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6 min read

Midnight Company Announces Cast of ‘The Years’ Running July 13-20

The Midnight Company will present Cindy Lou Johnson’s THE YEARS, running July 13-29 at The Chapel. Performances will be Thursdays, Fridays and Saturdays at 8pm, with Sunday matinees July 16 and 23.

Tickets, $20 for Thursdays and $25 for Fridays, Saturdays and Sundays, will be on sale at MetroTix.com on Monday, June 12. The show will be directed by Midnight’s Artistic Director, Joe Hanrahan.

The play opens on a tumultuous day for two sets of cousins: Andrea and Eloise, and Isabelle and Andrew. It is Andrea’s wedding day, and she and her sister Eloise, are dealing with the recent death of their father, which was soon followed by their mother’s suicide. On the day of her wedding, Andrea has gone into work to help someone, and returning home is mugged. Meanwhile Eloise has just learned of her husband’s betrayal and the end of their marriage. They make it through that turbulent day. And as the story continues, thirteen years pass, and all of the cousins are forced to deal with the vagaries of life and death that the years deliver.

Joe Hanrahan directed this script some years ago for The Orthwein Theatre Company, and Gerry Kowarsky, writing for the St. Louis Post-Dispatch, called that production of THE YEARS “…an exceptional work. Many plays deal with the pain of family relationships, but few have as much insight, pathos and humor as THE YEARS.” And Phyllis Thorpe, for Intermission, a theatre publication at the time, called it “…a beautiful play. Those who saw it will cherish it for a long, long time.” In its premiere New York production, Broadway World cited an “…amazing script,” that resulted in “…a poignant play.”

Hanrahan said, “THE YEARS is a delicate, haunting, unusual play. It deals with situations everyone faces in life, and so we’re able to quickly connect and feel deeply for these characters. I’m so looking forward to working with it once more. And so lucky to have such a great cast to tell this story.”

The Midnight production features Summer Baer and Alicen Moser as sisters Eloise and Andrea. For Midnight, Summer was seen in last year’s RODNEY’S WIFE. And recently she’s appeared in PROOF for Moonstone, THE BIRTHDAY PARTY for Albion, and currently GLORIA: A LIFE at New Jewish Theatre. Alicen, Artistic Director for Poor Monsters, just directed THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY for Midnight, and previously appeared in the Company’s Beatle play at the St. Louis Fringe Festival, THE EVEREST GAME. She’s currently appearing in ERA’s THE BRECHTFAST CLUB.

Ashley Bauman and Joey File will play their cousins, Isabelle and Andrew. Ashley has appeared in AS YOU LIKE IT for SIUE, A LATE SUMMER NIGHT’S STROLL for St. Louis Shakespeare Festival and DR. FAUSTUS: THE MODERN PROMETHEUS for SATE. Joey was also in the cast of AS YOU LIKE IT, and has also been seen in MUCH ADO ABOUT NOTHING and RENT at SIUE.

Michael Pierce will portray Jeffrey, husband to Eloise. Michael, who will also serve as Fight Director for the play, has been seen in the Aphra Behn Festival for SATE, and LAUGHTER ON THE 23rd FLOOR for New Jewish. He also served as Fight Director for St. Louis Shakespeare Festival’s TWELFTH NIGHT and MURDER ON THE ORIENT EXPRESS for The Rep. And Joseph Garner will portray Bartholomew, a stranger who becomes involved in the cousins’ lives. Garner appeared in Midnight’s ANOMALOUS EXPERIENCE, was seen in THE CHRISTIANS at West End and currently in CLASH OF THE TITANS for Cherokee Street Theater.

Hanrahan recently appeared in Midnight’s THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY. He wrote and directed the Linda Ronstadt show, JUST ONE LOOK, currently playing in extended performances at The Blue Strawberry, and is writing and directing the upcoming Judy Garland show, YOU MADE ME LOVE YOU, coming in late July there. Hanrahan was nominated by The St. Louis Theatre Circle as Outstanding Director for last year’s RODNEY’S WIFE from Midnight.

Mason Hunt will be Stage Manager for the show, Brad Slavik is designing the set, Tony Anselmo the lights, and Elizabeth Henning costumes. Miriam Whatley will handle props.

Photos Todd Davis. Alicen Moser (black eye/wedding dress) Summer Baer (wedding veil/smile)

The Midnight Company’s 2023 season continues with:
Extended Performances of the JUST ONE LOOK July 19, August 16 & 30 at Blue Strawberry
YOU MADE ME LOVE YOU July 26, August 2 & 9 at Blue Strawberry
HUMANS OF ST. LOUIS at The St. Louis Fringe Festival August 15-21
and
THE LION IN WINTER at the .ZACK October 5-21

more at MidnightCompany.com

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Featured Reviews Theatre
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7 min read

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

By Lynn Venhaus

“From the Garden” is a clever topical one-act play that deserves to be seen. Its brief weekend run revealed a local writer’s biting wit and sharp observations that were realized by a zealous cast.

Whip-smart playwright Donald C. Miller directed his own show earlier this month (May 5-7) for four performances at the intimate venue, The Chapel, a modest production by Wee Laddie Theatrics.

It may have been staged on a shoestring budget, but the satire had big ideas and pointed barbs delivered by a taut ensemble of veteran performers, whose natural abilities carried over the message.

The three sold-out and one near-capacity matinee crowds got the jokes, so merry laughter ensued. Whether or not you know the real-life community conflict that sparked Miller to put pen to paper, tongue firmly in cheek in this “work of fiction,” you’ll mull over the points he’s making that are far from heavy-handed.

This is not a preachy diatribe about well-meaning citizens whose self-righteous stances can derail compassionate acts for ‘the greater good.’ It’s far more insightful about hypocrisy and personal agendas, pegging the democratic divide between old-school liberals and uberleft progressives.

And how some decent folks who want to avoid drama in their daily lives are unwittingly caught up in the maelstrom. And made very uncomfortable by those purporting to know what’s best for everyone.

We are familiar with the modern political climate of loud extremists, the right and left often far apart and unwilling to compromise or work together. It’s not just at the national and state level, but in our fair city’s distinct neighborhoods – and lines are drawn between left and far-left in the Democratic Party (and right and far-right in Republican circles).

This is an ‘across the aisle’ situation, only it’s set in an outdoor community garden tended to by neighbors and civic-minded people.

You’ll be able to recognize numerous characters as the cast nails the nimble wordplay. They are playing relatable people, not overly complicated roles.

Donald Kidd, Brenda Morrison, Mara Bollini and Camille Elena Fensterman

Playing against type, Ann Hier Brown is amusingly annoying as Lisbeth Stanton, an upper middle class urban housewife that has cultivated an activist-advocate persona through curated social media posts.

She considers herself a feminist but is not seeking equality, for she is a control-freak do-gooder. As the comedic melodrama unfolds, she agitates her neighbors who want to get involved but eventually are put off by her sanctimonious lectures – and her assortment of chic bandanas. She is not above escalating conflicts for her personal gain.

It’s no coincidence her name resembles the great woman’s suffragette Elizabeth Cady Stanton. Miller is not anti-women’s rights at all, just pointing out how some folks take charge and then play martyrs or victims when they don’t get their way.

He provides more Easter Eggs, for other characters are given the last names of Nixon, Carter, Monroe and Ford. Ring a bell?

Funny guy Jason Meyers plays her husband Kirk, who tries to be supportive but is often a referee between mother and daughter. Teenager Emmy, conveyed by Nadja Kapetanovich in a defiant and questioning way, is like oil and water with her mom, who gets snippy and defensive in interactions.

Lisbeth also tussles with her no-nonsense natty mom, Sylvia Ford, played shrewdly by Margeau Steinau. Sylvia, with a deep pocketbook, travels in important circles and is organizing a benefit that Lisbeth is loath to attend.

Donald Kidd is well-suited to play Dwayne Jenkins, a committed activist who is running for the city council, but Lisbeth attempts to pull the strings and back another candidate. Rut-ro.

Neighbors who want to make a difference, but not necessarily get into a toxic situation, include Mara Bollini as Kate Carter, Camille Elena Fensterman as Xiomara Monroe, and Brenda Morrison as Ruth Nixon. They toss off snappy remarks with ease – and can spot a Karen lurking on the tree-lined streets – and don’t buy the disingenuous Lisbeth’s savior schtick.

Calvin Chambers was the technical coordinator and stage manager Ann Rapko.

The scenes are divided into soil preparation, weed prevention, watering and care, infestation, harvest, and dormancy. Of course, these are structured so that people can read between the lines.

The scene changes were a tad cumbersome, given the short time-length and the small performance space. But the sets were simple, reflecting the low-budget labor of love.

Nevertheless, small technical issues – like some performers being easier to hear than others – would be worked out in an encore presentation.

Hopefully, the play will have some staying power and there will be an opportunity for more theatergoers to enjoy it. Because an examination of identity politics is a good thing, exposing how unproductive it can be.

For background on playwright motivation, read this article in the Riverfront Times:

https://www.riverfronttimes.com/news/andoes-society-page-its-left-vs-far-left-in-maplewood-politics-39605670?media=AMP%20HTML&fbclid=IwAR1tU88TYee-aMpt9BK_yUxpL_y2libTFCqj52gq5_jSabftcc009Gvzk9E

Because after all, not conforming and speaking out instead is always the preferable way to go, especially someone as skilled as Miller in expressing himself. In “From the Garden,” he mocks the obvious – and is not so subtle in a very funny way.

Cover Photo: Nadja Kapetanovich and Jason Meyers

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Featured Movies Reviews
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9 min read

‘You Hurt My Feelings’ Is a Drama That’s a Bit Too Mild-Mannered

By Alex McPherson

Breezy, funny, and insubstantial, director Nicole Holofcener’s “You Hurt My Feelings” provides its ensemble ample room to flex their comedic chops, but remains emotionally limited by a low-stakes narrative aiming for profundity and arriving at something less than revelatory.

Set within our dying planet in the bustling metropolis hellscape of New York City, “You Hurt My Feelings” revolves around Beth (Julia Louis-Dreyfus), a middle-aged author and teacher at The New School, who, all things considered, lives a pretty-damn-privileged existence. She has a new novel coming out — two years in the making — that she’s having trouble getting off the ground due to an unenthusiastic agent. It’s the follow-up to her moderately successful memoir that spotlighted her father’s verbal abuse, which instilled a huge layer of insecurity.

She’s sarcastic and judgy, but enjoys a happy marriage with her husband, Don (Tobias Menzies), a somewhat burnt-out therapist whose clients — played by real-life spouses Amber Tamblyn and David Cross, plus Zach Cherry in peak straight-faced hilarity — are becoming increasingly fed up with his lack of engagement and “results.”

Their 20-something son Eliot (Owen Teague) is an aspiring playwright working at a weed dispensary, frequently annoyed that he feels like a third wheel around his parents. Beth’s sister, Sarah (Michaela Watkins), is a jaded interior designer with a sardonic wit. Her brother-in-law, Mark (Arian Moayed), is an actor with dreams of fame and fortune struggling to secure roles beyond a small part in a “pumpkin movie.”

Suffice to say, everyone in this little circle is self-doubting, seeking validation and reassurance from those close to them. Our heroine, Beth, is particularly vulnerable. When she and Sarah overhear Don disclosing to Mark that he doesn’t like her newest novel and can’t stand reading draft after draft of it, Beth spirals — putting her marriage at risk as she grapples with this bombshell revelation.

Over the course of a 93-minute runtime, Beth gains greater understanding of how the “little white lies” we tell each other aren’t always that bad, along with how (shocker) we shouldn’t let our work or other’s reactions to our work define us and our well-being.

With Louis-Dreyfus inhabiting her character with an anxious, believable energy, “You Hurt My Feelings” remains an appealing watch, as Beth and company navigate rocky waters of communication and come to realizations that gently inform their existences going forward. This reflects life, in a sense, as some people change and some don’t, but the film still lacks heft. By the end, it takes a surprisingly light touch to its flawed characters, saying little of significance in the process.

That’s not to say the experience of watching “You Hurt My Feelings” isn’t enjoyable, though. Holofcener’s dialogue crackles with snarky wit, as Beth bumbles her way around NYC – casually critiquing plenty of people along the way, sometimes in offensive fashion. Beth herself, whether she realizes it or not, strategically deploys truths and little white lies in her day-to-day life — whether it’s half-heartedly volunteering at a church clothing giveaway to feel like a “good person,” to feigning interest in her students’ off-putting story ideas.

Louis-Dreyfus sells Beth’s outwardly bubbly nature and conceitedness, friendliness belying a lack of self love and belief in her own abilities as a creative. Her mother, Georgia (the always excellent Jeannie Berlin), perpetuates Beth’s anxieties through humorous passive-aggressiveness.

Beth trusts Don more than anyone else, however, so his seeming “betrayal” hits her like a wrecking ball, which Louis Dreyfus neither undersells nor overplays; if anything, the film would have benefited from a more cartoonish expression of her panic. As it stands, it’s difficult to connect with her concerns: they’re monumental to her, but as outside observers, they seem trivial, and Holofcener never dives deeply into her background or creative drive to establish real pathos for her plight.

She loves Don and Don loves her. Of course Don wants to be a supportive husband, of course he wouldn’t tell her his true feelings about her writing (which we’re never led as viewers to believe is actually praiseworthy), as he recognizes that his opinions are ultimately irrelevant: he’ll support her no matter what. This is evident from the outset, and, with some late-movie platitudes lacking nuance delivered by Teague (doing the most with a clichéd character), renders the core conflict of “You Hurt My Feelings” fairly shallow and predictable.

Aside from Beth’s unwarranted stressors, “You Hurt My Feelings” explores other facets of this idea, as people in her social bubble navigate similar waters of honesty and dishonesty, truth and lies, in their personal and professional bonds. Don, stressed about aging and exhausted from a string of demanding clients while putting on a brave face (which Menzies embodies with subtly-calibrated mannerisms), avoids admitting to his cataclysmic falsehood. This doesn’t pan out well, but guess what? Communication is key, as usual.

Sarah encounters her own challenges — her whole job involves appeasing finicky clients with artwork to adorn their homes, smiling and gritting her teeth, with plenty of unused insults at the ready under her breath. Mark struggles to find meaning and work as an actor, while Sarah stands behind him through thick and thin, notwithstanding she doesn’t think he’s all that good all the time.

Boosted by Holofcener’s zinger-filled screenplay and patient editing that zeroes in on expressions and awkward pauses, “You Hurt My Feelings” depicts these situations with a crowd-pleasing touch, but that doesn’t excuse that they aren’t all that compelling to watch in the first place. Indeed, the film’s muted style and inherent softness misses opportunities to critique its characters on a more foundational level, not fully selling their problems nor Beth’s gradual gaining of self-awareness. It’s not all that dramatic, or relatable, as we (im)patiently wait for the characters to catch up with reality.

Perhaps I’m the wrong demographic for this story, and perhaps the film’s lack of spectacle is the point, but it remains slight, less a meaningful story than a batch of gently amusing scenarios in service of relatable yet obvious messaging.

“You Hurt My Feelings” is a 2023 comedy-drama written and directed by Nicole Holofcener and starring Julia Louis-Dreyfus, Tobias Menzies, Owen Teague, Michaela Watkins, Arian Moayed, David Cross, Amber Tamblyn, Zach Cherry and Jeannie Berlin. It is rated R for language and runtime is 1 hour and 33 minutes. It opened in theaters May 26. Alex’s Grade: B-.

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Featured Opera Opera Theatre of St Louis Reviews
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10 min read

Opera Theatre’s ‘Treemonisha’ Is A Transformative Triumph

By CB Adams

Opera Theatre of St. Louis’ season opener of a reimagined-yet-respectful version of Scott Joplin’s Treemonisha by composer Damien Sneed and librettist Karen Chilton is a transformative experience that beautifully balances theatrical spirit with artistic integrity.

It is an example of the power of art in general and opera in particular to serve as a “moral instrument” (borrowing from Constantin Stanislavski) that ennobles the mind and spirit. My top take-away: It deserves sold-out status audiences for its entire run – no seat left behind.

This production of Treemonisha, occurs at a pitch-perfect moment in the St. Louis zeitgeist. The citywide triennial exhibit, Counterpublic, is weaving contemporary art into the life of St. Louis for three months to “reimagine civic infrastructures towards generational change.” In his introduction to the 285-page Counterpublic catalog, James McAnally (executive and artistic director and founder of St. Louis-based artist space The Luminary) explains that he envisions an exhibit that allies “itself with generational, cultural, economic, and civic change; a post-pandemic, post-uprising exhibition demanding that we, as arts workers and artists, do more to repair our broken world.”

Justin Austin as Scott Joplin in “Treemonisha.” Photo © Eric Woolsey

Counterpublic seeks to help initiate “concrete change” of the sort that Joplin was exploring more than a century ago in his original Treemonisha, a hybridized classical/ragtime opera that reveals a Wagnerian influence while also presaging George Gershwin’s “Porgy and Bess.” But Treemonisha, especially with this new version, proves the old Latin phrase true: “Art is long, life is short.” Joplin died too young at age 48 in 1917.

Treemonisha did not receive a real premiere until a 1972 production by the Afro-American Music Workshop of Morehouse College (though a New York Times piece states that it was performed at a theater in Bayonne, N.J. in 1913. Either way, it was a tragedy that Joplin didn’t get to see his magnum opus, his hoped-for recognition of ragtime as a new, American form of classical music.

Opera Theatre staged a successful production of this opera 23 years ago. I didn’t see that production, but this current iteration of Treemonisha stands as an engaging, exuberant example of what opera can achieve when all of its elements – direction, staging, casting, acting, singing passion – align. Such alignment is a rarity.

It’s the bane of my reviewing existence: why can’t it all be this good? The obvious answer makes this production all the sweeter. It brings to mind something the novelist Julian Barnes wrote in “Levels of Life,” his memoir: “Opera cuts to the chase—as death does . . . [it is] an art which seeks, more obviously than any other form, to break your heart.”

KS. Tichina Vaughn as Monisha in “Treemonisha” Photo © Eric Woolsey

My heart was broken, especially during Act V, during which the aging Scott Joplin character, sung with naked, wrenching emotion by baritone Justin Austin (who also plays Remus), reveals his frustration about his artistic legacy. Austin’s inspired performance proves how difficult it is to both sing with perfection while acting with authenticity – and how marvelous when achieved. To best describe Austin’s artistic feat, I rely on a quote by Marina Abramović in “Last Days of the Opera” by the Viennese critic Karl Kraus: “You can go so deep into a performance that you become one with the character and create a charismatic state of unity with the public.”

Austin’s so-deep achievement is matched nearly across the board by the rest of the cast, and especially by soprano Brandie Inez Sutton (making her Opera Theatre debut) as both Freddie Alexander Joplin and Tremonisha (look for the moment when the origin of her name is revealed). As Act II (and the original opera itself) begins, it’s clear that this is really the eponymous Treemonisha’s story about an educated Black woman who guides her fellow small-town citizens, (persecuted by endemic racism and poverty) away from ignorance and superstition and toward an enlightened self-worth and self-reliance. With considerable stage presence, Sutton reveals her heroic character as sweet but strong, simple but literate, and humble but exalted – all while proving she can sing!

Balancing the deep characters of Remus and Treemonisha, are the conjurer Zodzetrick, played imposingly and malevolently by Phillip Bullock (making his OTSL debut), and Parson Alltalk, played by entertainingly by Markel Reed. Zodzetrick and Alltalk are not as three-dimensional (they can’t all be) as Remus and Treemonisha, but as performed with the adroitness of Bullock and Reed, they are nonetheless essential to Joplin’s story and his use of many musical styles.

Deserving equal bill are the performances by Amani Cole-Felder as Lovie Alexander and Lucy, KS. Tichina Vaughn as Monisha and Normal Garrett as Ned – the latter two also making their OTSL debuts.

Maestro George Manahan directs the orchestra, composed of members of the St. Louis Symphony Orchestra, and delivers a deft, lively musical underpinning that adheres to the spirit of Joplin’s unique, profoundly expressive score. As serious as Treemonisha may seem in terms of story and subject matter, it beautifully and seamlessly integrates an appealing group of influences ranging from ragtime to spirituals, fiddle tunes and hymns, among others. The appeal of these influences is like what comedian Steve Martin has observed about banjo playing: “The banjo is such a happy instrument–you can’t play a sad song on the banjo – it always comes out so cheerful.” The same can be said for ragtime, and Treemonisha is the better for it.

The set design by Marsha Ginsberg is also noteworthy. It’s common for an opera to begin with a musical overture, but this production improves upon that with a visual overture. Against a gauzy scrim backdrop, there’s a shadow play that’s a visual highlight reel for the upcoming performance – and it’s brilliant. It established the right tone while setting a high bar for the rest of the performance.

Justin Austin as Remus and Brandie Inez Sutton as Treemonisha (center) and Jeremiah Tyson as Andy and Amani Cole-Felder as Lucy (right) in “Treemonisha.” Photo © Eric Woolsey

I also admired the Ginsberg’s use of black-painted barren tree trunks that bookend the performance, suspended above the stage. During intermission, the trees are lowered onto the stage. This “black forest” of trunks serves as a clever, subtle and effective scorched-earth metaphor for the post-Civil War, Reconstruction-era South in which this opera is set (and as written by an African American man who lived through it).

There’s so much going for Treemonisha, and that includes the choreography (blending traditional and modern dance) by Maleek Washington. The dance elements are woven into the scenes and, though noteworthy, never overtly call attention to themselves, with the exception of a perplexing, show-offy “frolic of the bears” in Act II , which pulled me out of the scene.

An opera, no matter how passionately conceived, is like a discarded memory, an empty platform, merely marks on a manuscript. To bring it to life – or to give it continued life – requires production. With a commission by OTSL, Sneed, Chilton, stage director Rajendra Ramoon-Maharaj, the cast and all the other talents have taken Joplin’s platform (wrapping ragtime’s irresistible catchiness around his rage against time), extended it beyond a fine performance and ascended to theatrical art.

Can an opera change the world? Let this production of Treemonisha inspire you to walk out of the Loretto Hilton Theater and begin to try, even if only in the “backyard” of St. Louis.

Opera Theatre’s Treemonisha continues at the Loretto-Hilton Center through June 24. For ticket information, visit opera-stl.org. For more information about Counterpublic 2023 civic exhibition, visit counterpublic.org

This review also appears on the KDHX website by mutual agreement.

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Featured Movies Reviews
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9 min read

‘The Little Mermaid’ Is An Above Average Remake That’s Not All Smooth Sailing

By Alex McPherson

Elevated by a magnetic performance from Halle Bailey, director Rob Marshall’s “The Little Mermaid” neither wows nor underwhelms — a film that’s far from essential, but one that provides light, comforting entertainment.

Retelling the story from the 1989 animated version, this live-action iteration follows Ariel (Bailey), a courageous, rebellious mermaid and youngest of several sisters, who’s deeply curious about the surface world and dissatisfied with her life underwater. With her fish pal Flounder (Jacob Tremblay) in tow, Ariel collects human artifacts to store in her grotto among the coral — her collection is a reminder of a world she’s eager to explore and held back from reaching. Ariel’s father, King Triton (Javier Bardem), refuses to let her have any contact with humans. He instructs his right-hand-crab, the wry-yet-soft-hearted Sebastian (Daveed Diggs) to keep her out of trouble (spoiler alert: he soon takes Ariel’s side).

Ariel, with an adventurous spirit and desire for freedom, stumbles upon Prince Eric (Jonah Hauer-King), the new leader of an island nation somewhere in the Caribbean who wishes to expand the kingdom and is discouraged by his mother (Noma Dumezweni). Ariel falls in love with him at first sight. After a violent storm ruins his raucous birthday celebrations, Ariel saves him, dragging him to safety on his island’s beach, singing her siren song to keep him alive.

Back underwater, Ariel can’t stop thinking about him (and vice versa), which attracts the attention of “the sea witch” Ursula (Melissa McCarthy), Triton’s sister who was previously exiled from the kingdom. Conniving and fueled by resentment, Ursula makes a deal with Ariel to transform her into a human for three days in exchange for Ariel’s siren voice. If she can share a “true love’s kiss” with Eric within those three days, she can remain a human permanently. If not, she’s under Ursula’s control, and will be used as ransom for Triton’s all-powerful trident. More complications arise, putting the pressure on Sebastian, Scuttle the seagull (Awkwafina), and, to a lesser extent, Flounder, to ensure the kiss comes to fruition, and help Ariel achieve her dreams.

Songs, romance, drama, and more songs ensue. Yes, this is certainly “The Little Mermaid,” so viewers expecting a massive departure from the previous film will be let down. Marshall’s film is another example of studios pandering to nostalgia rather than offering a meaningful reimagining of what’s come before. Taken on its own terms, though, the new “Little Mermaid” is still an amiably enjoyable watch — a story of love, independence, cultural understanding, and growing up that’s kept afloat by confident performances and directorial flashiness.

Bailey absolutely nails the role of Ariel — bringing to life her daring spirit and lovable stubbornness with an enchanting mixture of bravery and deep yearning for new horizons. Ariel is a (slightly) more layered protagonist this time around. She sees Eric as not only a good-looking hunk, but as a kindred spirit in search of freedom from tradition, which Marshall emphasizes through their nerdy, cute interactions with each other — they’re each fascinated with each other’s knowledge of the world beyond their homelands.

Bailey conveys Ariel’s longing and naivete in a fairly grounded fashion: the songs function as an extension of her inner thoughts, allowing for some impressively emotional moments, particularly during her renditions of “Part of Your World” and “For the First Time” (one of the several new tunes scattered throughout). It’s clear from the outset, however, that Bailey has the acting chops for a more dramatically rich take on Ariel’s story than Marshall’s film provides. She breathes exciting new life to the heroine nevertheless.

McCarthy is campily over-the-top as the fiendish squid Ursula, with her undulating tentacles and booming delivery, giving a no-holds-barred performance that’s both funny and menacing. Diggs is amusing as Sebastian (nailing his new-ish take on “Under the Sea”), sassy and witty. Awkwafina is serviceable as a seagull willing to rap if need be (Lin Manuel-Miranda’s writing hand is keenly felt), and Bardem’s talents are underused as King Triton — an oddly subdued performance conveying Triton’s anxiety and fear for Ariel’s well-being, albeit lacking gravitas.

Hauer-King is perfectly fine as Prince Eric, notwithstanding one ho-hum musical number, but “The Little Mermaid” doesn’t give him enough depth or personality to stand out among the others. The film makes an effort to more clearly paint parallels with his goals and aspirations with Ariel’s, yet the gesture comes across as more manufactured than organic — attempting to sand down the less-polished aspects of their bond from the 1989 film, as opposed to a true expansion.

In terms of visuals, “The Little Mermaid” is hit-or-miss. Dion Beebe’s cinematography shines when gliding through environments in time to the music — bringing all manner of aquatic creatures to the stage during “Under the Sea” in a dazzling display of CGI-heavy showmanship — and during some impressively smooth scene transitions, such as one in which the camera travels through the eye of a moray eel into Ursula’s cavernous lair. What isn’t as successful is the look of the non-human characters themselves. Heads awkwardly sit on bodies and hair undulates distractingly; far easier to represent through animation than live-action. Regarding Flounder, Sebastian, and Scuttle, there’s an awkward tug-of-war between realism and fantasy, to middling effect.

Indeed, this reflects the film’s greatest flaw. “The Little Mermaid” is solid, family-friendly entertainment, but with a talent as strong as Bailey, it deserves to break free from its sanitized formula to become something fresher. Minor alterations aside, this is still the same story, where stakes are neutered and songs fly freely.

Yes, it’s great that Bailey’s casting speaks to a new generation of moviegoers, but they (and her) deserve a story less beholden to the past, as does the live-action medium itself, which pushes against the film’s fantastical elements. What’s left is a better-than-average Disney remake that has little more to say and boatloads of money to rake in.

Scuttle, Dingelhopper, Flounder and Ariel

“The Little Mermaid” is a 2023 live-action, animated musical remake of Disney’s 1989 classic directed by Rob Marshall and starring Halle Bailey, Javier Bardem, Jonah Hauer-King, Awkwafina, Daveed Diggs, Jacob Tremblay and Noma Dumezweni. It is rated PG for action/peril and some scary images and the runtime is 2 hours, 15 minutes. It opens in theaters on May 26. Alex’s Grade: B-.

Jonah Hauer-King as Prince Eric and Halle Bailey as Ariel roam the castle grounds.

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2 min read

Mutual Satisfactory Settlement Reached Between Fox Associates & Foxland Inc

Fox Associates, L.L.C. and Foxland, Inc. are pleased to announce that they have reached a mutually satisfactory settlement in resolution of their dispute over the Fox Theatre. Fox Associates has operated the Theatre for 40 years after undertaking its restoration in the 1980s.

Since April 2021, the parties have been involved in a lawsuit in the Circuit Court of the City of St. Louis over which party will have the right to own and operate the Theatre once the current lease expires in 2025.

Under the parties’ settlement agreement, Fox Associates will purchase Foxland’s interest in the land underlying the Theatre, thereby consolidating ownership in one party. The parties worked together to achieve this resolution and share the belief that this is the right result for the St. Louis community, as it will ensure uninterrupted Theatre operations.

“On behalf of myself and partners Lisa Baudendistel Suntrup and Julie Baudendistel Noonan, we are thrilled that the Fabulous Fox Theatre will continue to bring world class entertainment to St. Louis for generations to come,” said Mary Strauss, Fox Associates partner. “It has been a labor of love for our Strauss and Baudendistel families to be the custodians of this St. Louis treasure and national landmark for the past four decades and we look forward to a fabulous future.”

Charles Modlin of Foxland, Inc. stated, “While our family had been looking forward to operating the Theatre for many years, we are happy with the result and believe the Theatre remains in good hands with Fox Associates, who we are confident will continue its important legacy of successfully operating one of the most magnificent historic Theatres in the world.”

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Cinema St Louis Movies News Press Releases
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6 min read

Cinema St Louis Announces Lineup For This Year’s Golden Anniversaries

Films of 1973 spotlighted in online discussions and in-person screenings

The Golden Anniversaries film series — an annual presentation of Cinema St. Louis (CSL) — features classic films celebrating their 50th anniversaries. The sixth edition of the event highlights films from 1973.

This year, Cinema St. Louis will hold both virtual conversations and in-person screenings as part of Golden Anniversaries. Virtual conversations are presented free of charge.

The online conversations, with people watching the films on their own but gathering virtually to discuss them, will continue through December. The virtual programs will be available as livestreams through Eventive. Each online event has a link to register on the CSL website: cinemastlouis.org/golden-anniversaries.

This year’s series kicked off in April and will continue through December, with films playing on Sunday afternoons at the Hi-Pointe Theatre, 1005 McCausland Ave, 63117.

Tickets are required for the in-person screenings at the Hi-Pointe. Free parking is available at the Hi-Pointe Backlot or Lindell Bank across the street from the theater.

In addition, during the 32nd Annual Whitaker St. Louis International Film Festival, which takes place from Nov. 9-19, CSL will offer a trio of free Golden Anniversaries screenings — Jack Hill’s “Coffy” (with Novotny Lawrence), Robert Clouse’s “Enter the Dragon” (with Daniel Yezbick), and Peter Bogdanovich’s “Paper Moon” (with Tom O’Keefe) — on the second Saturday and Sunday of the fest at the St. Louis Public Library – Central Branch, 1301 Olive St., 63103.

Whether the event is held online or in person, film critics, film academics, filmmakers, and writers will offer introductory remarks and participate in discussions about the films. In addition to St. Louis-based experts, Golden Anniversaries will again feature contributors from elsewhere, including returning presenter Novotny Lawrence (“Coffy” and “Cleopatra Jones”) and new participants such as freelance writer and film historian, Marya E. Gates (“Love & Anarchy”).

For full descriptions of the films, visit the Cinema St. Louis website.

In-Person Screenings

Sunday, April 1, at 1:00 PM

The Sting

George Roy Hill, U.S., 129 min.

With Chris Clark, artistic director of Cinema St. Louis.

Sunday, May 21, at 1:00 PM

Robin Hood

David Hand & Wolfgang Reitherman, U.S., 83 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, June 18, at 1:00 PM

Live and Let Die

Guy Hamilton, U.K. & U.S., 121 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, July 16, at 1:00 PM

The Three Musketeers

Richard Lester, Spain & U.S., 106 min.

With Robert Hunt, former film critic for The Riverfront Times.

Sunday, Aug. 20, at 1:00 PM

Badlands

Terence Malick, U.K., 94 min.

With T.J. Keeley, Ph.D. student in contemporary American literature at Saint Louis University and teacher of English and film at college prep schools in the St. Louis area.

Sunday, Sept. 17, at 1:00 PM

The Long Goodbye

Robert Altman, U.S., 112 min.

With Calvin Wilson, theater, film, dance and jazz critic for the St. Louis Post-Dispatch/stltoday.com.

Sunday, Oct. 15, at 1:00 PM

F for Fake

Orson Welles, Gary Graver & Oja Kodar, France, Iran & West Germany, 89 min.

With Joshua Ray, film critic for KMOV and Co-Founder and Contributing Editor of The Take-Up.

Sunday, Dec. 17, at 1:00 PM

The Way We Were

Sydney Pollack, U.S., 118 min.

With Lynn Venhaus, a Rotten Tomatoes-approved film critic who reviews for the Webster-Kirkwood Times, KTRS Radio (Jennifer Blome and Wendy Wiese Show), and PopLifeSTL.com website, www.poplifestl.com

Virtual Discussions

Monday, June 12, at 7:30 PM

Love & Anarchy

Lina Wertmüller, Italy, 120 min., Italian

With Marya E. Gates, freelance film writer and historian who specializes in the work of female directors.

Monday, July 10, at 7:30 PM

The Spirit of the Beehive

Victor Erice, Spain, 98 min.

With Cait Lore, who holds a Master’s Degree in Film Theory from the University of Kent, teaches film studies at Websger University, and serves as a co-programmer of QFest St. Louis.

Monday, Aug. 14, at 7:30 PM

Day for Night

François Truffaut, France, 116 min., French

With Robert Hunt, former film critic for The Riverfront Times.

Monday, Sept. 11, at 7:30 PM

The Last Detail

Hal Ashby, U.S., 104 min., English

With Robert Garrick, attorney and former contributor to the davekehr.com film blog.

Monday, Oct. 9, at 7:30 PM

Amarcord

Federico Fellini, Italy, 122 min., Italian

With Cate Marquis, a Rotten Tomatoes certified film critic and film historian who writes for We Are Movie Geeks, the St. Louis Jewish Light, and the Alliance of Women Film Journalists, and a member of the Alliance of Women Film Journalists and the St. Louis Film Critics Association.

Monday, Dec. 11, at 7:30 PM

Cleopatra Jones

Jack Starrett, U.S., 89 min.

With Novotny Lawrence, associate professor at Iowa State University.

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Featured Reviews The Midnight Company Theatre
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5 min read

One-Man Show ‘Leonard Pelkey’ Delves into Intolerance and An Indomitable Spirit

By Lynn Venhaus

As we head into Pride Month, “The Absolute Brightness of Leonard Pelkey” couldn’t be timelier, especially in this unfortunate age of intolerance.

This passion project from The Midnight Company stars an empathetic Joe Hanrahan in multiple roles and is deftly directed by Alicen Moser.

A one-man show, written by Celeste Lecesne, is based on their young adult novel, and illuminates a very personal struggle about acceptance.

Lecesne has gone by he/they since 2020, and is best known for winning an Academy Award for Best Live Action Short in 1995, for “Trevor.” In 1998, they co-founded and launched The Trevor Project, which is a 24-hour suicide prevention and crisis intervention lifeline for LGBTQ+ youth.

The 2015 narrative fictional play is structured as a police procedural, with a detective seeking answers about a missing teen in a small-town on the Jersey Shore. A hard-hitting story that draws inspiration from such horrific true incidents as high school student Jadin Bell in Portland, Ore., who committed suicide after gay-shaming, and college student Matthew Shepard who was attacked and left for dead in Laramie, Wyoming in 1998, among other anti-gay hate crimes.

The playwright, who described Leonard as a luminous force of nature who encountered evil and whose magic wasn’t truly felt until he disappeared, shines a compassionate spotlight on this character you feel that you know.

Unapologetically flamboyant, theatrical, and true to himself, the 14-year-old chatterbox looked and acted as he pleased, just being himself. He planned to dress up as Lady Gaga on Halloween.

Bullied for being who he was, Leonard did win some people over. Details emerge about what a colorful presence he was, and how that light dimmed in the people’s lives who loved him.

Besides the inevitable pensive sadness that permeates the one-act, there is also a glimmer of hope about progress and brings more focus on the never-ending mission to understand those who are lesbian, gay, bisexual, transgender and questioning – and anyone who beats to a different drummer.

Over the course of 1 hour and 20 minutes, Leonard looms larger than life, although he is not physically present. We feel him. We see him through the people who knew him, which Hanrahan effectively presents.

Besides playing the primary character — police detective Chuck DeSoto, Hanrahan takes on the characters Chuck interviews – Ellen Hertle, a hair salon owner who cared for Leonard after his mother died, and her 16-year-old daughter Phoebe Hertle, who report him missing; Buddy Howard, who ran the drama and dance school where Leonard took classes; Gloria Salzano, who saw a platform sneaker floating in the lake next to her home; Marion Tochterman, Otto Beckerman, suspect Tyler Lembeck; and Chuck’s boss, Marty Branahan.

Trevor didn’t tell people he was gay, they just assumed, although he liked to remain a mystery. That didn’t stop name-calling. And he attempted suicide.

As Chuck discovers clues and puts together details of a brutal murder, it’s hard not to be moved by the melancholy, but also discover how this boy touched lives, and eventually made a difference in how people saw others.

The minimalist drama, with stage manager Linda Menard placing props on sparse furnishings and production support from Kevin Bowman, features expressive lighting design by Tony Anselmo in the Kranzberg Black Box Theatre.

Although Leonard isn’t a real person, you leave feeling like you know every character. Hanrahan, who often presents one-man shows, makes the people relatable.

The show’s message reflects Shakespeare’s line from “Hamlet”: “To thine own self be true,” and it’s always good to reinforce that, no matter how one identifies themselves. And to bring more attention to The Trevor Project – hotline is 1-866-488-7386.

Hanrahan, himself a force of nature, has dedicated this show to the Absolute Brightness of Travis Hanrahan, his son who died at age 27 in 2017.

The Midnight Company presents “The Absolute Brightness of Leonard Pelkey” from May 4-20, Thursday through Saturday at 8 p.m., in the Kranzberg Black Box Theatre, 501 N Grand Blvd, St. Louis, MO 63103. For more information, visit www.MidnightCompany.com

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Featured Movies Reviews
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8 min read

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

By Lynn Venhaus
The turbo-charged “Fast X,” aka “Fast Ten,” the latest entry of the 22-year-old “Fast and Furious” saga, continues to defy logic and physics in a dizzying grandiose globe-trotting revenge tale.

A gimmicky gearhead grind, no. 10 features a sprawling star-studded cast racing from one continent to the next between massive explosions, shoot-outs, fisticuffs, and an enormous cavalcade of car crashes all staged to show off high-tech weaponry, fast-paced fight choreography and sensational stunts.

As usual, the muscular hero Dom Toretto has a price to pay for antagonizing his foes, but his list of friends and enemies certainly has grown over the years. We pick up with doting dad Dom teaching his 8-year-old son Brian (Leo Abelo Perry) his own set of rules on the road while his wife Lettie (Michelle Rodriguez) is helping Grandma (Rita Moreno) cook the family dinner, a time-honored ritual.

The gang’s all there – the bickering yet bonded core group of Dom’s team: Roman Pearce (Tyrese Gibson), mechanic Tej Parker (Chris “Ludacris” Bridges), hacker Ramsey (Nathalie Emmanuel), and Han Lue (Sung Kang).

In recent films, their certain set of skills have been in demand by an international government operation called “The Agency.” But even those seemingly fortresses of good can be infiltrated by evildoers, especially this chapter’s megalomaniac villain Dante (Jason Momoa).

He’s the vengeful son of drug kingpin Hernan Reyes, who was killed in “Fast Five,” and now comes calling with heavy artillery, having spent the last 12 years planning his retaliation.

Jason Momoa is Dante in FAST X, directed by Louis Leterrier

The hulking beefcake Momoa, best known as the DC superhero Aquaman, has a blast going over-the-top as a flamboyant, preening sociopath seeking vengeance. Part Cesar Romero’s Joker, part Jim Carrey’s Riddler, and all peacock-strutting and rooster-crowing swagger, Momoa ups the ante as a sadistic dominating presence. (His character is hastily explained as being institutionalized.)

Dom’s sister Mia (Jordana Brewster), widow of Brian O’Conner (Paul Walker, who died in 2013, and was in five of the films), and brother Jakob (John Cena) also figure into the plot threads. And a noteworthy sentimental touch: Paul’s daughter Meadow Walker has a cameo as a flight attendant helping Jakob.

Oscar winners Charlize Theron, as cyberterrorist Cipher, Helen Mirren as Shaw’s (Jason Statham) mom, and Brie Larson as Tess, daughter of Mr. Nobody (Kurt Russell), make brief appearances, and Moreno has one scene.

But even the big-name cast – peppered with stunning cameos (must-see end credits) that the internet has already spoiled – is overshadowed by the mind-numbing number of pileups, combustible engines, bomb detonations, and burning rubber that result in a reckless high body count and ridiculous disregard for the laws of gravity.

That’s not a surprise – it’s always expected in these big, bold and bravura blockbusters. Yet, for those who have been paying attention throughout the soap opera-on-wheels thrill ride sequels, some previous villains are now allies (well, maybe frenemies in a couple cases) and it will be established that former friends betray the good guys. That can get rather head-scratching – but really, thinking is not a requirement here.

Nevertheless, the one constant is that the theme of family remains central to the core. It’s just that the death-defying action becomes a distraction as escaping without harm gets increasingly preposterous.

When this popular franchise began, the personalities carried the minimal plot and maximum action adventures through, but as the scope became bigger, the plots became more convoluted.

I can’t imagine anyone who hasn’t seen the last four or five really knowing – or caring – what has happened and what is going on now, as they’ve swelled from streetfighters to save-the-world in land, sky, and sea scenarios.

Case in point: A submarine in the South Pole. Before you ponder this, keep in mind the latest cliffhanger ending is an intriguing tease for “Fast X Part 2,” now scheduled for 2025. Apparently, not the end of the road but “the last chapters” with another or two.

This latest excursion through Brazil, Rome, Portugal, London, Los Angeles, and Antarctica is ultimately fan service. Let’s face it – few view these for interesting intricate stories. Now going into their third decade, people want bullets to spray, cars to fly and more pedals to the metal than in the last chapter.

The stories are such a minimal template that I’ve accused them of being written by chimps, but now, after number 10, I’m convinced they are employing AI.

The latest screenwriters – veteran Justin Lin plus newbie Dan Mazeau — touch on previous scenarios for some sense of a plot thread, but it doesn’t make “Fast X” easy to follow. The characters are based on those created by Gary Scott Thompson in 2001’s “The Fast and the Furious.”

Lin, who directed the third through sixth movies (“The Fast and the Furious: Tokyo Drift” in 2006, “Fast and Furious” in 2009, “Fast Five” in 2011 and “Fast and Furious 6” in 2013, returned for the ninth (“F9, The Fast Saga” in 2021), but abandoned directing this movie, over ‘creative differences,’ and Louis Leterrier, who made the first two “Transporter” movies, took over. Lin, however, stayed on as a producer and has a screenwriting credit.

The entire canon includes “2 Fast 2 Furious” in 2003, “Furious 7” in 2015, “The Fate of the Furious” in 2017, and then “Fast and Furious Presents Hobbs and Shaw” in 2019.

What happens next will determine the franchise’s grand finale. But harkening back to the early glory days would be a nice change of pace, for these increasingly ludicrous sequels have spun the original intentions out of control. After all, it’s supposed to be about family.

“Fast X” is a 2023 action thriller directed by Louis Leterrier and starring Vin Diesel, Michelle Rodriguez, Jason Momoa, Charlize Theron, Jason Statham, John Cena, Jordana Brewster, Brie Larson, Helen Mirren, Rita Moreno, Tyrese Gibson, Sung Kang, Nathalie Emmanuel, Ludacris, Scott Eastwood, Alan Ritchson. It is rated PG-13 for intense sequences of violence, action and language, and some suggestive material. and the run time is 2 hours, 21 minutes. It opened in theaters May 19. Lynn’s Grade: C-.

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Concerts Featured Music News Press Releases St Louis Symphony Orchestra
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22 min read

Subscription Tickets On Sale May 16 for Sheldon’s 2023-2024 Season

Line-Up Includes Rising Stars and Returning Favorites, Plus New Partnership with St. Louis Symphony –

ST. LOUIS, MO – New subscription tickets for The Sheldon’s exciting 2023-2024 concert season go on sale Tuesday, May 16 at 10 a.m. through The Sheldon at 314-533-9900 or at TheSheldon.org. Concert packages start at $85 and offer an eclectic mix of artists and genres set in the acoustically-perfect and intimate Sheldon Concert Hall. Signature series including The Sheldon Rhythm & Jazz, Sheldon Folk, Coffee Concerts and the Whitaker World Music Concerts return, along with an expanded classical music series – St. Louis Symphony Orchestra (SLSO): Live at The Sheldon – debuting in partnership with the SLSO.

Highlights for the season include modern jazz great Christian McBride and Inside Straight featuring St. Louis favorite, Peter Martin; alt-country originators The Jayhawks; mandolin wizard Sam Bush; dynamic Afro-Cuban percussionist Pedrito Martinez; bluegrass and world music superstars Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia; Eliades Ochoa, an original member of the famed Buena Vista Social Club; rising bluegrass star Sierra Hull; and many more. The series also showcases local favorites including jazz vocalist Denise Thimes, swing band Sweetie and the Toothaches anda Christmas concert withsaxophonist Kendrick Smith.

The Friends of The Sheldon fall benefit will see the return of Grammy-winning roots artist Rhiannon Giddens, 2023 Pulitzer Prize winner, co-founder of the Carolina Chocolate Drops and McArthur Genius Grant recipient.

The Sheldon is also pleased to announce an expanded classical music series in partnership with the St. Louis Symphony Orchestra. Curated and performed by SLSO musicians, the St. Louis Symphony Orchestra: Live at The Sheldon series will give classical music fans a rare chance to see their favorite SLSO musicians in an intimate setting, performing new and beloved chamber works in The Sheldon’s perfect acoustics.

Sheldon Rhythm & Jazz series tickets are $180 orchestra / $164 balcony; Sheldon Folk series tickets are $210 orchestra /

$190 balcony; St. Louis Symphony: Live at The Sheldon series tickets are $175 orchestra/$153.75 balcony 1 / $132.50 balcony 2, and Coffee Concerts are $85 orchestra / $70 balcony.

Single tickets go on sale Friday, August 4 at 10 a.m. through MetroTix at 314-534-1111 or at TheSheldon.org.

SHELDON RHYTHM & JAZZ

Subscription Price: $180 orchestra/$164 balcony (Best Value!)

Pedrito Martinez Saturday, October 14, 2023 at 8 p.m.

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student

Brad Mehldau Trio Wednesday, November 15, 2023 at 8 p.m.

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student

John Pizzarelli and Catherine Russell Saturday, February 24, 2024 at 8 p.m.

Two Legendary Singers Share the Stage

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student

Christian McBride and Inside Straight Friday, May 24, 2024 at 8 p.m.

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student

Rhythm & Jazz is sponsored by Steward Family Foundation | Welcomed by 88.7 The Sound

SHELDON FOLK

Subscription Price: $210 orchestra/$190 balcony (Best Value!)

The Black Opry Revue Friday, October 6, 2023 at 8 p.m.

$45 orchestra / $40 balcony 1 / $35 balcony 2

Hasta La Muerte: A Day Of The Dead Show by Las Cafeteras Wednesday, November 8, 2023 at 8 p.m.

$45 orchestra / $40 balcony 1 / $35 balcony 2

Sam Bush Band Friday, February 9, 2024 at 8 p.m.

$50 orchestra / $45 balcony 1 / $40 balcony 2

Sierra Hull Thursday, March 21, 2024 at 8 p.m.

$45 orchestra / $40 balcony 1 / $35 balcony 2

The Jayhawks Friday, April 19, 2024 at 8 p.m.

$50 orchestra / $45 balcony 1 / $40 balcony 2

WHITAKER WORLD MUSIC CONCERTS

Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia Friday, November 3, 2023 at 8 p.m.

$55 orchestra / $50 balcony 1 / $45 balcony 2 / $15 student

Eliades Ochoa Saturday, March 9, 2024 at 8 p.m.

$45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student

Oumou Sangaré Saturday, April 13, 2024 at 8 p.m.

$45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student

Made possible by the W H I T A K E R F O U N D A T I O N

St. Louis Symphony Orchestra: Live at The Sheldon

Subscription Price: $175 orchestra/$153.75 balcony 1/$132.50 balcony 2 (Best Value!)

Valerie Coleman and Louis Spohr: Winds with Strings Wednesday, October 25, 2023 at 7:30 p.m.