO) – Today, the St. Louis Symphony Orchestra announced details of its September classical concerts to open its 144th season, led by Stéphane Denève in his fifth season as Music Director. Concerts feature superstar violinist Hilary Hahn and pianist Jonathan Biss, both of whom return to the SLSO for the first time in more than a decade to perform monumental concertos by Felix Mendelssohn and Ludwig van Beethoven. These opening concerts follow the SLSO’s ceremonial opening of the season, the free community concert in Forest Park on Thursday, September 21.
Tickets start at $15 and are on sale now. Tickets may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. The Saturday, September 30, concert will be broadcast live 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 concert.
While the expansion and renovation of Powell Hall continues, the SLSO will perform classical concerts at two landmark performance venues: Stifel Theatre in downtown St. Louis (September 23-24) and the Touhill Performing Arts Center at the University of Missouri–St. Louis (September 29-30). Shuttle service will be available for all classical concerts starting at $15/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 UMSL campus.
Conductor Stephane Deneve, now in his fifth year
Opening Weekend with Hilary Hahn
Saturday, September 23, 2022, 7:30pm CDT Sunday, September 24, 2022, 3:00pm CDT Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Stéphane Denève, conductor Hilary Hahn, violin
Richard Strauss Don Juan Felix Mendelssohn Violin Concerto W.A. Mozart The Magic Flute Overture Paul Dukas The Sorcerer’s Apprentice Richard Strass Till Eulenspiegel’s Merry Pranks
Presented by the Thomas A. Kooyumjian Family Foundation.
The SLSO’s season-opening concerts led by Denève meld grandeur, enchantment, and jollity. The program begins with Richard Strauss’ symphonic poem Don Juan, which tells the adventures of the legendary character Don Juan. Violinist Hilary Hahn delivers the heart of the concert with performances of Felix Mendelssohn’s Violin Concerto. The concerto is famous for its lyrical melodies and is one of the most beloved concertos in the violin repertoire. Hahn’s most recent performance with the SLSO was 21 years ago. She is a three-time Grammy winner and one of the foremost violinists of our time, known for her exceptional musicianship and her commitment to expanding the accessibility of classical music through her educational partnerships and through her social media engagement.
The program continues with a trio of playful works including W.A. Mozart’s The Magic Flute Overture, Paul Dukas’ The Sorcerer’s Apprentice, and Richard Strauss’ Till Eulenspiegel’s Merry Pranks.The Magic Flute, considered one of Mozart’s most famous works, overflows with dynamic and captivating melodies. Dukas’ piecetells the story of an enchanted broomstick, a piece made famous for its inclusion is Disney’s Fantasia. The excitement continues through to the final work, Strauss’ Till Eulenspiegel’s Merry Pranks which is based on a trickster from German folklore.
Beethoven’s Piano Cycle: Jonathan Biss Plays the First Friday, September 29, 10:30am CDT* Saturday, September 30, 7:30pm CDT Touhill Performing Arts Center at the University of Missouri–St. Louis 1 Touhill Circle, St. Louis, Missouri, 63121
Stéphane Denève, conductor Jonathan Biss, piano
Ludwig van Beethoven Coriolan Overture Unsuk Chin subito con forza(First SLSO performances) Ludwig van Beethoven Piano Concerto No. 1 Robert Schumann Symphony No. 4
*Refreshments courtesy of Kaldi’s Coffee and Eddie’s Southtown Donuts.
September 29-30 concerts honor the composer Ludwig van Beethoven. The program opens with Beethoven’s Coriolan Overture, inspired by Heinrich Joseph von Collin’s play “Coriolan,” which tells the story of the Roman general Gaius Marcius Coriolanus who seeks revenge against Rome. Korean composer Unsuk Chin’s subito con forza was composed in 2020, the 250th anniversary of Beethoven’s birth. Inspired by the Coriolan Overture, the piece references some of Beethoven’s most well-known music, his Symphony No. 5 and Piano Concerto No. 5, which the SLSO will perform later this season.
Pianist Jonathan Biss collaborates with the SLSO for the first time in 15 years in Beethoven’s Piano Concerto No. 1, the first of all five Beethoven piano concertos performed by the SLSO this season. One of today’s foremost Beethoven experts, Biss recorded an audio book, Unquiet: My Life with Beethoven, in 2020 where he details his complex relationship with the composer. Like Biss and Chin, the composer Robert Schumann took inspiration from Beethoven. In his Fourth Symphony, Schumann develops a motif throughout the four movements in a similar cyclic form to Beethoven’s works, and dramatic shifts in mood and dark orchestral textures reveal Beethoven’s influence.
SLSO at the University of Illinois Urbana-Champaign Sunday, October 1, 3:00pm CDT Krannert Center for Performing Arts at the University of Illinois Urbana-Champaign 500 S Goodwin Ave, Urbana, Illinois, 61801
Denève, Biss, and the SLSO take the September 29-30 program to the University of Illinois Urbana-Champaign’s Krannert Center for Performing Arts—the SLSO’s third visit to the university since Denève became Music Director.
The SLSO’s 144th season runs through May 2024. For more information, visit slso.org.
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 Music Director Stéphane Denève. 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.
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 Touhill Performing Arts Center is a landmark performance facility on the campus of the University of Missouri-St. Louis (UMSL). The Touhill at UMSL hosts an average of 120 events, 200 performances, and 90,000 visitors per year.
The Touhill at UMSL staff manages several collaborative relationships and programs that, along with campus and community partners, to bring together a diverse season of dance, theatre, music, festivals, and special events.
Stifel Theatre interior
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.
Will host first public info session at Heydays HQ in Midtown on August 27
Food City kicks off community outreach events and microgrant series, announces new team member.
With a bold vision for a grassroots community engagement campaign to reimagine the future of food in the St. Louis region, Food City has hired Keisha Mabry Haymore as Community Manager.
Jan Marson, Founder of Serving Our Communities Foundation selected Mabry Haymore for her brilliance and shine, saying: “Keisha is an inspiring speaker, connector, organizer and mentor. Most importantly she is a friend to all and deeply trusted by the community. We couldn’t be more excited to have such a shining star acting as our liaison to the St. Louis region.”
Haymore
Darren Jackson, Chief Operations Officer of Serving Our Communities, says they couldn’t have found a better person for the role: “Keisha is on the ground in St. Louis advocating for entrepreneurs and community every single day. She has a gift for inspiring people to believe in themselves, and that’s exactly what Food City is about. We want people to know: your idea is good, your product is good, you deserve accessible food options in your own neighborhood, and you have the power to make whatever change you know is needed. With Keisha’s help and the community’s involvement, Food City will become a force for good throughout the entire St. Louis Metro Area.”
Mabry Haymore’s first order of business is to bring people together through a series of community gatherings and microgrants for people looking to improve the food system. She describes the series as having three goals: “We’re organizing these gatherings to do three things: Listen, Learn and Louden! ‘Food For All’ means everyone has access to fresh, healthy food. It means lifting up food entrepreneurs as a vehicle for economic and community development so that all this momentum behind our beautiful food scene creates an abundance of opportunity for diverse entrepreneurs and industry professionals.”
Attendees can expect complimentary food and drinks, guest speakers, and opportunities to share their ambitions and make new connections. Each gathering is free and open to the public, but attendance is limited.
Upcoming Gatherings include:
Food City Community Info Session
August 27 from 1-4PM at Heydays HQ in partnership with Frizzy By Nature
Designed for major grant applicants to learn more, ask questions and gain advice.
Community Survey – Public input gathered through this survey will inform Food City’s strategic plan aimed at fostering a more inclusive, sustainable food ecosystem in the St. Louis Metro Area.
Growth Grant: $75,000 – For existing food brands currently selling packaged food directly to consumers; this grant also includes $25,000 in production
Innovation Grant: $50,000 – For new food brands looking to create packaged food products to be sold directly to consumers
Food For All Grant: $20,000 – For nonprofit and social impact projects helping to get food to people who need it the most in the St. Louis Metro Area
Environmental Justice: $5,000 – For nonprofit and social impact projects that improve the environment through farming, soil treatment, cleanup, community gardens, or sustainability
Microgrant Program & Community Gatherings
Monthly Community Gatherings – Networking and $500 Micro-Grants awarded to support food entrepreneurs and local projects with growth and innovation
About Food City:
Food City by Serving Our Communities aims to create a more inclusive, sustainable food ecosystem in the St. Louis Metro Area with a shared value system of equality, empowerment, and social responsibility.
Food City supports a diverse range of stakeholders through funding, resources, relationships, education, workforce development, and mentorship. The project serves budding food entrepreneurs, industrious farmers, conscientious food policy and direct service organizers, educational institutions, social enterprises, and nonprofit initiatives with one thing in common: a relentless commitment to Food For All.
Recognizing the transformative power of accessible opportunities, the project strives to create an enabling environment that inspires everyone to thrive.
About Serving Our Communities:
Serving our Communities is a foundation and social enterprise launched by the Marson Family, former owners of Nature’s Bakery. After selling their company to KIND (a Mars company) in 2020, the family committed to investing heavily in Nevada and the St. Louis, MO region, injecting nearly $5 million in social impact investments.
Their standout venture is the Marson Foods facility, backed by an investment of close to $21 million. This facility not only generates jobs in the food industry, but it also acts as a vital hub for the Serving our Communities mission. It supports local entrepreneurs by providing essential resources such as machinery and workforce assistance. Additionally, it serves as an educational hub for food science, facilitating learning for both children and adults.
The Marson Family has shown a firm commitment to the St. Louis region’s food ecosystem, fostering a sustainable food chain that champions equality, empowerment, and social responsibility. Serving our Communities has been instrumental in backing underrepresented leaders and founders, from aiding the initiation of a farm in North St. Louis city to funding scholarships for local youth. This is all part of a grand vision: to utilize the universal need for food as a catalyst to bring communities together, nurturing both consumers and creators in this vibrant ecosystem.
About Keisha Mabry Haymore:
Keisha Mabry Haymore is a connector, convener and social entrepreneur on a mission to change the world one connection at a time. She is the owner of Heydays, a business incubator and coworking space for women and founders of color to connect, create and curate anything. Keisha has been featured on National Public Radio, The Daily Show, Fast Company, Success Magazine, Huffington Post, Essence, Black Enterprise, Fox 2 News, Nine Network, The Business Journal and more.
In addition, Keisha is the Grow With Google Digital Coach for Missouri—a program that provides free digital skills training to Black and Latinx entrepreneurs to close the digital divide gap. Keisha is also an adjunct lecturer at the University of Missouri, an Aspen Ideas Scholar, a Hatch Fellow, a TEDx speaker and her book Hey Friend: 100 Ways to Connect with 100 People in 100 Days is a movement to make the world friendly again, or at the very least, friendlier than it’s ever been.
She’s delivered more than 150 keynote speeches for Fortune 500 companies and top brands like Spotify, Mastercard, Edward Jones, Square, Bayer, Facebook, YUM!, Ikea, SHRM, US Bank and Brit + Co. Learn more at keishamabry.com and heydayshq.com.
We regret to announce that the remaining performances of MERRY WIVES have been canceled due to a knee injury in the company.
We so would have loved to share this wonderful show with all of you in Columbia (IL), Fairground, Ferguson, Maplewood, Hermann and Manchester, but we need to support our artist in their immediate treatment and full recovery.
Thanks to the many of you who shared your well wishes, and to the thousands of you who joined us for the first 15 nights of the show, and a special thank you to each of the 24 partner locations and our generous sponsors.
We hope to see many of you in just three weeks for the 10th anniversary Shakespeare in the Streets production, “The Game’s Afoot” – free in Downtown St. Louis at the intersection of 22nd and Olive on September 14, 15 and 16.
The St. Louis Black Repertory Companyhas named Brian McKinley as Director of Education and Community Programs. The actor, educator, and former intern assumes the role after serving 6 years in various positions at the Company.
“Brian is a talented emerging leader in our field,” said Ron Himes, Founder and Producing Director of The Black Rep. “I am very pleased that he has agreed to continue to bring his innovative and collaborative style to advancing our initiatives in the schools and community.”
Brian came to The Black Rep as an intern in 2017, directly after earning his BFA in Musical Theatre from Western Illinois University. Most recently he has served in the role of executive assistant to Producing Director Ron Himes, where he has coordinated the Black Rep’s Professional Fellow company, ensuring that thousands of local children gain access to quality theatre and engaging them in conversation and inquiry about the world around them.
As an actor, Brian’s talents have taken him to stages across the country. Recent credits include: Skeleton Crew; Sweat (The St. Louis Black Repertory Company), King Lear (St. Louis Shakespeare Festival), The Wizard of Oz (Theatre League, Inc.), A Midsummer Night’s Dream (Minot State University Summer Theatre), and The Wiz (COCA-Center of Creative Arts). He was recognized in 2021 with an award for Outstanding Supporting Performance from the St. Louis Theatre Circle for his role in Spell #7 (The St. Louis Black Repertory Co.) and was among the early-career professionals selected for the Fall 2021 Focus-St. Louis cohort of Emerging Leaders.
As education and community engagement director, McKinley will continue to manage the company’s professional fellow company as well as oversee the Touring Show Productions and growing portfolio of programming for education and community partners.
“I’m excited to continue to spread my wings as an arts leader and to continue to build awareness and partnerships with The Black Rep,” said McKinley. “Thanks to the support of generous donors we are able to bring the arts to more of the St. Louis community and most importantly, to our growing list of school partners.”
McKinley won a St. Louis Theater Circle Award for his performance in “Spell #7” at The Black Rep.
About the Black Rep
The Black Rep, a 46-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.org
Focus Features and Cinema St. Louis are celebrating the upcoming release of MY BIG FAT GREEK WEDDING 3 with a big fat free screening of the original comedy, MY BIG FAT GREEK WEDDING!
When: Tuesday, August 22 at 7:00pm Where: Hi Pointe Theatre (1005 McCausland Ave, St. Louis, MO 63117)
Trivia prior to the screening will offer the audience a chance to win gift cards from local Greek restaurants and more.
Tickets for this special screening are free and open to the public, while supplies last.
Click here for link to free tickets: https://hi-pointe.eventive.org/schedule/64d10fb4e9c86b00476902c1?mkt_tok=MTY4LVRIRy05NDkAAAGNuIyL7uF47Ubn8xuG-pzC58n3ZaZ6T5cUkktwdsK8HBLjLXCLNUB1gprJMt3LXyCOdNReVhYxMidQnfwDfM2F3mtUVIMxXI-3deC_Gl5_
The sleeper hit was a box office success, grossing $368.7 million worldwide and cost $5 million to make. It spawned a franchise, inspired a sitcom “My Big Fat Greek Life” in 2003, a movie sequel in 2016 and a third film is scheduled to be released on Sept. 8. It’s a joint production of Playtone, Gold Circle Films, HBO Films, and Focus Features. It is dedicated to Michael Constantine, who died on Aug. 31, 2021 at the age of 94. The plot is about the Portokalos family on a trip to Greece for a family reunion — and another wedding will be featured.
Michael Constantine as the Greek dad in “My Big Fat Greek Wedding.”
2-part docuseries airs Aug. 20 and 27 at 9 p.m. CST on MGM+
By Robert Hunt It was in 1966 that word started to spread of a “San Francisco Sound,” a new kind of music that had popped up in the Bay area and created new ways of playing and experiencing music. But this was more than just a musical trend or a record label’s marketing ploy.
Sure, a few new bands were starting to attract attention – Jefferson Airplane, the Grateful Dead, Big Brother and the Holding Company, Moby Grape among them – but the music was just one part of a confluence of social movements and utopian ideas that came together in the Bay area. San Francisco in 1966 and the myth of Haight Ashbury were just a day-glo variant of the American Dream, and the “San Francisco Sound” – a mélange of rock, folk, blues, bluegrass, psychedelia and anything else you wanted to slip in the punchbowl – provided the soundtrack.
That’s the lesson stressed by many of the participants in “San Francisco Sounds: A Place in Time,” a lively two-part exploration of the social phenomenon that evolved in the mid-60s, told mostly through the musicians who spread its message. Directors Alison Ellwood and Anoosh Tertzakian have compiled a dizzying assortment of talking-head interviews, archive material, concert footage and inobtrusive recreations (including an inventive animated scene simulating the effects of a hallucinogen), deftly packing the sights and sounds of a mind-expanding era into an efficient 150-minute package. (Ellwood knows her way around both the music and the cultural context, having previously delivered the 2020 “Laurel Canyon” and co-directed “Magic Trip”).
Grace Slick and Marty Balin of Jefferson Airplane
In Part One, we see the San Francisco scene develop in an air of almost magical innocence. Strangers wander into each other, drawn by the sound of music playing, and end up forming a band. New styles of art, advertising, and theatrical display (light shows and Be-Ins!) are developed, more from a love of experimentation than for their commercial potential.
The sounds began to spread around the country (Jefferson Airplane hit the Top Ten in early 1967 with “Somebody to Love”), but most of the bands were simply content to keep playing locally. Part One ends with an extended look at the event that gave a national spotlight for many of the Bay area bands and even changed a few skeptical L.A.-based minds, the Monterey Pop Festival in June 1967.
Although most known for Jimi Hendrix’s fiery performance and D. A. Pennebaker’s invaluable 1968 film, Monterey was a showcase for San Francisco acts, who made up nearly a quarter of the performers (Big Brother, the Dead, the Airplane, Steve Miller, Moby Grape and Quicksilver Messenger Service all performed) and left no doubt that Janis Joplin was only about a millimeter away from stardom. They came, they played, they conquered.
Sadly (spoiler alert!), it didn’t last. Part Two begins with the much-heralded “Summer of Love,” when the siren calls of Free Love, mind-altering chemicals and rock and roll brought thousands of young people (some reports claim 100,000) to the Bay area, most of them without the benefits of money, resources or much of a plan.
Dusty Street, the first female DJ on the west coast and one of the interviewees who provide observations on the past events, calls it “the Summer of the Death of an Idea.” The scene couldn’t last, but the musicians persisted.
Janis Joplin and Big Brother and the Holding Company
The wide-ranging second installment follows the paths of the bands from Part One while also chronicling the new acts that continued to emerge: Sly and the Family Stone, Creedance Clearwater Revival, Santana, Tower of Power, Journey, and the Doobie Brothers. The 1969 Woodstock festival (and the enormously popular 1970 film) solidified Sly’s success and made a star of Carlos Santana- whose first album hadn’t even been released at the time. (Janis Joplin and the Dead also performed but declined to be in the film).
Unfortunately, the euphoria of Woodstock was quickly overshadowed by the despair of Altamont, the hellish December 1969 event (held 2000 miles away from San Francisco), where Airplane vocalist Marty Balin was beaten by Hell’s Angels and the Grateful Dead (who were instrumental in organizing the event – and according to some reports were responsible for hiring the Angels as security) flew away without performing.
“San Francisco Sounds” covers an enormous range of personalities and events, but they’re illuminated by new commentary from dozens of the musicians whose stories are included, as well as other veterans of the scene, like actor Peter Coyote, “Rolling Stone” journalist Ben Fong-Torres, artist Victor Moscoso and the aforementioned Dusty Street.
Curiously, in a directorial decision that ultimately makes emotional sense, we see only the last three on screen; We hear the voices – some slightly less steady today – of Steve Miller, most of the Airplane, Country Joe McDonald, and many others, but we see them only as they appeared 55 years ago: naïve, energetic and forever young.
Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the docuseries being covered here wouldn’t exist.
