By CB Adams Suspension of disbelief is a term usually associated with works of fiction, film or theater. It’s a term that got its start way back in 1817 when Samuel Taylor Coleridge wrote of the “…suspension of disbelief for the moment, which constitutes poetic faith.”
It’s high time we apply this term to music. This was certainly applicable to the Saint Louis Symphony’s diptych program on Oct. 15-16 of Sergei Rachmaninoff’s Piano Concerto No. 2 and John Corigliano’s Symphony No. 1. When a conductor and orchestra can perform in a way that disappears themselves, that’s suspending the reality that people are only just rubbing strings and blowing into mouthpieces.
The program, guest conducted by Hannu Lintu, was worthy of Coleridge’s “poetic faith” with the shared maelstrom of themes that rose and fell in tandem – a perfect storm. The suspension of disbelief came after I forgot that there were musicians on stage and entered into my own reveries elicited by the drama of music itself. In service to this review, I had to keep reminding myself to stop my mind’s reverie and pay attention to who was doing what on stage.
Some of this is attributable to conductor Lintu, a regular guest artist with the SLSO since 2013. I was reminded of Lintu as I watched a sneak peek of the new film “Tár.” In it, a world-class conductor played by Cate Blanchett says, “If you want to dance the mask, you must service the composer. You’ve got to sublimate yourself…You must, in fact, stand in front of the public and God and obliterate yourself.” That might be a bit hyperbolic, but Lintu certainly serviced the strengths of a program that put Rachmaninoff and Corigliano – the old and the new – into lockstep.
Lintu was sometimes metronomic, sometimes feet-together obedient and sometimes commanding, but always he was the conduit for music to swell unimpeded over him and into the audience.
Also in service to the music was Gerstein, the featured pianist on Rachmaninoff’s No. 2. Gerstein delivered a taut, polished, restrained performance that avoided any exaggeration that the composition can encourage. Just think back to 1975 and Eric Carmen’s hit “All By Myself,” which liberally borrowed from No. 2’s Adagio sostenuto. Or the soundtracks to “Brief Encounter” and “Fifty Shades of Grey.” Gerstein’s performance was noteworthy for his ability to balance lyrical nuance and athletic discipline to a well-known and -loved composition.
A great performance is always a team effort, and the orchestra rippled through Rachmaninoff’s alternations of sweet melancholy and darkness. On par with Gerstein’s solos were performed by Matthew Roitstein (principal flute), Scott Andrews (principal clarinet) and Thomas Jöstlein (associate principal horn).
Creating a program that positions a beloved classic with a newer composition is to risk a “bait and switch” response. But when it works, it can work charms as did placing Rachmaninoff and Corigliano, the latter of which is a celebrated orchestral composer whose works have been performed by the best international ensembles. This was my introduction to Corigliano and I’m all the better for it. The genesis of Symphony No. 1 was Corigliano’s deeply personal response to the HIV/AIDS pandemic, but the music enabled me to surf the dramatic crests and delicate troughs of its waves.
Perhaps because of the SLSO’s fine performance that relied on the talents of approximately 110 onstage musicians , I can imagine only listening to No. 1 live. It’s hard to think of a recording and stereo system capable of presenting this composition in all its highly charged power and range, evident even in the title of the opening movement, “Apologue: Of Rage and Remembrance” and in Corigliano’s description of the second movement’s ending as a “brutal scream” and the Epilogue’s ending with a cello duet performing a slow diminuendo that shimmers with a single, fading note.
That cello duet, performed with grace and emotion by Danny Lee (principal cello) and Melissa Brooks (assistant principal cello), was a highlight of the entire performance, made stronger by ending the program of poetic faith and promise.
By C.B. Adams “It’s an old tale from way back when.”
So states Hermes, the narrator of “Hadestown” at the beginning of this award-winning musical. Hermes is played by native St. Louisan Nathan Lee Graham (an audience fave) who delivers a highly entertaining pastiche that’s Part Zazu, part Ben Vereen, part Joel Grey and part master of ceremony.
“Hadestown,” now playing at the Fox Theater, is indeed an old tale. It’s a dystopian folk opera reboot of a Greek myth, circa 800-900 BCE, by Anais Mitchell (music, book and lyrics), and it’s still potently relevant today, prescient even.
If the idea of attending a modernized Greek tragedy, replete with gods, Fates and Chorus doesn’t entice you, maybe the fact it won eight Tony Awards in 2019, the most awarded show of that season, including Best Musical, will. There’s strength and staying power to the old tales, and this touring company’s production of the travails of Orpheus and Eurydice provides a superlative experience, proving it’s a different kind of marvel universe.
And, no, you don’t need to bone up on your Greek mythology before attending. Hermes, in word and song, guides you through the story.
This appraisal of the opening night’s performance at the tightly packed Fox on opening night joins the swelling ranks of this show’s ongoing rave reviews – both the original Broadway and this touring production. It would be easy to state that “Hadestown” checks all the boxes for an excellent show and leave it at that. But if you’re on the bubble about attending, perhaps some additional convincing is in order.
For starters, the score with 31 songs and a reprise is mesmerizing. The songs, whose source was an award-winning 2010 concept album by Mitchell, are tightly paced and intricately braided into the narrative. They have a timelessness about them, blending blues, gospel, ragtime, jazz, folk, and even indie-pop influences. The songs have a definite old-timey vibe with contemporary touches, such as when Persephone uses the phrase “pay per view.” Everyone’s taste differs, but my top-three favorite songs were “Road to Hell,” “Wait for Me,” and “Way Down Hadestown.”
The sound mixing was well-balanced, and vocals were clear and understandable. This is noteworthy because, based on some other recent shows (not necessarily at the Fox), it’s amazing how important good sound is, especially when you’re straining to understand the vocals. Hannah Whitley as Eurydice was a bit too quiet during “Livin’ It Up On Top,” but rallied for the rest of the show with strong vocals and emotion.
The set, designed by Rachel Hauck, was perfectly scaled for the Fox’s stage. The set cleverly serves as the entrance to the underworld (Hadestown) and the underworld itself. In the center of the two-story set is a lighted, doorway that opens its maw to swallow or belch forth the actors. The set’s umber- and sepia-tinged palette resonates with the show’s folky, jazz- and creole-influenced music with a blend of French Quarter, 1930s train station and Paris brasserie.
Great theater is all in the details, and one of the best small touches in “Hadestown” was the how various characters interacted with the steampunkish, double-headed microphone. Another terrific touch was flanking the set with members of the seven-piece band on either side (though the percussionist/drummer was offstage). Special note must be made of the performance of Emily Frederickson, who played trombone and glockenspiel (More glockenspiel!) and even danced in a number.
The set was further enhanced with Tony-winning lighting design from Bradley King that could be as subtle as it was garish, as when the lights blasted into the audience. Costume design by Michael Krass complemented and mirrored the tarnished atmosphere of Hadestown. The one exception was the silver-spangled vest of Hermes, which he proudly flashed at the opening of the show.
Unlike the devil in other traditions, Hades in both myth and this musical is not a one-dimensional antagonist. Hades has a backstory and earns a begrudging level of respect in his role as leader of the underworld. As voiced and sung by baritone Matthew Patrick Quinn, the stentorian Hades sounded as deep and dark as a coal mine and as ominous as an earthquake.
As played by Chibueze Ihuoma, Orpheus begins as a naïve, somewhat clueless musical prodigy. As his fate becomes intertwined with Eurydice’s, Ihuoma adeptly portrayed Orpheus’ transformation into a mythically tragic figure. Ihuoma has been with the touring company since 2021 and began as a member of the ensemble as a Worker before assuming the Orpheus role in June.
This imagining of the Greek tale elevates the female characters. Eurydice here is independent, resilient and self-aware. As Eurydice, Hannah Whitley beautifully voices these characteristics and, like Ihuoma, effectively portrays her character’s inevitable, unstoppable fate.
The upstairs-downstairs character Persephone is onstage for most of the show, and understudy Shea Renne made the most of that opportunity. Whether she’s stomping around during her signature song, “Livin’ It Up On Top,” or idly sitting on the balcony with her husband, Hades, Renne brought vigor and misery in equal measures to her portrayal.
Also strong is the show’s ensemble of actors, dancers and singers in the Fates and Chorus. This ensemble is as vibrant and compelling as the rest of the cast. The Fates in particular were fun to watch as the interacted individually and as a unit with the other characters throughout the performance.
One of the reasons why some stories endure while others don’t is their adaptability. An ancient Greek would certainly recognize the essence of the Orpheus-Eurydice tale retold in “Hadestown.” Modern audiences can certainly appreciate the Greek tragedy for its ability to affirm life even in the face of suffering. And, for those who miss this opportunity to see “Hadestown,” it would be…well, hell.
Performances of “Hadestown” at the Fabulous Fox run Oct. 11-23. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
By Alex McPherson Brooding, raw, yet ultimately uneven, directors Saela Davis and Anna Rose Holmer’s “God’s Creatures” is dripping with dread-inducing atmosphere and acting talent, led by an excellent Emily Watson.
Set in a coastal Irish fishing town — drenched in fog, dreariness, antiquated ideals, and a heavy sprinkling of impending doom — the film opens with the drowning of a young man. In this community, nobody is taught how to swim, so the villagers aren’t tempted to risk death themselves to rescue someone, a fitting illustration of the stiff norms that have remained for generations.
Aileen (Watson) works as a supervisor at the seafood processing plant (run entirely by women, except for one male manager), preparing oysters and fish caught by men in the village. She lives with her stern husband Con (Declan Conlon) and near-catatonic father-in-law Paddy (Lalor Roddy), who will barely move a muscle only to suddenly slap Aileen in the face, implying a violent past.
Aileen dutifully goes through the motions — working long hours, quietly conversing with coworkers during smoke breaks, babysitting her daughter Erin’s (Toni O’Rourke) infant child, grabbing an evening drink at the pub — until the day her dearly beloved son, Brian (Paul Mescal), returns from a multi-year trip to Australia. Brian had left Aileen and company unexpectedly, not communicating with the family while overseas.
This left a gaping wound in Aileen’s heart, so his unexpected reappearance fills her with joy; Con and Erin are more ambivalent about Brian’s return. Brian is eager to resume working on his grandfather’s oyster farm, and Aileen has no qualms about stealing supplies from work to support him. In fact, Aileen is willing to sacrifice much to protect her child, even if he turns out to be a far different person than she imagines he is.
Soon enough, troubles arise. Brian is accused of sexual assault by a young woman and family friend named Sarah Murphy (Aisling Franciosi), who works at Aileen’s plant and once had a romantic relationship with Brian years ago. Aileen provides an alibi in court for Brian without a second thought, thus saving him from further investigation.
This decision, however, gradually eats away at Aileen’s psyche, as she sees Sarah’s subsequent ostracization from the townsfolk, and experiences a crisis of conscience. She’s torn between her maternal instincts and factual reality, slowly but surely recognizing the troubled traditions that control her community, manifesting in both subtle and blunt ways. The title “God’s Creatures” takes an ironic bent as Aileen comes to recognize the harmful dynamics at play, baked into the fabric of the land.
Suffice to say, “God’s Creatures” is quite a downer. A simmering menace persists from beginning to end — largely thanks to impeccable sound design and carefully calibrated performances — rendering this bleak drama practically a horror film. With a muted color palette and stark, wide vistas, Chayse Irvin’s cinematography is fittingly chilly. The score, by Danny Bensi and Saunder Jurriaans, is full of discordant strings and startling percussion, complementing the clamor of oyster shells and the swoosh of lapping waves.
Like a living, breathing monstrosity, the music builds upon itself as Aileen’s conflict intensifies, incorporating additional elements that, at one point, evoke the feeling of an unseen creature breathing heavily — an omnipresent threat that exerts control over anyone in its grip. Shane Crowley’s screenplay, while occasionally leaning into heavy-handedness, rarely feels out-of-place, its authenticity helped by thick Irish accents.
Watson is, as ever, absolutely mesmerizing as Aileen, communicating multitudes without uttering a word. Although the film withholds detail of her past and her close bond with Brian, Aileen remains a believably conflicted protagonist. Her initial relief and happiness with her son’s return turns to rash protectiveness, doubt, anger, and instability. Watson sells each aspect of her character’s evolution (or de-evolution), the camera focusing on her during prolonged closeups where we witness the guilt, grief, and fire burning just beneath her stoic facade.
Mescal’s charismatic screen presence suits the character of Brian, a shifty lad whose banality belies a violent, impulsive heart. Brian acts very differently when he’s being watched from when he’s alone, and Mescal expertly embodies that dichotomy, although the film leaves little doubt to Brian’s culpability. Franciosi almost steals the show, lending haunted gravitas to the role of Sarah, a woman alienated from the only place she’s called home.
Despite excellent fundamentals and ever-timely subject matter, though, Davis and Holmer’s film fails to explore its characters and the world they inhabit with the depth they merit. “God’s Creatures” prizes tone above all else, grounding us in a richly textured setting, yet neglecting to give its inhabitants the same care.
Indeed, Aileen’s grappling with morality does raise pertinent questions about love and loyalty versus truth and justice, but winds up wading through melodramatic waters. It’s a shame that, at arguably the height of her intensity, the film turns away from her, and undercuts both Watson’s performance and the contemplative storytelling that came before.
In addition, the film’s focus on Aileen’s struggles takes attention away from Sarah’s experiences and the isolation she feels. Aileen is often relegated to observing her from afar, eventually recognizing the role she plays in Sarah’s suffering. This approach, while giving Watson loads of time to showcase her skill as a performer, lessens the emotional heft of Sarah’s story.
Scenes where Aileen encounters Sarah tap into the insidious ways that casual misogyny and power imbalances manifest themselves, but only on the surface level. One searing monologue by Franciosi at the film’s conclusion alludes to a resilient, scarred, and complex character who deserves more than a few moments to get the spotlight. Davis and Holmer choose to merely acknowledge Sarah’s challenges rather than engage in insightful commentary, especially surrounding her treatment by others, and her own courage and strength despite it. By the time “God’s Creatures” finally centers her narrative, it proves to be too little, too late — deserving of a plot with wider focus, and one less centered on Aileen’s predictable (albeit undeniably well-acted) psychological turmoil.
Still, the formal elements of “God’s Creatures” shine, even when the drama takes jarring turns. This is an icy, chilly ordeal, which leaves a mark once the end credits roll regardless.
Emily Watson
“God’s Creatures” is a 2022 psychological drama co-directed by Saela Davis and Anna Rose Holmer, starring Emily Watson, Paul Mescal and Aisling Franciosi. It is rated R for language, and runs 1 hour, 40 minutes. It opened in select theatres in U.S. on Sept. 30 and is now available to rent through digital platforms. Alex’s Grade: B.
Based on a true story, “The Watcher” is seven episodes of a mystery-thriller about a couple who moves into their suburban dream home, only to discover a haunting figure is watching them. The cast includes Bobby Cannavale, Naomi Watts, Jennifer Coolidge, Terry Kinney (my ISU classmate), and Michael Nouri.
Stray Dog Theatre’s second weekend of “A Little Night Music” begins tonight at 8 p.m. at the Tower Grove Abbey, and continues Friday and Saturday. On Sunday,the only matineewill be presented at 2 p.m., and there will be a show on Wednesday at 8 p.m.
A bucolic setting for romantic entanglements is the premise, and this triple-threat cast has fun singing, dancing, and emoting in turn-of-the-20th-century Sweden.
Coming Soon: A holiday musical twist on ‘A Christmas Carol’
Are you ready for Christmas movies? Here’s the trailer for “Spirited,” a musical comedy starring Will Ferrell and Ryan Reynolds that will open in theaters on Nov. 11 and streaming on Apple TV+. It’s a new take on Dickens’ classic, but from the ghosts’ point of view. Original songs by Benji Pasek and Justin Paul.
Playlist: Rhymin’ Simon
It’s Paul Simon’s 81st birthday. He was born on Oct. 13, 1941, in Newark, NJ. He met his longtime music collaborator Art Garfunkel when they performed in a school production of ‘Alice in Wonderful” in sixth grade. They produced their first record in 1964.
Four years ago, on his 77th birthday, he appeared as the musical guest on “Saturday Night Live” for the ninth time (he hosted 4 times).
Here’s a three-minute compilation of some iconic moments on “Saturday Night Live,” including his performance of “The Boxer” on the first episode after 9-11.
Word: Ed Sullivan
On this date in 1974, the famous host died of esophageal cancer at age 73.
During his 23 years hosting “The Ed Sullivan Show,” the seminal Sunday night variety cavalcade, he said some very funny things to guests on the show and backstage. Here’s some of my favorites:
Here are some of my favorite things he ever said to music artists:
Ed Sullivan
“You boys look great, [but] you ought to smile a little more.” –speaking backstage with Jim Morrison and the band before The Doors performance
“I wanted to say to Elvis Presley and the country that this is a real decent, fine boy, and wherever you go, Elvis, we want to say we’ve never had a pleasanter experience on our show with a big name than we’ve had with you. So now let’s have a tremendous hand for a very nice person!” –complimenting Elvis Presley following his last performance.
“The little fella in front is incredible.” – Ed Sullivan talking about Michael Jackson following the first performance by The Jackson
“Before even discussing the possibility of a contract, I would like to learn from you, whether your young men have reformed in the matter of dress and shampoo.” Ed Sullivan’s response to a request by The Rolling Stones’ manager for a contract for a second appearance
Love has got everything to do with it. The costumes are gorgeous, the musicianship splendid and the legendary subjects all deserving of the spotlight in the reverent play with music, “St. Louis Woman.”
Local playwright Joe Hanrahan, Midnight Company’s founder and artistic director, has a deep knowledge and interest in local history as well as an affinity for and expertise in popular music.
In this enjoyable, affectionate showcase brimming with good beats and striking visuals, Hanrahan honors local legacies by presenting their impact on the world through an earnest young singer, Laka.
Laka is a relative newcomer on the local music scene, having performed her first cabaret at the Blue Strawberry in April 2020, and she does not have any experience regional theater.
This work is her stage debut – and it appears that her collaboration with Hanrahan took them both to their happy place. She is a likable performer, projecting perseverance and positivity, even if she is acting novice with more to learn.
Laka embodies their important traits of dedication and resolve as Hanrahan, also the director, unfolds snapshots of Josephine Baker, Tina Turner, Katherine Dunham, Maya Angelou, Fontella Bass, Ann Peebles, and Willie Mae Ford Smith.
The women are all artists with some connection to St. Louis, whether they were born here, grew up here or moved her during their adult years. You might not have heard of everyone but by the end of the show, they will all be memorable.
Hanrahan reveals interesting tidbits about their lives while Laka tells their story in looks, voice and career/life observances. Each woman could be celebrated in their own show, but this ties them intrinsically together, in small-batch narratives.
Hanrahan knows how to mine key details from his copious research to make the script flow. It’s well-constructed with moments big and small.
“They brought this city to the world with their music, dance and poetry,” he said.
The accompanying music, with cool cats Corey Patterson on keyboards and Gabe Bonfili on percussion, had a fun vibe. They excelled at keeping the tempo upbeat and the mood pleasant – nice, easy and kicked up a notch. Bruce Bramoweth’s contributions as a music consultant helped set the piece, too.
Enhancing the show immeasurably is Liz Henning’s stunning costume designs – she captured each period and personality perfectly. The red-sequined mini-cocktail dress Laka rocked as Tina was a wow!
An accomplished video designer, Michael Musgrave-Perkins has done exceptional work with archival footage and vintage documents to convey time periods for each woman, setting us in a ‘you are there’ format. The selections are first-rate and the presentation polished.
Ashley L. Tate has executed appropriate choreography, particularly the iconic Banana Dance by Josephine Baker, and Tina Turner’s vivacious gyrations.
Lighting Designer Tony Anselmo and Production Designer Kevin Bowman helped create the look that set the mood and the groove.
Straightforward and sincere, “St. Louis Woman” raises the voices of some remarkable women, leading lights once rolling on the river. It’s a remembrance to savor, a pride to share and world-class names forever linked to our city’s tapestry.
Laka. Photo by Joey Rumpell.
The Midnight Company presents “St. Louis Woman” Oct. 6-22, Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. (Oct. 9 and 16) at the .Zack Theatre, 3224 Locust in the Grand Center Arts District. For more information, visit www. midnightcompany.com.
Enjoy a happy-hour, resource tables and activities beginning at 5:30 pm. There will be many organizations with community tabling, including Metro Trans Umbrella Group, PFLAG, Black Pride, Pride St. Louis, SQSH, and TransParent, and there will be performances by CHARIS and the Black Tulip Chorale. Light appetizers and drinks will be available for purchase until 7:00 pm, and the Missouri History Museum’s exhibits are open until 8:00 pm.
““Some of My Best Friends Are…”is a notable part of St. Louis LGBTQ+ history, is included in our Gateway to Pride digital exhibit and will certainly be incorporated into our major special exhibit on LGBTQ+ history opening in 2024,” said Sharon Smith, Curator of Civic and Personal Identity for the Missouri Historical Society, which operates the Missouri History Museum. “The Missouri History Museum is delighted to host this special program reuniting much of the original cast and crew of this theatrical work which was the first of its kind in Missouri.”
Hailed groundbreaking in 1989 as the first piece of LGBTQ+ theatre ever done in Missouri, SOMBFA sold out every performance at the St Marcus Theatre in St Louis and was voted Best Play of the Year by the Riverfront Times Readers Poll.
A collaboration between composer and lyricist Tom Clear and playwright, director and producer Joan Lipkin, and subtitled: A Musical Revue for People of All Preferences, SOMFBA chronicled the saga of Frank and Sheila, a heterosexual couple trying to make their way through a bigoted gay world. It also featured other sketches and lauded musical numbers.
“A lot of us were young rural Missourians – from towns like Willard, Poplar Bluff, Cooter, and Potosi – living in Cape Girardeau in the fall of 1989 when we heard about a hip new gay musical revue called “Some of My Best Friends Are…”,” said Rodney Wilson, retired Mehlville High School history teacher, longtime advocate for LGBTQ+ students and teachers, and founder of LGBTQ+ History Month USA. “I wasn’t out to many in October 1989 and our two hour caravan to Joan Lipkin’s splendid (and now historic) “Some of My Best Friends Are…”was my first experience with live queer culture. I’ll never forget how comfortable and safe I felt to be in a theater of mostly LGBTQ folks watching a stage of stories – funny, provocative, and poignant – about people like me.”
The reunion will bring together most of the original cast including Kate Durbin, Bill Ebbesmeyer, Terry Meddows, Steve Milloy, Mary Schnitzler, Christy Simmons and Jonas Moses. Many have described their time with the show as foundational for their professional careers and personal lives.
Music director Larry Pressgrove is coming in from New York to direct the reunion which Joan Lipkin will emcee.
““Some of My Best Friends Are…” figures significantly in my career,” said Pressgrove. “Prior to SOMBFA, I had been working as music director and arranger at St. Louis’ Metro Theatre Company. This was my first test to see if the process I had developed would work on a bigger project.”
“In addition, I had only been out of the closet a few years,” said Pressgrove. “This would be my first time working on openly gay material that directly spoke about my life. I borrowed some of Joan’s confidence and dove into the project. It was life changing for me. It really increased my pride in myself as a gay man and showed me that Gay people needed to have our stories told. SOMBFA remains one of the favorite projects of my career because it was so connected to me personally and meant so much to the people who saw it.”
Since his work with SOMBFA, Pressgrove has served as a music director, conductor and orchestrator on Broadway, Off-Broadway, and national tours. He has composed, arranged, and worked as a vocal coach and educator in numerous award-winning productions and programs.
The original production of “Some of My Best Friends Are…” was also the site of political and community organizing and is credited with helping to overturn Missouri’s Sexual Misconduct Law.
The museum event will offer audience members the chance to ask questions and share their own memories.
“For many of us, “Friends” remains one of our pivotal cultural and personal experiences, despite going on to do a lot of other interesting and productive work,” said Lipkin. “We are grateful to the museum and thrilled to come together in this free offering as a gift to the community and a reminder of what is possible in challenging times.”
This event is made possible in part by funding from the Regional Arts Commission of St. Louis, AARP and the Missouri History Museum.
It’s opening night for “Hadestown” at the Fabulous Fox! And a St. Louisan, Nathan Lee Graham, is now touring as Hermes, the role originated on Broadway by Tony winner Andre de Shields. The Tony-winning musical – eight awards including Best Musical in 2019 — will play here through Oct. 23.
Forbes Magazine described it as “an epic celebration of music, togetherness and hope.”
I’ll be there tonight, and will talk about the show on KTRS Radio The Big 550 Wednesday at 10:35 a.m. with Wendy Wiese and guest host Cordell Whitlock.
I had the opportunity to interview Graham, a Hazelwood Central and Webster University graduate (Sargent Conservatory), for the Webster-Kirkwood Times. Here is the link:
“Iliza Shlesinger: Hot Forever” is her sixth Netflix stand-up special now available. The comedian, actress and television host won NBC’s “Last Comic Standing” – the first woman and youngest winner – on NBC in 2008. She’ll be competing in the first “Celebrity Jeopardy!” semifinal on Sunday, too.
Watch the trailer: https://youtu.be/pVYImnaQF-Y
Want more? Her specials are “War Paint” in 2013, “Freezing Hot” in 2015, “Confirmed Kills” in 2016, “Elder Millennial” in 2018, and “Unveiled” in 2019.
TV: Not Ready for Prime Time
On this day in 1975, the late-night comedy sketch and variety show “Saturday Night” premiered with George Carlin as the celebrity host from Studio 8H at the NBC Studios in New York City. There were two musical guests – Janis Ian and Billy Preston. The name would be changed to “Saturday Night Live,” and SNL became a late-night institution and captured the pop culture zeitgeist with catch phrases and iconic characters.
Now in its 48th season, there have been 932 episodes. Lorne Michaels is the current executive producer, having his first run from 1975 to 1980, then returned in 1985.
SNL has won 87 Emmy Awards from 252 Primetime Emmy nominations, the most received by any television program. In TV Guide’s 50 Greatest TV Shows of All-Time, it is ranked 10th.
Fun Fact: I have seen every episode since that first one, watching the show with my college roommates and then-boyfriend at my first apartment in Normal, Ill., senior year at Illinois State University. The show was such a hit, bars in town would have it on TVs, and if you were at a party, everyone would stop to watch it. Thanks to VHS tapes and DVRs, I’m able to keep up with the show, even if I did not watch it live.
FOOD: St Louis Taco Week!
Not just for Taco Tuesday but more! This week, Oct. 10-16, will showcase $5 taco specials at 35 participating restaurants.
Each restaurateur and chef will prepare their unique take with a taco special. Pick up a Taco Passport — participants will get stamped at participating locations throughout the week. Collect at least 4 stamps and be eligible for a very special grand prize drawing as well as smaller prizes.
For more info: https://stltacoweek.com/
PLAYLIST: In memory of Angela Lansbury
Today, one of the great actresses of stage and screen passed on at age 96. Mame, Gypsy, Sweeney Todd, The Beauty and the Beast, The Manchurian Candidate and Murder, She Wrote – and on and on. She had 5 Tony Awards, three Oscar nominations, and so many other awards and nominations.
Infused with humor and a breezy charm, Stray Dog Theatre’s enchanting interpretation of Stephen Sondheim’s “A Little Night Music” brings out starlit summer imagery, the glory and glimmer of love, and the best in a resplendent cast.
On opening night, nature supplied a full moon on a crisp autumn evening outside the Tower Grove Abbey, a serendipitous touch. Imagine the golden glow of a warm, fragrant moonlit midsummer night – and you’ll easily slip into the mood for this sophisticated romp.
Set in Sweden at the turn of the 20th century, “A Little Night Music” concerns several pairs in various stages of romance or uncoupling – and what entanglements transpire during a summer sojourn in the country.
Liz Mischel is amusingly sarcastic as the unfiltered Madame Leonora Armfeldt, a wealthy matriarch who had colorful liaisons as a courtesan. She is schooling her innocent granddaughter Fredrika (a sweet and assured Adeline Perry) on the ways of the world – and men. She tells her the summer night ‘smiles’ three times: first on the young, second on fools, and third on the old.
The Armfeldts and servants picnicking. Photo by John Lamb
Madame’s daughter, the alluring, touring stage actress Desiree Armfeldt (Paula Stoff Dean) is a force of nature known for not playing by the rules. Her old lover, attorney Fredrik Egerman (Jon Hey), married a naïve young woman Anne (Eileen Engel) about 30 years his junior 11 months ago, and their union has not been consummated (her issues).
The coquettish but inexperienced wife teases her serious husband’s awkward son, Henrik (Bryce A. Miller), by his late first wife, who is studying for the ministry but has feelings for her, his stepmother. Although clumsy, he is not impervious to desire and has a dalliance with her maid, an older and wiser Petra (a brassy Sarah Gene Dowling making her character’s worldliness obvious).
Miller has to demonstrate the widest emotional range as the confused and ready-to-explode Henrik, and he effectively finesses the fine line between the melodramatic and the comedic to distinguish himself in a cast of veterans.
Desiree is currently the mistress of self-absorbed Count Carl-Magnus Malcolm (Scott Degitz-Fries), a buffoon whose jealous wife, Countess Charlotte (Madeline Black), is in on the charade. Degitz-Fries plays the military royal as an obnoxious, arrogant chauvinist who is not used to ‘no.’ Black channels her rage into a scheme – you know the adage about women scorned – but keeps her character’s refinement intact.
They all circle around and back to each other. Fredrik has taken Anne to see Desiree’s latest play, which eventually leads to an invitation for a country excursion. The complications culminate in the anticipation, flirting, fighting, and fleeing that takes place in the second act. Does love win in the end?
Hey, Dean. Photo by John Lamb.
One look at the waltzing quintet in their summer whites that starts this elegant show, and you’re transported back to a different era. Splendidly delivering “Night Waltz,” Cory Anthony, Shannon Lampkin Campbell, Jess McCawley, Kevin O’ Brien and Dawn Schmid glide across the stage as the Liebeslieder Singers, astutely controlling the tempo.
They act like a Greek chorus, and their lush harmonies soar in “The Glamorous Life,” “Remember?” and “The Sun Won’t Set.”
The entire cast’s strong vocal prowess is noteworthy throughout, but a masterfully arranged “Weekend in the Country” is a triumph.
Dean has decided to belt the signature song, “Send in the Clowns,” instead of reciting nearly all of it, as others have done, and it’s a fine rendition. Another highpoint is Dowling’s “The Miller’s Son,” emphatically sung as a mix of longing and reflection.
Whether they are singing solo or in duets, or at the same time with different songs (“Now” by Fredrik, “Later” by Henrik and “Soon” by Anne), you’ll marvel at how seamless the numbers are performed.
Black and Engel lament together on infidelity, smoothly combining in “Every Day a Little Death,” and Degitz-Fries has his moment with “In Praise of Women.”
Photo by John Lamb
Employing the beautiful orchestrations of Jonathan Tunick, Music Director Leah Schultz uses three string players that elevate the sumptuous sound. The orchestra is prominently placed on stage, and their work is exquisite.
Schultz, also playing piano, expertly conducts the seven-piece orchestra that includes a cello (Michaela Kuba), a violin (Steve Frisbee) and a bass (M. Joshua Ryan), along with Ian Hayden and David Metzger on reeds and Joe Winters on percussion.
The way director Justin Been has shaken off the stodginess and stuffiness of a high society period piece is impressive. He’s embraced the farcical aspect of revolving romantic hook-ups, sleekly moving the characters through a country estate, the grounds, and an adjacent forest
Looking at the book by Hugh Wheeler with a fresh set of eyes gave it needed oomph, and the ensemble, nimble in comedy, conveys a playfulness that endears. Been has brilliantly adapted the very theatrical and somewhat operetta-ish work for the small stage.
The original 1973 Broadway production won six Tony Awards, including Best Musical, book, and score, and has had revivals in London’s West End and Broadway, adapted into a 1977 film starring Elizabeth Taylor, and has been performed by opera companies around the world – including this summer’s traditional format at Union Avenue Opera in St. Louis.
Anne and Henrik. Photo by John Lamb
With a minimum of set pieces, Been has depicted the states of different affairs well. He designed modern Scandinavian impressionistic slats that hang above the orchestra, perhaps as a nod to magic realism. Jacob Baxley’s sound design and Tyler Duenow’s lighting design add to the imagery.
The creators claim the musical was suggested by Ingmar Bergman’s romantic comedy, “Smiles of a Summer Night,” which premiered in 1955, and is a staple at film retrospectives.
You might not think of Bergman as a merry sort of guy, particularly if you’ve seen his critically acclaimed classics “The Seventh Seal,” “Persona,” “Cries and Whispers,” and “Through a Glass Darkly.” But he mixed sugar and spice to come up with a confection that’s been ‘borrowed’ more than a few times. (Woody Allen’s 1982 “A Midsummer Night’s Sex Comedy,” to name one, which also references Shakespeare’s “A Midsummer Night’s Dream.”).
But this Bergman-inspired fantasia is much lighter, and Been has brought out the laughter, easy on the melancholy – yet has middle-agers expressing regrets.
Dean, Hey. Photo by John Lamb
Hey, as Fredrik, and Dean, as Desiree, portray a rueful pair, looking back wistfully and rediscovering their spark. The accomplished actors display a natural rhythm with each other, especially in “You Must Meet My Wife.”
Like the music, the dance numbers are polished, choreographed by Michael Hodges with an emphasis on regal posture — although, at first, notice how awkward the pairings are – it’s on purpose, ahem).
Engel, who is delightful as the conflicted Anne, designed the costumes – and they are a mix of ethereal and chic, conveying the social status of each character. The hair and wig design by Dowling suitably complimented the looks.
Hey and Engel were part of Stray Dog’s “Sweeney Todd” in spring 2017, he in the title role and she as daughter Johanna, and know the challenges Sondheim presents, and their experience serves them well.
Sondheim’s work is getting a lot of posthumous attention – but that’s a good thing, never enough Sondheim done well. Like the recently revived “Into the Woods,” some of his musicals take on richer, more contemplative meaning as one ages and revisits them again.
Stray Dog’s superb “A Little Night Music” is worth the immersion, featuring a triple-threat cast in fine form and an inspired creative team.
The Liebeslieder Singers. Photo by John Lamb.
Stray Dog Theatre presents the Stephen Sondheim’s “A Little Night Music” at 8 p.m. Thursdays through Saturdays through Oct. 22, with additional performances at 2 pm Sunday, Oct. 16 and 8 pm Wednesday Oct.19. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Tickets are only offered in physically distanced groups of two or four. For more information: www.straydogtheatre.org
Hey and Degitz “It Would Have Been Wonderful.” Photo by John Lamb
An idealist, pragmatist and a fence sitter want to walk out of a military convalescent hospital…
In “Heroes,” an amiable French comedy that’s been translated into English by the esteemed playwright Tom Stoppard, there’s drama and absurdity mixed in, of course.
Gerald Siblevras’ play, “Le Vent des Peupliers,” which is set in 1959, was first performed in London in 2005, winning an Olivier Award for best new comedy. It made it to Broadway two years later, with Richard Benjamin, Len Cariou and George Segal as Henri, Gustave, and Philippe.
In Albion Theatre’s inaugural production, three acting heavyweights play the disparate characters – David Wassilak, Will Shaw and Isaiah Di Lorenzo. The award-winning veterans have been honored for their work — Wassilak has awards from St. Louis Theater Circle, Shaw has AFL’s Theatre Mask Awards and Di Lorenzo has both Circle and TMAs.
The trio deliver their customary nuanced work, demonstrating their ease with each other and their finely-tune rhythms. The wounded veterans spend their days on a terrace in a sanitarium, having served in one World War and been through another from afar. They dream of escaping this tedium.
We recognize the characters they talk about – we can conjure up images of annoying fellow residents, the help – and fear Sister Madeleine, just like they do. We accept the stone dog as their companion.
Shaw drolly delivers many of the best lines as the grumpy agoraphobic Gustave. Di Lorenzo uses his nimble physicality well, for Phillippe has fainting spells and seizures. And Wassilak believably projects a lonely heart trying to stay positive.
The show is deftly directed by Robert Ashton, who is also the founder of the new theater company that specializes in mainly plays from the United Kingdom and Ireland.
The men bicker, but still show affection and concern for each other. Without their well-worn camaraderie, it would just be three guys killing time, but they add human touches to make us care about them.
The small black box space at the Kranzberg works well for such a small show. Brad Slavik’s set design, Tracey Newcombe’s costume design, Nathan Shroeder’s lighting design and Robin Weatherall’s sound design help bring the production to life.
With dashes of “Waiting for Godot” and “The Gin Game,” and some carping like “The Odd Couple,” “Heroes” wears its heart on its sleeve and is a paean to dreamers everywhere.
Time passes for all of us. These three fine performers show us its best to not go it alone.
The Albion Theatre is presenting “Heroes” for three weekends starting Sept. 23-25, then Sept. 30, Oct. 1 and Oct. 2, and wrapping up Oct. 7-9, at the Kranzberg Arts Center’s Black Box Theatre, 501 N. Grand Blvd., St. Louis. For more information, visit AlbionTheatreSTL.org.
Robert Ashton was a guest on my podcast, PopLifeSTL.com, on Sept. 24. Here is that link, along with my co-host Carl “The Intern” Middleman: https://soundcloud.com/lynn-zipfel-venhaus/september-24th-2022-with-robert-ashton?si=6e49983b4cf84727818a4ff73e96cc71&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
Stage: American Idiot at Webster University Oct. 7-9
Whoa! I saw rehearsal clips of the musical “American Idiot,” before interviewing Lara Teeter, the director , and this cast has got game. The energy! Really impressive. I’m planning to go Saturday afternoon, it is about an hour and a half.
Webster University’s Sargent Conservatory of Theatre Arts presents its first show of the 2022-2023 season, “American Idiot” this weekend on the Browning Mainstage Theatre (Loretto-Hilton). Tickets are available at https://www.brownpapertickets.com/event/5565666
“American Idiot” follows the exhilarating journey of young Americans as they struggle to find meaning in a post-9/11 world, borne along by Green Day’s electrifying score. The rock musical draws on all the songs from the album “American Idiot,” plus material that did not make the album and a handful of numbers from Green Day’s Grammy-winning “21st Century Breakdown.”
“American Idiot” is for mature audiences only. It involves adult content, sexual themes and situations, strong language, and stimulated use of drugs.
Listen to the PopLifeSTL.com Presents podcast featuring director Lara Teeter to hear more on the production:
The Super Mario Bros. Movie is an upcoming computer-animated film based on Nintendo’s Mario video game franchise, produced by Illumination in association with Nintendo and distributed by Universal Pictures. Release date is April 7, 2023.
Friday’s game against the Philadelphia Phillies will be on ABC at 1:07 p.m. and Saturday’s game is set for 7:37 on ESPN2. If needed, Sunday is at 7:37 p.m., possibly on ESPN2, but that could change, depending on all the other games.
St. Louis Public Radio’s 50 Fest Satruday
Celebrate 50 years of STLPR with a street festival full of food, fun and festivities. We’re taking over our little branch of Olive Street and the Public Media Commons! Enjoy food trucks, live entertainment, and a children’s zone with games, face painting and more!
Plus, pop inside for St. Louis Public Radio’s 50th Anniversary Exhibit, a chance to meet some of your favorite St. Louis Public Radio hosts and staff or record a testimonial. They might even use your voice on air.
Meet and Greet Schedule:
1 p.m. – On air hosts and journalists
2 p.m. – St. Louis on the Air team
3 p.m. – Politics team
Live musical performances by DJ Crim Dolla Cray, The Saint Boogie Brass Band, and HEAL Center for the Arts Point of View Jazz Ensemble.
More info: stlpr.org/50fest
Belleville Chili Cook-off Friday and Saturday
Main Street, downtown square
For more than 39 years, the Greater Belleville Chamber of Commerce has hosted the Annual Chili Cook-off and has grown to over 50 vendors – individuals, local organizations, and area businesses.
Haunted Garage Horror Festival Oct. 7-9, Westport Playhouse
Last year’s Best of Fest, “Fresh Hell,” will screen on Friday evening. Co-director Matt Neal will be on hand tonight.
Who will take home this year’s Golden Piston Awards?
For a complete line-up of the fun and fright that awaits this weekend on the 40-foot screen at the renovated Westport Playhouse, read on:
To hear more from fest founder Franki Cambeletta, listen to the PopLifeSTL.com Presents Podcast with co-hosts Lynn Venhaus and Carl “The Intern” Middleman:
And if you can’t attend tonight, “Fresh Hell” is available to stream for free, shown with ads, on Tubi and Redbox, and for rent for $2.99 on Amazon Prime.
“Fresh Hell,” co-directed and written by Ryan Imhoff, takes place inside the dark days of 2020. A group of friends reunite online and experience another level of darkness, terror. From their isolation comes this strange tale that turns brutal when they begin to uncover the depths of their dammed era.
Next Week: MasterBlaster Stevie Wonder Tribute
Lincoln Theatre in Belleville, Oct. 14
Steve Ewing, of The Urge, is back with a new project aimed at bringing the classic hits of Stevie Wonder to the stage, MasterBlaster. In this two-hour tribute Steve Ewing reproduces the beloved songs of this music legend. This is no small task, but Ewing has gathered the best musicians in the area to conquer the challenge.
To open the show, special guest Brad Jackson from O’Fallon, Ill., will perform a mix of popular hits.
For tickets, visit: https://117.formovietickets.com:2235/T.ASP?WCI=BT&Page=PickTickets&SHOWID=40733&PLACEID=2
Playlist: Shawn Mendes, “Top of the World” from “Lyle, Lyle, Crocodile”
Benji Pasek and Justin Paul, of “The Greatest Showman,” “Dear Evan Hansen” and “La La Land,” have written songs for the new hybrid animated-live action family film, “Lyle, Lyle, Crocodile.” Here is a Mendes’ music video. He’s the voice of Lyle.
https://youtu.be/kgLc_UIFgKc
Word:
“Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears.”
