What’s your favorite scary movie? Horror film nerds, this “Scream VI” is for you.
If you have followed the California teenagers through the slasher series since 1996, this sixth chapter — the ‘sequel to the requel,’ keeps the scary meta movie-verse chugging along with all the tricks of the trade.
Shocking killings. Innocent victims. Flipping formula. Characters self-aware of horror movie conventions. Twisting those rules and structures to keep viewers guessing. Subverting expectations. Make it bigger, elevated and raise the body count. Bring it on – and there are still surprises to be seen, along with more blood and gore.
Following the last Ghostface killings in 2022’s “Scream,” the four survivors leave Woodsboro behind and start a fresh chapter in New York City.
No doubt “VI” is set up for co-directors Matt Bettinelli-Olpin and Tyler Gillett to finish their trilogy, with a seventh –and possible final one, but time will tell. This chapter is a satisfying conclusion, if it is, but they also leave the door open. (But please, bring back Neve Campbell!).
Their set pieces are impressive – even for the most jaded moviegoer. An intensive scene involving crowded subway cars filled with Halloween revelers in classic scary masks ramps up the tension as only this franchise can. Touche! And then there is the ‘meta’ shrine to “Scream” and the “Stab” movies based on the real-life murders.
While at 2 hours and 3 minutes, this chapter gets to be a tad tedious as we lurch to the big reveal. But the fact that they keep coming up with fresh ways to surprise us, kudos to how smart and clever not only the directors are, but also screenwriters James Vanderbilt and Guy Busick.
Building on what creator Kevin Williamson started 27 years ago, and horrormeister director Wes Craven did for the first four films, “VI” features a great deal of terror, brutality, and anxiety as it continues the saga with an appealing cast of characters.
Williamson, who wrote the original, sequel and chapter four, was an executive producer of the fifth and this sixth film.Since the beginning, he was able to capture youth behavior and culture so well. Craven died in 2015.
The creative team provides fan service and homage to the “OG” duo. With the growing market for the horror genre, these “More Four” – Bettinelli-Olpin, Gillett, Vanderbilt and Busick, had to up their game, and they have, for the most part, succeeded – they make us care about the “Core Four.”
Melissa Barrera and Jenna Ortega
The Carpenter sisters have returned to be the revenge targets — Sam (Melissa Barrera) and Tara (Jenna Ortega), along with their hometown pals, twins Mindy and Chad Meeks-Martin (Mason Gooding, Cuba Jr.’s son, and Jasmin Savoy Brown), now that they’ve escaped to New York City. Their uncle was film-geek Randy Meeks (Jamie Kennedy) and Sam’s dad was the first Ghostface Billy Loomis (Skeet Ulrich),
Because of their notoriety associated with the brutal serial killings, they are no longer considered poor victims, but social media has fanned the flames that Sam orchestrated the killings herself. Barrera, who evokes sympathy from the get-go, has a fragile psyche and will need to build her strength as she attempts to avoid danger. But she shows her mettle splendidly.
Apparently, someone with intimate details of all the murder and mayhem in Woodsboro wants to wreak havoc into their lives and inflict great harm. Jealousy has been a theme – along with twisted psyches — since the first film in 1996.
That bold launch, featuring Drew Barrymore as the first high profile victim Casey Becker, which introduced Neve Campbell as Sidney Prescott, Courtney Cox as tabloid reporter Gale Weathers, and David Arquette as Dewey Riley as a local policeman, became the highest grossing slasher film ever until the David Gordon Green “Halloween” reboot in 2018.
The holiday dress-up aspect of Halloween plays an intriguing factor here as well, after all the “Core Four” are in college and Tara wants to party while Sam is super-protective of her half-sister. They have a complicated relationship, but their bond is as important as their conflicts.
And what’s a “Scream” movie without a party? Both Barrera and Ortega are seasoned pros and capably carry the convincing horror movie tropes along. They work well with the twins, as they all are attending Blackmore College.
The new cast members include Chad’s nerdy roommate Ethan, played well by Jack Champion, most recently seen in the “Avatar” sequel, and the sisters’ trampy roomie Quinn (Liana Liberato), whose dad is a NYPD detective (Dermot Mulroney).
The directors made the horror film “Ready or Not” in 2020, and two of its stars, Samara Weaving and Henry Czerny, figure significantly here.
Cox returns as a legacy character. Last seen in “Scream 4,” Hayden Panettiere reprises Kirby Reed, now an FBI agent. The women aren’t used a lot, but they are effective.
Roger L. Jackson, who has supplied the creepy altered voice of Ghostface, which sends shivers down spines, is up for round 5.
To me, the disclosure of the killer isn’t ever as strong as one would like, and here is no exception.
Yet, in this latest chapter, the Easter Eggs are plentiful, the nostalgia factor duly noted and the snarky humor still lands.
“Scream VI” is a 2023 horror film directed by Matt Bettinelli-Olpin and Tyler Gillett. It stars Melissa Barrera, Jenna Ortega, Jasmin Savoy Brown, Mason Gooding, Hayden Panettiere, Courtney Cox, Dermot Mulroney, Tony Revolori and Samara Weaving. It is rated R for strong bloody violence and language throughout, and brief drug use and the run time is 2 hours and 3 minutes. It opened in theaters March 10. Lynn’s Grade: B
Ambitious but held back by genre conventions, Michael B. Jordan’s directorial debut “Creed III” features great performances and viscerally engaging boxing sequences, while sidelining its more thoughtful ideas to a fault.
Continuing the story of Adonis “Donnie” Creed (Jordan), the son of Rocky Balboa’s rival-turned-friend Apollo, “Creed III” sees our hero encountering ghosts from his past entering the literal and figurative arena. We begin with a flashback to 15-year-old Adonis (Thaddeus J. Mixson) sneaking out of his mother’s house to watch his best pal Damian Anderson (Spence Moore II) compete in a local Golden Gloves competition.
Damian, a boxing prodigy, dreams of one day becoming the world heavyweight champion. His hopes come to a screeching halt as Adonis starts an altercation with someone outside a liquor store. Damian is arrested in the ensuing scuffle, spending 20 grueling years behind bars, and Adonis gets away.
Seven years after the events of “Creed II,” Adonis announces his retirement from boxing to spend time with his wife, Bianca (Tessa Thompson), who’s now a music producer; his deaf daughter Amara (Mila Davis-Kent); and his adoptive mother, Mary-Anne (Phylicia Rashad).
A few years later, Adonis runs a boxing academy, training his new protégé, Felix Chavez (Jose Benavidez), for a title shot against Viktor Drago (Florian Munteanu), with the help of the gruff, wise Tony “Little Duke” Burton (Wood Harris). Sylvester Stallone’s Rocky, such a pivotal presence in the previous “Creed” films, is nowhere to be found.
Everything seems to be working out quite nicely for Adonis. He’s rich, with a happy family, and has secured his place among the boxing legends. What he isn’t ready for, regardless, is a reckoning with his past. Damian (a scene-stealing Jonathan Majors) shows up outside his gym unexpectedly, looking to make up for lost time. Adonis and Damian’s interactions are awkward, mixing flashes of their former camaraderie with creeping unease and resentment. Damian, as it turns out, isn’t so thrilled about Adonis’ success, and wants to finally realize his goals through whatever means necessary.
Adonis — bottling up feelings of guilt, trauma, and diminishing self-worth — must confront this symbol of his past and make peace with it for good. This involves an eventual heart-to-heart (or, rather, fist-to-face) in the place most conducive to resolving conflict: the boxing ring, in front of boatloads of rabid fans.
Indeed, for all of Jordan’s high-minded aspirations, “Creed III” ultimately plays it safe, pitting Adonis against a frustratingly limited antagonist reverting back to a predictable formula, and using its layered themes as window-dressing for seen-it-before spectacle. It’s still entertaining, though — delivering the bruising set-pieces, extravagant training montages, and reliably solid performances we expect, albeit not breaking free of tradition to deliver a KO.
As a directorial debut, “Creed III” is impressive, with Jordan competently helming the action and giving actors plenty of room to flex their chops. The boxing scenes themselves remain the highlight; cinematographer Kramer Morgenthau puts viewers right in the thick of it, giving each punch a tactile sting. Jordan also uses slow-motion to emphasize their raw impact and the considerations behind each jab, while being unafraid to take a more “artistic” approach in visualizing the boxers’ inner thoughts during climactic showdowns. The film gets quite brutal at times, leaving viewers with both feelings of cathartic excitement and, perhaps, a bit of exhaustion.
Outside the ring, “Creed III” is far less stylish, with muted color grading and conventional framing of dialogue-heavy scenes, interspersing flashbacks to that fateful day in Adonis and Damian’s history. Joe Shirley’s score is chock-full of memorable tunes and recurring motifs, which help propel the proceedings along and lend even the less successful moments a distinct identity.
Jordan continues to shine as Adonis — depicting his range as a loving father, devoted husband, yet someone whose ego and sense of “masculinity” affects his willingness to be vulnerable. Despite his lavish home and outward appearance of strength and happiness, Adonis is battling self-doubt regarding his accomplishments, exacerbated by Damian’s re-emergence and subsequent manipulation.
Having already watched Adonis ascend through the boxing ranks and manage his father’s legacy (a central theme of the previous films), it’s interesting, in theory, to watch him grapple with his fame, and recognize just how easily it could have gone the other way — although this introspection leads (unsurprisingly) back to the blunt boxing ring, the ultimate mediator. Majors proves a worthy foil in Damian, bringing a jumpy, volatile energy ensuring him and Jordan are always engaging to watch interact onscreen, ignoring the script’s clunkiness.
Thompson gives characteristic gravitas to Bianca, who plays an ancillary role to Adonis’ arc but faces her own challenges; having progressive hearing loss, she’s had to stop her singing career. Davis-Kent (who’s deaf in real life) holds her own alongside Jordan, Thompson, and Majors — making the most out of a role that’s ultimately setting the stage for a “Creed” spinoff down the road.
The bulk of the film’s issues stem from the framing of Damian as an over-the-top adversary. Damian’s a damaged man, looking for retribution against his childhood friend: they grew up together, but he took a vastly different life path, largely due to chance. With this backstory, Damian should be easy to sympathize with, but “Creed III” too often sways to extremes — depicting Damian as a taunting and merciless individual who, at times, seems less like a flesh-and-blood human being than a “big bad” for our (flawed) lead to vanquish.
By the end, “Creed III” largely eschews the moral ambiguity that was initially so interesting to deliver the usual thrills and avoid deeper insight into both Damian and Adonis’ psyches; in the end, it lacks the emotion that might take it to another level. This isn’t necessarily a bad thing, but considering the talent involved and a premise begging for more depth, the cast deserves better — especially Majors, whose versatility as a performer isn’t fully capitalized on.
For most viewers, however, “Creed III” will suffice, if not exceed expectations. The fundamentals are all there, but this story could have used another bout of training.
“Creed III” is a 2023 sports action-drama directed by Michael B. Jordan and starring Jordan, Jonathan Majors, Tessa Thompson, Mila Kent-Davis and Wood Harris. It is Rated PG-13 for intense sports action, violence and some strong language and runtime 1 hour, 54 minutes. It opened in theaters March 3. Alex’s Grade: B-.
Tickets are now available for the Theatre Mask Awards on April 15, sponsored by Arts For Life.
Through the nonprofit organization AFL, the TMAs have honored drama and comedy plays since 2015.
This year’s ninth annual Theatre Mask Awards includes a luncheon starting at 11 a.m., with doors open at 10:30 a.m., on Saturday, April 15, at Andre’s Banquet Center South, 4254 Telegraph Road, St. Louis.
Cocktail attire is suggested. Seating will be eight per table, and seating assignments will be available at the entrance.
Tickets, including full meal, are $28 each, with a $2 fee if you purchase tickets online. Here is the link for purchase or to download a form to mail-in: https://artsforlife.org/2023-ceremony-tickets
A cash bar is available. There is an ATM machine on the premises.
Award Nominations
Nominations are listed on the website, www.artsforlife.org.
“Arts For Life provides a community recognition program. These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.
For the TMAs, the Hawthorne Players in Florissant received 18 nominations for “A Curious Incident of the Dog in the Night-time” (10) and “Picnic” (8), leading all St. Louis area – metro-east Illinois community theater groups.
The O’Fallon Theatre Works has 16 for TMAs – “We Have Always Lived in the Castle” (8) and “Shakespeare in Love” (8)
The Kirkwood Theatre Guild has 15 TMA nods for “Calendar Girls” (11) and “Cat on a Hot Tin Roof” (4).
Act Two in St. Peters has 12 TMA nods for “Arsenic and Old Lace” (10) and “Any Number Can Die” (2).
Monroe Actors Stage Company in Waterloo, Ill., earned eight nominations for “Moon Over Buffalo” (4), “Footlight Frenzy” (3) and “Night Must Fall” (1).
The Theatre Guild of Webster Groves received six for “A Few Good Men” (5) and “Farce of Habit” (1). Goshen Theatre Project in Collinsville, Ill., earned four for the comedy “Puffs.” The new Wentzville Connection Theatre earned four for “The Dinner Party.” The Clayton Community Theatre earned three nominations – “Broadway Bound” (2) and “Uncommon Women and Others” (1). KTK Productions has one nomination for “The Gingerbread Lady.”
Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”
AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
More information will be forthcoming on the 23rd Best Performance Awards on July 2 at 2 p.m. at the Florissant Performing Arts Center. The BPAs have honored musical theater in community and youth productions since AFL’s founding in 1999.
Blue Strawberry and The Midnight Company have announced that the Linda Ronstadt show, JUST ONE LOOK, has been extended. March 8 and March 15 performances are Sold Out, and tickets for additional performances March 22 and 29 will go on sale Monday, March 6. Tickets are $25 for the 7:30pm shows, and can be reserved at BlueStrawberrySTL.com or by calling 314-256-1745.
JUST ONE LOOK, written and directed by Midnight Artistic Director Joe Hanrahan, stars Kelly Howe as Linda Ronstadt, and the show’s band includes Curt Landes, Piano and Music Director, Tom Maloney on guitar and bass, and Mark Rogers, percussion and vocals.
Jim Lindhorst at Broadway World said of the show “JUST ONE LOOK is just one night of exceptional music. It’s a nostalgic rock ‘n roll cabaret performance that is uniquely driven by a theatrical narrative and it works on every level. Hanrahan’s vision created an entertaining way to present the music that goes beyond cabaret performance. But it is Kelly Howe’s phenomenal delivery of Ronstadt’s tunes that make for a most enjoyable night in a cabaret venue.”
And Sarah Fenske of the Riverfront Times said “Kelly Howe simply dazzles as Linda Ronstadt…an astonishing parade of hit after hit after genre-defying hit….thanks to Howe, Hanrahan and the rest of this throughly enjoyable production, you can’t help but marvel.”
After JUST ONE LOOK, Midnight’s 2023 season will continue with THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY (May 4-20 at the Kranzberg Black Box), THE YEARS (July 13-29 at The Chapel), YOU MADE ME LOVE YOU (July 26, August 2 & 9 at The Blue Strawberry) and THE LION IN WINTER (October 5-21 at the .ZACK.) For more information, visit midnightcompany.com.
The crème de la crème of local female vocal talent displays why they have earned those reputations in a lusty version of “Nine,” an exotic Felliniesque musical being presented by New Line Theatre March 2-25.
Based on filmmaker Federico Fellini’s 1963 semi-autographical angsty-existential-fantasy masterpiece “8 ½,” Tony-winning composer-lyricist Maury Yeston has tackled the age-old conundrum about a woman’s relationship to a man in an expressive, emotional score. Ballads are rueful, company numbers are vigorous in this 1982 musical. Yeston, who started this project in college in 1973, also won a Tony for the 1997 “Titanic” musical.
New Line’s glamorous production has a cast of 13 females who are connected to celebrated director Guido Contini, a womanizer going through a midlife personal and professional crisis.
Set at a Venetian spa in the early 1960s, an exasperated Luisa Del Forno (Lisa Karpowicz) has gone there with her preoccupied husband Guido (Cole Gutmann) to save their troubled marriage. Karpowicz makes you feel her pain, and her best number is the poignant “My Husband Makes Movies.” After all her sacrifices and his infidelities, she sings a mournful “Be On Your Own.”
The cast of “Nine.” Photo by Gerry Love.
He’s a cad, the boy who never grew up, and while smart and chic, she’s more of a caretaker. He does seem to care, but obviously has commitment issues, and they really don’t have much spark left. Contini (you’ll never forget his name because they say it over and over) brought all this misery on himself and is caught in a web of his own lies.
Discovered by the paparazzi, Guido tells reporters he is there to direct his latest film. Three previous movies have flopped, and the pressure is intense. His tough film producer, Liliane La Fleur (a flamboyant Kimmie Kidd-Booker), wants him to make a musical.
Gutmann conveys Guido’s desperation as he tries to come up with his next big picture, spinning tall tales and improvising with a riff on Casanova. His macho meltdown is precipitated by his turning 40, writer’s block, and his shabby treatment of people.
Has he run out of things to say? As the chaotic circus of his life flashes before our eyes, we see what the women have meant to him and what they have put up with – which makes him mostly unsympathetic. Can he change into a better person?
As the magnetic Guido, Gutmann is obsessive and frantic interacting with his mother, wife, teacher, temptress, mistress, muse, younger self, and other people who cross his path.
Cole Gutmann as Guido Contini. Lisa Karpowicz, at left, is Luisa. Photo by Gerry Love.
Gutmann has a rich melodic voice and the confident stage presence to pull off this conflicted character, but because the center of attention is often a jerk, it’s not that easy to emotionally connect to Guido, no matter how famous, important, handsome, and charming he is.
But Gutmann’s soulful delivery of his numbers – especially “Guido’s Song” and “I Can’t Make This Movie” — and his willingness to show the guy at his worst, makes you appreciate his skills. It’s a very demanding, energetic role, as he is on stage about 95 percent of the time.
The drama does have humorous moments but the book by Arthur Kopit seriously attempts to make a statement on artists, the creative process, and one’s demons and desires. Yet, it’s mostly a psychoanalysis of a self-absorbed talent, a male-centered fantasy and it runs hot and cold.
The story flips from real to invented, often taking place in Guido’s head, as he explores his past and present relationships.
Co-directors Scott Miller and Chris Kernan capitalize on the strength of the performers in their minimalist staging, keeping in mind the necessary surrealism. Kernan also choregraphed the movements to be functional, simply depicting moods and attitudes.
The ensemble moves the story forward with added oomph, starting with the exquisite harmonies in the opening “Overture Delle Donne.”
Because it’s about filmmaking, the company delivers melodramatic versions of “Not Since Chaplin,” “Western di Guido,” “Bible di Guido,” and “Documentary di Guido,” plus Guido’s exaggerated “The Script” and “The Grand Canal.”
Guttman is strong leading “The Bells of St. Sebastian,” which shows off the belters to close the first act. In keeping with the plot thread about how the Catholic religion affected his childhood, “Kyrie eleison” (“Lord, have mercy”) is repetitively sung.
Cole Gutmann, Ann Hier Brown. Photo by Gerry Love.
Throughout the two acts, which run 2 hours and 15 minutes, with a 15-minute intermission, the women sit on a striking black and white set cleverly designed as cubes by Rob Lippert, moving off the steps onto the tiled floor for various processions in a dream-like way.
Like a black-and-white film, this work contrasts darkness and light, and this staging uses that aesthetic to its advantage. Lighting designer Matt Stuckel heightens the shadows effectively.
Costume Designer Sarah Porter has outfitted the women in cosmopolitan black apparel that reflects their characters’ personalities and the period styles, while Gutmann’s all-black attire comfortably suits the role.
Music Director Jenna Lee Moore, making her New Line debut and playing keyboard, deftly leads a cohesive orchestra – Tyler Davis on cello, John Gerdes on brass, Lea Gerdes and Joseph Hendricks on reeds, Mallory Golden on violin, and Clancy Newell on percussion.
Ryan Day’s sound design works well at The Marcelle.
The spa sojourn doesn’t turn out as planned. Guido’s mistress, the young and sexy Carla Albanese, shows up. Sarah Wilkinson is a fireball, agile in movement and frisky in “A Call from the Vatican.” She nimbly maneuvers her slinky, satiny mini-dress with bike shorts underneath. Lovely as well in voice, she tugs at the heartstrings in “Simple.”
His muse, actress Claudia Nardi (Ann Hier Brown) has previously been an inspiration, so she is called again in that capacity. However, their relationship is complicated, and she holds her ground. Brown’s luscious mezzo soprano is sublime in “A Man Like You” and the plaintive “Unusual Way.”
Kimmie Kidd-Booker as Liliane. Photo by Gerry Love.
Another highlight is big personality Kidd-Booker, hamming it up and interacting with the audience in her robust “Folies Begeres.” After all, Liliane is a former showgirl, and Kidd-Booker is a scene-stealer as a diva.
Guido’s mother is played sentimentally by Stephanie Merritt, featuring her outstanding operatic voice. As an apparition, she is tender towards her genius son, yet she is aware of his faults. Merritt may be younger than the role calls for, but she appropriately projects the loving mother’s nurturing side and dazzles in the title number, “Nine.”
A seductive Sarah Lueken plays the local prostitute Saraghina from Guido’s youth, seen costumed as a nun. She made an indelible impact on him at age 9, and he must face that truth. Her rousing “Be Italian” is provocative, and the company joins in the naughty fun, using tiny tambourines for effect.
Gillian Pieper is sardonic as Stephanie Necrophorus, a writer and film critic not enamored by Guido neither as a man or a visionary and is downright hostile as she disapproves.
Much of the action takes place in the spa. Kathleen Dwyer is the hospitable manager Mama Maddelena, and a flirty, comical Annabella, while Kay Love is the ethereal Our Lady of the Spa, giving off a spiritual vibe. Then there are spa workers and guests, who are chorus and dancers – Olga (Julia Monsey), Renata (Chelsie Johnston), Diana (Kat Bailey) and Juliette (Brittany Kohl Hester).
Monsey is also Lina Darling, Liliane’s bodyguard. Hester is also the voice of little Guido, and sings the significant “Getting Tall.”
Normally, a little boy is featured in the cast, but New Line uses Hester’s fine vocals and a portrait instead as the young Guido. Like the 2003 Broadway revival, they have dropped “The Germans at the Spa.”
This tale has been an awards magnet and conversation piece since the iconic film debuted 60 years ago, and then became a musical in 1982, revived in London in the ‘90s, then on Broadway in 2003 and film adaptation of the musical (and original film) in 2009. It’s one of those unorthodox works that you may not comprehend completely at first glance, but perception deepens in time and repeat viewings.
It remains maestro Fellini’s chauvinistic source material, nevertheless.
Fellini’s elegant Italian film won two Oscars, for Best Foreign Language Film and for costume design in 1964, and was also nominated for best director, screenplay, and art direction-set decoration (black and white).
Sarah Wilkinson, Gutmann. Photo by Gerry Love.
The musical, and New Line’s interpretation, forego other male characters, trims the women to manageable cast size, cuts the constant smoking and omits Guido’s snazzy hat that Marcello Mastroianni wore.
1963 was a very different time for women, so it’s good to have some cuts, such as the harem scene, Mastroianni’s disturbing whip-cracking, and revisions in dialogue.
However, I wished the playwright would have kept the movie’s best line: “Happiness consists of being able to tell the truth without hurting anyone.”
(An aside: my college film professor adored Fellini, so I was introduced to his films as a student. I struggled with his ideas and images back when I was a teen, but upon watching as an adult, it’s a stirring avant-garde work, and Claudia Cardinale takes your breath away. If you are an HBOMax subscriber, the original “8 ½” in glorious black-and-white and the filmed musical “Nine” are available streaming).
The 1982 musical received 12 Tony Award nominations and won five, including Best Musical, Tommy Tune as director, Yeston for score, Liliane Montevecchi for featured actress as Liliane Le Fleur, and William Ivey Long for costume design. Receiving nominations: Raul Julia as Guido, Karen Akers as Luisa, Anita Morris as Carla, Kopit for book, Thommie Walsh for choreography, lighting design and scenic design.
The 2003 Broadway show earned nine Tony Award nominations, winning for Best Revival and Jane Krakowski for featured actress as Carla, with Antonio Banderas as Guido, Mary Stuart Masterson as Luisa, Chita Rivera as Liliane, director, lighting design and orchestrations nominated.
The film version of the musical, directed by Rob Marshall and starring Daniel Day-Lewis as Guido, was not well-received in 2009, but earned four Oscar nominations for Penelope Cruz as Carla, Maury Yeston for the original song “Take It All,” costume design and art direction.
This cinematically inspired musical, because it’s not typically structured, is more difficult than many other modern theatricals, and is not often produced. While its themes are intriguing, it can be frustrating for those unfamiliar with how the plot unfolds. Yet, the characters are passionate and the music sophisticated, so performers willing to risk the challenge can make their mark.
The focus in New Line’s crisp performance is the sense of collaboration instead of coming across as distant. This cast exhibits sincerity, brings out colors and feelings not always apparent, and appears to be on ‘Cloud Nine’ embarking on this journey.
Photo by Gerry Love.
“Nine” runs March 2 – 25 at The Marcelle Theatre in the Grand Center Arts District, 3310 Samuel Shepard Drive. Shows are Thursday, Friday, and Saturday at 8 p.m. For more information, visit www.newlinetheatre.com, and for tickets, they can be purchased at metrotix.com or by calling 314-534-1111.
City Winery, the culinary and cultural experience for urban wine enthusiasts and live entertainment venue, opens in St. Louis Saturday, March 18 at City Foundry STL with a full schedule of live performances. City Winery will offer its signature intimate concerts and live performances, food and wine experiences, private event spaces, upscale dining options, and a fully functioning winery.
For a limited time, those who sign up for the City Winery newsletter at www.citywinery.com/stlouis are entered to win a Golden Ticket — two tickets to all 2023 shows. The winner will be announced before the March 18 grand opening.
“Opening City Winery in St. Louis is something that I have wanted to do since I started the brand in 2008,” says Michael Dorf, City Winery founder and CEO. “Having spent several years living in the city while I was in college it feels right to once again join this incredible community within the historic building of City Foundry STL.”
From big names in rock and jazz to up-and-coming local artists, comedy, podcast recordings and much more, City Winery at City Foundry STL is St. Louis’ new live event epicenter. Ticket holders can dine during the show and can pre-order wine to have a bottle waiting at their table when they arrive. The venue will seat 225 guests. VinoFile club members can buy advance tickets and pay no fees.
City Winery’s Barrel Room Restaurant & Wine Bar is a welcoming space to relax and unwind. The menu is wine-inspired, globally-influenced, and locally-sourced, perfect for pairing with City Winery’s own vintages, extensive wine offerings, craft beer and cocktails. The venue features the company’s proprietary tap system with eco-friendly glasses of wine straight from stainless steel kegs. The Barrel Room Restaurant will be open for dinner service. Before or after concerts guests can enjoy the tasting room for a flight of wines or the full bar. With a variety of functional spaces, City Winery can host a memorable night out for two or an unforgettable private event for up to 400 people.
GILBERT O’SULLIVAN: THE DRIVEN TOUR USA 2023 WITH BILL SHANLEY
Saturday, March 18, 2023 8:00 PM
THE VERVE PIPE
Thursday, March 23, 2023 8:00 PM
JD SIMO & MATTIE SCHELL ALBUM RELEASE PARTY
Friday, March 24, 2023 8:00 PM
TWO DYKES AND A MIC
Saturday, March 25, 2023 8:00 PM
MAGNETIC FIELDS
Monday, March 27 & 28, 2023 8:00 PM
KRIS ALLEN & TRENT HARMON
Friday, March 31, 2023 8:00 PM
BOY BAND REVIEW
Saturday, April 1, 2023 8:00 PM
BRENDAN BAYLISS OF UMPHREY’S MCGEE: WINE NOT
Tuesday, April 4, 2023 7:30 PM
GLENN JONES
Wednesday, April 5, 2023 7:30 PM
END OF THE LINE – AN ALLMAN BROTHERS TRIBUTE
Friday, April 7, 2023 8:00 PM
STEVE EWING BAND
Saturday, April 8, 2023 8:00 PM
AVERY*SUNSHINE
Saturday& Sunday, April 9 & 10, 2023 7:00 PM
MICHAEL GLABICKI OF RUSTED ROOT WITH DIRK MILLER
Thursday, April 13, 2023 8:00 PM
NATURALLY 7
Friday, April 14, 2023 8:00 PM
LEAH MARLENE
Friday, April 21, 2023 8:00 PM
LOUDON WAINWRIGHT III
Saturday, April 22, 2023 8:00 PM
BODEANS
Saturday, April 29, 2023 8:00 PM
SAWYER FREDERICKS & CHASTITY BROWN
Tuesday, May 2, 2023 7:30 PM
DAVE HOLLISTER
Saturday, May 6, 2023 6:00 & 9:00 PM
DANIELLE NICOLE
Friday, May 19, 2023 8:00 PM
KURT ELLING: SUPERBLUE FEATURING CHARLIE HUNTER
Tuesday & Wednesday, May 23 & 24, 2023 7:00 PM
PETER COLLINS
Thursday, May 25, 2023 8:00 PM
MIDNIGHT SUN – PRINCE VS MICHAEL JACKSON
Sunday, May 28, 2023 7:00 PM
JOJO HERMANN (OF WIDESPREAD PANIC)
Tuesday, May 30, 2023 7:30 PM
JOSH RITTER
Tuesday & Wednesday, June 6 & 7, 2023 7:30 PM
RHETT MILLER OF THE OLD 97S
Sunday, June 25, 2023 7:00 PM
TAB BENOIT W/ ANTHONY ROSANO & THE CONQUEROOS
Sunday, July 2, 2023 8:00 PM
JUST FINE: MARY J. BLIGE TRIBUTE
Thursday, July 13, 2023 8:00 PM
The St. Louis location will be joining City Winery locations in other destination-worthy cities including Atlanta, Boston, Chicago, Hudson Valley, Nashville, New York City, and Philadelphia.
City Winery St. Louis will be open daily. The venue is located at 3730 Foundry Way, Suite 158, St. Louis, MO 63110. For more information visit, www.citywinery.com/stlouis and follow on social media @citywinerystl.
About City Winery
City Winery, founded in 2008 by Michael Dorf, delivers a unique culinary and cultural experience to urban wine enthusiasts passionate about music. Each City Winery offers intimate concerts, upscale dining, private event spaces, and a fully functioning winery. To date, City Winery has locations in New York, Chicago, Nashville, Atlanta, Boston, and Philadelphia and will be opening up in St. Louis, Pittsburgh and Columbus in 2023. In 2020, City Winery opened Hudson Valley, a hydro-powered winery, vineyard, restaurant, outdoor concert venue and private events space at the historic Montgomery Mills. Other concepts run by the company include City Vineyard at Pier 26, City Winery at Rockefeller Center, City Winery Chicago at the Riverwalk, and City Winery Greenway in Boston. Michael Dorf explains his success and outlines his career in his book, Indulge Your Senses: Scaling Intimacy in a Digital World. See www.citywinery.com for details.
By Alex McPherson A gnarly B-movie that’s both messy and thrilling, director Elizabeth Banks’ “Cocaine Bear” delivers on the chaotic fun promised by its title.
Set in 1985, the film — inspired from true, albeit far less “entertaining” events — begins with a crazed drug smuggler named Andrew C. Thornton II (Matthew Rhys) dumping a large shipment of blow over the Chattahoochee-Oconee National Forest to be retrieved later. The drugs are soon ingested by an American black bear, who, hyped up on the substance, embarks on a path of destruction, not letting anything get between her and the good-good.
When trying to parachute out of his plane, Andrew knocks himself unconscious on the doorframe and falls to his death in Knoxville, Tennessee. He’s then identified by a local policeman named Bob (Isaiah Whitlock Jr.), who links the drugs to a ruthless St. Louis kingpin named Syd White (Ray Liotta). Syd enlists his depressed son, Eddie (Alden Ehrenreich), who is mourning the loss of his wife, and his tough guy fixer, Daveed (O’Shea Jackson Jr.), to find the cocaine. They’re unaware that Bob’s on the trail, but, more importantly, unprepared for the cuddly carnivore that awaits them.
Meanwhile, the 12 year-old Dee Dee (Brooklyn Prince) and her best friend Henry (Christian Convery) skip school to paint a picture of a waterfall in the forest without telling her mother, Sari (Keri Russell). Before long, they find some bricks of cocaine, eat some of it (as one does), and wander into the vicinity of our titular bear. Sari, who happens to be a nurse, panics and goes out searching for them, accompanied by the raunchy, nonchalant Ranger Liz (Margo Martindale) and her tree-hugging crush, Peter (Jesse Tyler Ferguson), whose love of nature isn’t exactly reciprocated.
As these disparate groups converge, mama bear joins the party, not caring one iota about their petty human affairs — they are prime meat for the slaughter. Indeed, when the bear is unleashed to wreak gratuitously bloody havoc, Banks’ film shines: creature-feature-slasher as tar-black slapstick comedy. The human drama doesn’t hold up in comparison, but “Cocaine Bear” remains briskly paced and wholeheartedly committed to the bit during its 95-minute runtime, while maintaining an earnest streak through the bloodshed that, for all its awkwardness, fits the proceedings like a glove.
As expected, “Cocaine Bear” doesn’t aim for high-minded social commentary (no pun intended), and never takes itself too seriously. Numerous criticisms can be lobbed its way in terms of structure and consistency, but, perhaps, that’s part of the point — the bear triumphs over all. Nearly every other element, no matter how lackluster, sets up scenarios for her to engage in gory goodness. Even though the film can be a scattershot affair, the payoff is always worth it.
By not anthropomorphizing the bear itself, Banks respects it as an animal hooked on a mysterious substance, instantly addicted and empowered with newfound boldness — unpredictable and dangerous, merciless in its pursuits and not to be trifled with by anyone idiotic enough to believe they stand a chance against it. Performed with impressive motion capture by Allan Henry, the bear is a source of both terror and hilarity, with Banks delivering some genuinely suspenseful set-pieces of it creeping up on and misdirecting its prey; priming viewers for some wholly effective jump-scares and viscera-laden carnage amid rustling foliage and sunswept fields.
One scene involving an ambulance is a masterpiece of dark comedy — fear and tension turning into shocked laughter that’s best viewed with a large crowd of like-minded souls. These sequences, thanks to Banks’ unflinching direction, John Guleserian’s dynamic cinematography, and Mark Mothersbaugh’s synth-heavy score, are memorable, and worth the price of admission alone.
What about the humans, though? “Cocaine Bear” doesn’t prioritize “raw emotion” in their respective arcs, but the ensemble capably shoulders the absurdity. Whitlock Jr. brings his characteristic deadpan dignity to policeman Bob, remaining cool and collected through his exasperation and increasing peril. With a small dog waiting for him at home, we’re rooting for him to make it out alive. Martindale and Ferguson are exceptional — essentially cartoon characters who, for what they lack in groundedness, make up for in charm. Russell convincingly brings out her own “mama bear” side to rescue Dee Dee, while Prince and Convery are hilarious as two rebellious youngsters in way over their heads who aren’t quite as brain-dead as viewers might initially expect. Ehrenreich and Jackson Jr. do what they can, but aren’t nearly as successful with standard archetypes bonding through their trauma bond and finally learning some self-respect. Liotta amusingly hams it up as the real villain of the piece, rather one-note but enjoyable to watch nevertheless.
Even though “Cocaine Bear” is, well, “Cocaine Bear,” there’s some environmentalist themes that rear their heads, principally the importance of respecting the natural world. Like the shipment of cocaine that’s carelessly dropped into the wilderness, this batch of characters with wildly different life experiences are gathered within a space they don’t belong— encountering a drug-fueled apex predator ready to punish them for their intrusion. Whether or not they deserve their fates, the bear (as it mauls, stalks, and does lines of cocaine off severed limbs) is an equalizing force that removes preconceptions and shifts the humans’ focus to pure survival and self-preservation, at least if they’re smart enough to recognize it. The animal also illuminates their true values. But none of this really matters — it’s just appealing to watch a coked-up bear causing complete and utter chaos.
Admittedly, there is too much going on plot-wise for “Cocaine Bear” to be as focused and satisfying as it should be. The film’s editing is occasionally clunky, with intermittently awkward transitions that break immersion. Similarly, the film’s jokes are hit-or-miss, with the general vibe representative of “there’s a bear on cocaine, oh no!” and punchlines via over-the-top violence. Cheesiness abounds, which fits with the film’s goofy, 80s-throwback style, but lacks emotional heft. The script’s brand of broad, gross-out humor won’t work for those who don’t find the concept giggle-worthy, or who are easily perturbed by excess gut spillage.
Fortunately, for this viewer, “Cocaine Bear” is properly filling, meeting expectations and having (slightly) more to unpack than being merely a slasher flick. This is Cocaine Bear’s domain, and we’re just existing in it.
“Cocaine Bear” is a 2023 comedy-thriller directed by Elizabeth Banks and starring Keri Russell, Matthew Rhys, O’Shea Jackson Jr., Alden Ehrenreich, Ray Liotta, Brooklynn Prince, Christian Convery, Isiah Whitlock Jr., Jesse Tyler Ferguson and Margo Martindale. It is Rated R for bloody violence and gore, drug content and language throughout and the run time is 1 hour, 35 minutes. I opened in theaters Feb. 24. Alex’s Grade: B
Even if you forgot most of the 1960 novel that you read in way back in middle school and most of what you loved about the 1962 film (Gregory Peck! Mary Badham! Robert Duvall!), the Aaron Sorkin-scripted staged production of “To Kill A Mockingbird” at the Fox Theatre will powerfully remind you of why this beautifully wrought story remains essential to America’s self-narrative.
And, spoiler alert, this excellent touring production, headlined by Richard Thomas, may forever elevate your expectations of what theater can – and should – achieve. It will be hard to accept anything less – or less relevant.
“Mockingbird,” like its classmate “Catcher In the Rye,” is one of those stories that runs the risk of having its potency diminished by required reading in our formative years. Both could be relegated to the “been there, read that” shelf. The beloved film adaptation of “Mockingbird” further exacerbates this risk with a “been there, saw that” ubiquity.
In the spirit of transparency, I’m a bit of an Aaron Sorkin fanboy who appreciates his talky style of dialogue. I also count myself in the minority of folks who continue to mourn the cancellation of his HBO show “Newsroom” and who believes that the soliloquy-ish “America is not the greatest country in the world anymore” scene, delivered by Jeff Daniels, is some of the best dialogue in the history of television.
Sorkin’s “Mockingbird” is impressive for its ability to remain true to the heart of Harper Lee’s slowly unwinding examination of racism and injustice while resequencing and re-pacing the story to appeal to current sensibilities. It may have a small-town setting but it confronts an all-towns topic.
“Mockingbird,” given its status as an American classic, doesn’t need saving, but it certainly benefits from a modern stage treatment. Sorkin introduces the trial of Tom Robinson, the African-American man accused of the rape of a white woman, Mayella Ewell, at the start of the play, rather than build up to it as Lee does halfway through her novel. This places the play’s central conflict and theme front and center. The trial scenes are briskly and effectively toggled with scenes set mostly on the porch of Atticus Finch, the small-town lawyer defending Robinson. Tying these two strands together is a triumvirate of chatty-cathy narrators: Scout, Jem and Dill.
Sorkin’s rejiggering would go for naught if it weren’t supported by the excellent, tight direction of Tony Award-winner Bartlett Sher, evocative set design by Miriam Buether and, of course, the performances of the entire cast, top to bottom. Thomas as Atticus Finch brings his own type of ubiquity earned from his early-career success as John Boy on “The Waltons” television series. He’s shown considerable range and depth as an actor since then. I’ve especially like him more recently as Walter Gaskell in the film “Wonder Boys” and Nathan Davis in the Netflix series “Ozark.” Thomas delivers a nuanced Atticus whose story runs parallel to – but doesn’t usurp – that of Tom Robinson, played by Yaegel T. Welch with an impressive coiled anger shackled by powerlessness, imposed deference and unfair accusation.
Melanie Moore as Scout, Justin Mark as Jem and Steven Lee Johnson as Dill delivered their adults-as-children characters with effective interplay of voice-over narration, wild-rumpus physicality and tomfoolery. This ensemble within an ensemble is evenly balanced is they each experience the transition from youthful innocence to a more mature, darker moral awareness.
As Calpurnia, Jacqueline Williams confidently portrays the Finch family’s wise African-American housekeeper who assuredly balances her role as surrogate mother to Jem and Scout and a certain Jiminy Cricket to Atticus. It’s hard to like the character of Mayella, but Ariana Gayle Stucki’s performance of the sexually and emotionally abused young woman was more than easy to admire. Stucki fully inhabited and revealed Mayella through a clinched (at times near-contorted) body, bitter tears and puffy red face.
The production deserves a couple of quibbles. One is the Southern accent that I know and loathe from countless movies and television shows. Although not off-putting, it’s nonetheless disappointing that the characters’ diction wasn’t more specific to Alabama instead of the generic, non-specific Southern patois.
Another is the unexplained “fire curtain” that covered the stage between acts. Again, not off-putting, but it raised more questions than it answered because it could refer to the fire in the novel (not in this play). It could also refer to the heat of the subject matter. It might even be making some sort of statement about the protective capabilities of live theater.
To call this production of “To Kill A Mockingbird” a must-see might not be strong enough as a recommendation. Like The Black Repertory’s recent production of “Death of a Salesman,” another deeply familiar American story, this interpretation of “Mockingbird” renews and invigorates a story that deserves retelling. It also more than deserves our continued attention and support.
Performances of “To Kill A Mockingbird” at the Fabulous Fox run February 28 – March 12. . Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
Mary Badham, who played Scout in the 1962 film, plays Mrs. Dubose in the national tour
The formula is familiar and the plotline predictable in “Creed III,” but there is an authentic undercurrent between the heavyweight stars Michael B. Jordan and Jonathan Majors playing childhood friends turned professional rivals.
Adonis (Jordan) has been thriving in both his career and family life, but when a childhood friend and former boxing prodigy resurfaces after a long prison sentence, Damian Anderson (Majors), the face-off is more than just a fight.
The third chapter sadly doesn’t feature Sylvester Stallone as Rocky Balboa, but returning castmates include Tessa Thompson as Adonis’ pop-star wife, Wood Harris as trainer “Little Duke,” Florian Munteanu as Viktor Drago, and Phylicia Rashad as Mary-Anne Creed.
The mainstay of the Rocky-Creed films is the family legacy thread, and screenwriters Keenan Coogler (original director-writer Ryan’s brother) and Zach Baylin (“King Richard”) lean heavily into it. The face-off between former friends seems more contrived than typical. The melodrama is hyped up as Adonis’ future is on the line and “Dame” has nothing to lose.
However, Jordan, as first-time director, keeps the action fast paced and the obligatory training montage as well as fight scenes intense. Both lead actors are in commendable shape, and the boxing benefits from their commitment.
The subplot about hearing loss is an admirable point – and Jordan’s and Thompson’s sign language is flawless. That part about a family seemingly on top of the world dealing with struggles gives the film a heart-tugging element.
The original “Creed” in 2015 was rousing crowd-pleasing entertainment, lovingly crafted by director and co-screenwriter Ryan Coogler. The underdog boxing story had plenty of Easter eggs to the “Rocky” series.
If you don’t remember it, or the follow-up in 2018, you can still enjoy this film, but it does help to get up to speed about the back story. Last time, Adonis Creed, the son of the legendary heavyweight champion Apollo Creed, faced the son of his father’s boxing foe and killer Ivan Drago (Dolph Lundgren in “Rocky IV”) in the sequel, with Donnie taking on Viktor in a story about not escaping your past and family is everything. Real Romanian boxer Florian Munteanu returns as Viktor in a small role in “III.”
That theme continues here, as a retired Adonis is grooming Felix Chavez (Jose Benavidez) to be the next champ. He’s pulled back into the ring through a series of unfortunate events. He’s living large, but potshots in his direction are taking an emotional and mental toll. Dame is eager to take his shot and has something to prove.
Looming large is the absence of Stallone, the heart and soul of the franchise since the Oscar-winning crowd-pleaser “Rocky” in 1976. He’s played Rocky eight times, and it’s unfortunate they had no place for him in round three, because his presence is needed. He is the anchor, and not only earned an Oscar nomination for the first “Creed,” but elevated the second one.
Nevertheless, the supporting cast is convincing in their roles. Thompson excels as Adonis’ wife Bianca, and Mila Davis-Kent is endearing as their smart, headstrong daughter Amara.
This doesn’t have the same impact as Coogler’s original, nor does it have the sentimentality. He didn’t direct the second one, as he was too busy with “Black Panther,” and here, he just supplies the story and produces.
Jordan not only is up for the physical challenge of playing Adonis, but also the emotional complexity, and with Majors at the top of his game, the conflict has some bite to it.
Majors, who was noteworthy in early work – “The Last Black Man in San Francisco,” “Da 5 Bloods,” and “The Harder They Fall,” with his acclaimed performance in last year’s “Devotion” and now as Kang the Conqueror in the Marvel Cinematic Universe making him one to watch, is impressive as Dame. He takes a one-note role and commands the screen.
The music score is a worthy addition from Joseph Shirley, and the soundtrack pulses with urgency.
The tech work is superb, with sharp cinematography by Kramer Morganthau, who worked on the second one, and slick editing by Jessica Bacesse and Tyler Nelson. Production designer Jahmin Assa has created quite a crib for the Creeds and contrasts the past with the present effectively.
Is there enough juice for another one? Will the audience keep coming back? Time will tell.
While it isn’t a knockout, “Creed III” packs enough of a punch for those seeking another chapter in this 47-year-old story and an abundance of contemporary action.
“Creed III” is a 2023 sports action-drama directed by Michael B. Jordan. It stars Michael B. Jordan, Tessa Thompson, Jonathan Majors, Wood Harris, Mila Davis-Kent, and Phylicia Rashad. It is rated PG-13 for intense sports action, violence and some strong language. Run time is 1 hour, 56 minutes. It opens in theaters on March 3. Lynn’s Grade: B-
Bi-state area high school students compete for scholarships & prizesat a free family event at The Fabulous Fox on Saturday, April 8
On February 26, 49 metro area high school acts competed in the semi-final round of the 13th Annual St. Louis Teen Talent Competition. The acts were divided into four categories (vocal, instrumental, dance and specialty) and adjudicated by nine St. Louis performing arts professionals, each representing the respective categories. The judges narrowed the field to 14 acts (22 students) who will move on to the finals at the Fabulous Fox Theatre on Saturday, April 8 at 7:30 pm.
The final competition is a professionally produced production the Foundation is grateful to provide as a gift to the community that is FREE and open to the public. General Admission tickets are required and are available now at no charge through Metrotix online at metrotix.com and the Fox Box Office. The following finalists include a variety of singers, musicians, dancers, and acrobats:
Rayquan Strickland / Singer, Songwriter / Senior at Centra VPA
Ava Hettenhausen / Singer / Junior at O’Fallon Township High School
Ariana Kroegger / Singer / Senior at Clayton High School
Noah Van Ess / Singer, Pianist / Senior at Lindbergh High School
Cortland English / Singer / Junior at O’Fallon Township High School
Kyla Gerhardt / Singer / Senior at Granite City High School
Anna Layher / Circus Arts / Senior at Nerinx Hall High School
Kyleigh McCourt / Baton Twirler / Junior at Mehlville High School
Saisha Bhutani / Traditional Indian Dancer / Junior at Clayton High School
Avery Payne / Dancer / Sophomore at Orchard Farm High School
Cats Jazz Collective / Jazz Band/ Sophomore, Juniors, and Seniors at Webster Groves High School
Cindy Yan / Pianist / Junior at Ladue Horton Watkins High School
Yrwin Batan / Pianist / Junior at St. Louis Priory High School
Drum Warriors Ensemble / Drummers / Junior at Grand Center Arts Academy; Junior at Collegiate School of Medicine and Bio Science; Sophomore at Clayton High School; Junior at Carnahan High School
“We’ve got a fantastic group of students this year! I’m looking forward to seeing these talented teens on the Fox stage! The students seem to get better and better each year,” exclaimed Mary Strauss, Fox Performing Arts Charitable Foundation Board President.
In addition to the excitement of performing on the Fox Stage, contestants are eligible to win scholarships, prizes, and performance opportunities. Nearly $50,000 in prizes, cash awards and college scholarships will be distributed among the top competitors. A full list of prizes along with official event information can be found on the Fox Performing Arts Charitable Foundation’s (FPACF) website.
The Finals production will be directed by St. Louisan Lee Anne Mathews, a veteran Equity actor of international stages, longtime director, COCA educator and current artistic director with Westport Playhouse. Mathews will work with choreographer Yvonne Meyer Hare and music director Steve Neale to prepare performers for the Fox Stage.
Finalist acts will be judged on technical ability, interpretation, stage presence, and originality. Judges for the finals have careers spanning music, dance, and Broadway. A complete list of final round judges is available on the FoxPACF website.
The community response to this event has been significant as the program has grown over the past thirteen years. Annually viewers have watched the Nine PBS featured program on the final competition. FoxPACF is grateful for the continued partnership with Nine PBS, which will film the 2023 Finals in front of a live audience for a special broadcast to air later this spring.
The 2022 co-winners, Aubory Bugg, a homeschooled vocalist and guitarist and “Trifecta,” the circus tumbling troupe, will return this year for special performances. A complete list of winners and finalists from the past eleven years can be found on the FoxPACF website.
PLEASE NOTE:
All seating is general admission. There is a limit of 10 tickets per transaction. Seating is first-come-first-seated and is not guaranteed. The theater will be over-sold to ensure a full house. Please, arrive early.
Fox Performing Arts Charitable Foundation fosters, promotes, and encourages young people in the St. Louis region to discover and participate in the joy and wonder of live performances.
In addition to the St. Louis Teen Talent Competition, the Fox Performing Arts Charitable Foundation also produces a variety of other performing arts programs including Kids’ Night at the Fabulous Fox, Broadway Master Classes, Educational Encores,and is a producing partner of the St. Louis High School Musical Theatre Awards.
