By Alex McPherson

Bolstered by a towering performance from Mia Goth, director Ti West’s “Pearl” is a captivating, upsetting, and idiosyncratic horror drama that rivals the brilliance of “X” while standing on its own as a discomforting character study.

Described as a prequel to West’s “X,” released this spring, “Pearl” takes place in rural Texas during the height of the 1918 Spanish Flu epidemic. A young woman named Pearl (Goth) lives on a homestead with her domineering mother, Ruth (Tandi Wright), and her ailing father (Matthew Sunderland), who cannot move or speak and requires constant attention. Pearl’s husband, Howard, is overseas fighting in the first World War, leaving Pearl confined to the farm with only cows, geese, and one very hungry reptile to keep her company. She dreams of becoming a movie star and leaving her former life behind to chase fame and glory, to Ruth’s disdain. 

But all’s not well in paradise. During the film’s hyper-stylized introduction — complete with a sweeping orchestral score, title cards, and camerawork showcasing an idyllic environment bursting with vivid colors with the sun beaming above (the same farm from “X,” in fact, immediately prompting uneasiness) — Pearl dances before an audience of farm animals… only to be interrupted by a goose who waddles into the barn. She calmly stabs it with a pitchfork and feeds it to her “pet” crocodile in the nearby swamp, as one does.

Not allowed to leave the farm, except to pick up medicine for her father, Pearl nevertheless stops by the cinema in town and becomes enraptured by the dancers on screen. She bumps into the charismatic yet manipulative projectionist (David Corenswet), who insists that she’s got what it takes to be up there one day. Pearl’s sister-in-law, Misty (Emma Jenkins-Purro), stops by with her mother to drop off a roast suckling pig — which Ruth refuses to accept, leaving the gnats to consume it on the front porch — and informs Pearl of tryouts for a local dancing troupe, potentially giving her the chance to finally prove her talent. With her heart racing and Ruth growing increasingly hostile, tensions continue to escalate, reaching a fever pitch that results in copious amounts of blood, sweat, and tears, as Pearl most certainly will not take no for an answer. 

Eschewing the throwback ‘70s thrills of “X,” “Pearl” works as a poignant, legitimately disturbing drama, where viewers are encouraged to understand what drives its troubled heroine to murder, all while encountering three-dimensional characters that live and die in shades of gray (and red).

From the very beginning, West establishes an off-kilter world of juxtaposition and the harmless-turned-sinister. “Pearl” resembles a technicolor dreamscape popping with color and warm hues, belying a dark heart — grafting grotesque displays of violence, mental illness, and the absolute darkest humor onto bucolic surroundings. The glossy haze of Old Hollywood combines with sparkles of Pearl’s demented edges — lurid fever-dream hallucinations, victims’ faces reappearing unexpectedly — to chilling effect.

The true star of “Pearl,” though, is Goth (also a producer and co-writer), who imbues a devastating sense of humanity into the character — everything always seems genuine, from heartbreak to fearsome outbursts. Pearl, despite her exaggerated actions, still feels like a grounded human being, held back by her parents and destructive proclivities, attempting to seize a moment to break free from her restrictive world and essentially be reborn. Goth is astonishing, conjuring feelings of sorrow and disquietude in equal measure. One six-minute-plus monologue near the finale, for example, is one of the best acting showcases of 2022 thus far. Viewers witness Pearl experience an unpredictable storm of emotions, emerging as broken and as frightening as ever. Indeed, West isn’t afraid to plant the camera for extended dialogue-driven scenes, where viewers observe her transformation from jovial and upbeat to hurt and volatile first-hand. It’s both dreadfully suspenseful and darkly funny. 

The side characters are also given unexpected depth. Ruth, a German immigrant who’s had to sacrifice to provide for the family (caring for her sick husband, who she can never abandon, and guarding against the virus raging everywhere), is weathered by trauma — projecting her insecurities onto Pearl, while also being unsure how to ultimately keep her under control. One fraught dinner sequence in particular, largely lit by flashes of lightning, positions her as a villain — yet, here, again, “Pearl” eerily subverts expectations by putting us in Pearl’s headspace and breaking with a thornier reality. 

Sunderland does so much with his eyes alone as Pearl’s father — a man imprisoned by illness, unwillingly trapping others to be guardians, and existing at the whims of their crumbling psyches. Jenkins-Purro is similarly strong as Misty, a poor soul too naive and clueless for her own good. Corenswet brings both a charm and sly malevolence to the unnamed projectionist with questionable intentions.

Like with “X,” West interrogates ideas of how ambition, youth, and delusion can warp and fragment, as well as the connection between sex and violence. Sex becomes another facet of Pearl’s extreme rebellion against her “world” and everyone within it, paired with vicious carnage.

Although the last moments leave a few too many unanswered questions, “Pearl” is brilliant for its empathy, scares, stylization, and top-notch acting all around. It’s a different beast than “X,” but even more memorable, and I can’t wait to see how this trilogy concludes.

Mia Goth as “Pearl”

“Pearl” is a 2022 horror movie directed by Ti West and starring Mia Goth, Matthew Sunderland, David Corenswet, Tandi Wright, and Emma Jenkins-Purro. It is rated R for some strong violence, gore, strong sexual content and graphic nudity and runtime is ` hour, 43 minutes. It opened in theaters on Sept. 16. Alex’s Grade: A+

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By CB Adams

St. Louis’s Hard Bop Messengers new, first album, “Live At The Last Hotel,” has been on my repeat play in recent weeks – partly because I enjoy it, partly because I don’t listen to a lot of new jazz, and partly because I’ve been struggling to find a way to describe it.

As a visual and written artist myself, I often listen to jazz while I’m doing my own creating, but that’s more than a little unfair to those musical artists. It’s akin to saying I like a painting because it matches my couch. There just are times when one needs to be focused and present when experiencing a piece of music.

All of this is to say that I’ve been seeking a way of explaining why the Hard Bop Messengers, led by John Covelli, deserves more name recognition – in and out of jazz circles – both locally and beyond. To borrow an old phrase,  “Writing about music is like dancing about architecture.” I’m dancing to explain why their “Live At The Last Hotel” deserves a wider audience, even as their most recent shows in and out of town have been well-attended by jazz venue standards.  

To address these challenges, I am reminded of something from William Deresiewicz’s 2020 The Death of the Artist: How Creators Are Struggling to Survive in the Age of Billionaires and Big Tech. “When people get a little extra money, one of the things that they spend it on is art…We do not need the government to pay for art, or the rich with their philanthropy. We only need each other.”

Although not endemic to St. Louis, the various arts tend to become stovepiped – if not downright inbred — within their own communities and patrons. Jazz people hang with jazz people, abstract painters with other abstract painters, stage folks with stage folks, etc. So, it’s hard to attract attention outside of one’s artistic sphere.

But “Live At The Last Hotel” is the sort of jazz album that should pull most anyone out of their usual orbit. As hinted by its title, “Live At The Last Hotel” tells a story. In fact, it’s the equivalent of a book of connected short stories. The genesis of this collection was a tune called “The Lobby,” written by Covelli, who was inspired to conjure the vibe of sets played by the Hard Bop Messengers in the real-life lobby of downtown St. Louis’s The Last Hotel.

Under the leadership of Covelli, the band is composed of Ben Shafer (alto and tenor sax, flute), Luke Sailor (piano) Chris Meschede (upright bass) and Nick Savage (drums) and Matt Krieg (vocals). The album was recorded in 2021 at Webster University Studio A and engineered and mixed by Daniel Ruder.

Based on positive response to “The Lobby,” Covelli began creating a cinematic cycle of songs set at the fictionalized hotel with titles such as “Meeting Friends,” “Standin Up Against the Wall” and “Make the Beds.” Each song tells a story, and the entire sequence provides a cohesive narrative that is sometimes slightly melancholic and sometimes upbeat and bouncy.

There’s something about the tone of this album that is captured in Billy Joel’s “Days To Remember” and the lines “…We walked on the beach beside that old hotel / They’re tearing it down now / But it’s just as well…” Perhaps that tone is the result of the album’s production during the band’s pandemic-enforced live performance shutdown.

As befits their name, the style of the Hard Bob Messengers falls within the hard bop subgenre extension of bebop, but titles like this fail to accurately capture the band’s fizzy, subtle influences from rhythm and blues, gospel music and blues. There are two distinct voices in this album. One voice is Krieg, who provides vocals for Covelli’s minimalist lyrics that provide the setting for each of the album’s 11 songs in two acts.

The other voice is from Covelli’s trombone – a voice that weaves and blends into, not away from, the songs. Don’t let the word trombone throw you off. Covelli’s is not of Music Man’s “76” variety. If anything, it is closer to Star Trek’s William Riker’s variety of jazz.

Among the stringed instruments, the cello is said to be the closest in range to the human voice. Among the wind instruments, the same could be said for the trombone, especially as blown by Covelli. Hector Berlioz got is right when he said, “… the trombone is the true head of the family of wind instruments… It possesses nobility and grandeur to the highest degree.”

But make no mistake. This is not a “trombone” album. It is an ensemble affair, and all players have the opportunity to shine in their own ways. The Messengers have a cohesive camaraderie that is surely as comfortable to play as it is to listen to.

There’s the old line about “A jazz musician is someone that puts a $5,000 horn in a $500 car and drives 50 miles for $5 gig.” That’s a funny – but sad and true – commentary about much in the arts. Perhaps the Hard Bop Messengers could enjoy a better fate than that with their album sales and attendance at their gigs. They surely deserve it.

“Live At The Lost Hotel” is available from www.pacificcoastjazz.com, Amazon and iTunes, and their Facebook page (@hardbopmessengers) lists upcoming performances.

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By Lynn Venhaus

With shimmering visuals and costumes, “House of Joy” shows flashes of dazzling technical brilliance at the Repertory Theatre of St. Louis. Unfortunately, while mysterious and mystical, the storytelling is where it falters.

In a time and a place far, far away, the fictional setting is a South Asian kingdom – let’s just presume the Islamic Mughal Empire (16th-19th century) in around 1666. Apparently, society is segregated and we’re only seeing the females in the palace – and a eunuch who oversees this court of women.

Because it is disorienting at first, the play takes a long time to establish characters and their motives, then crowds the action in the second act, before it rushes to an unsatisfying open-ended conclusion, and overall is not as cohesive as it purports to be.  

It’s as if playwright Madhuri Shekar has decided it’s best if we fill in the blanks ourselves, and the tone is all over the place. Dramaturg Salma S. Zohdi hasn’t connected the dots either.

Perhaps it’s because the loyalties shift between the poorly drawn characters and the story, with its multi-thread subplots that aren’t fully realized, doesn’t give us much to invest in during its two-hour runtime.

Questions, I have questions. Most importantly, why did this play need a rewrite that shifted the focus to a 7-person cast with six females and a same-sex love story? Why is it set in an unnamed empire and an unspecified time? Why does so much action take place off-stage?

While I can’t speak of the original one from earlier productions 2017- 2019, but only the rewrite that premiered in St. Louis, this current plot boils down to palace intrigue and chicanery regarding a power struggle between the emperor and his conniving daughter, Princess Noorah (Aila Ayilam Peck), from an earlier marriage. And unseen rebel forces we don’t know about but are alluded to in conversation.

The unseen despicable old emperor is currently married to a naïve young girl, Mariyam (Emily Marso), who is very pregnant, and living an arranged life she never imagined. Her job is to breed, and after she gives birth to an heir, she’s not as useful.

Lonely and miserable, this innocent queen has fallen in love with the newest palace guard, Roshni (Tina Munoz Pandya) of the all-female imperial harem.

Roshni, with a bloody tragic past that’s rather muddled, was befriended by the sly fox eunuch Salima (Omer Abbas Salem), who recommended her for the job. She had to impress the tough captain of the guards Gulal (Miriam A. Laube), who is demanding and still watches her carefully.

She loves the job, and her best bud working long shifts together in this self-described utopia is Hamida (Sumi Yu).

Salima and Gulal are the ones who know everything going on in the palace and where the loyalties lie. You don’t know if they can be trusted, however – they leave it up to interpretation. But if you are on their good side, then you are protected in the power plays.

What the back-stabbing (or merely stabby) princess wants to pull off – toppling the patriarchy! — seems like a disaster waiting to happen and there are shifting moving parts to the unrest/coup/insurrection, so much so that it’s confusing.

The stereotypical evil princess is merely a caricature in Peck’s hands. Overall, we have two sets of actors – the ones who stay in their lane and then the melodramatic ones who go over the top, as if they are in a daytime soap opera.

Yu is strong as Hamida and tries hard to flesh out her character. Regina Fernandez appears in four minor roles to round out the cast. As the couple at its center, Marso and Pandya are convincing in their passion and desire – and I rooted for them (after all, love is love is love is love).

The dialogue is flecked with modern words and phrases. I’m assuming whatever past century the characters are in, no one said “tittie” or “I’m aware.” This habit of writing period pieces in modern vernacular is often distracting – and annoying.

And as we hear long passages of exposition about what’s gone on in the past and what’s taking place off-site or off-stage, the story remains curiously uninvolving.

There is some bewildering mumbo-jumbo – a dead mother re-appearing as a ghost/apparition and a glowing pile of coals centerstage – that means something we’re supposed to figure out.

The love story overtakes the drama, and its romantic structure is clumsy. Paradise now is a prison for Roshni and Mariyam.

And then, we endure an unnecessary and gratuitous staging of a shockingly graphic sex scene in a boat.  

What is the point here? We already know they are in love, and it is forbidden – she’s married! To the Emperor! And while everyone seems to know, it still is a situation fraught with danger. Illicit affairs have gone on in royal families, this is nothing new nor does it appear to be anything other than a garden variety plot conceit.

Despite whatever direction the intimacy coordinator (Gaby Labotka, who is also the fight choreographer) decided on, the scene is uncomfortable, with its simulation of stimulation and orgasm, and really takes the audience out of the story.

All I could think about was the teacher who brought a busload of (what looked like) junior high kids that I saw in the lobby, and the comments and complaints he/she would have to deal with, and if any parents came along as chaperones.

Yes, the play is for mature audiences. The Rep has stated, for content transparency: “This production contains adult sexual content, language, moments of violence, haze/fog and suggestive moments of smoking.”

Apparently, I’m not the only one who felt uneasy. Since opening night, people have contacted me, recounting patrons audibly gasping and others walking out. There appears to be a harsh negative backlash among longtime theatergoers. The play is polarizing, for there are others who enjoyed it very much.

Defenders will call us prudes and unenlightened. Us rubes here in flyover country don’t know theater and we need to be lectured at every opportunity by professionals who think they know more than we do, because how could we know anything about theater? (Now is the time to shake your head or chuckle or spit-take or whisper your feelings – or curse and shout that I’m very wrong).

I don’t need a lecture, and quite frankly, I’m tired of being told what I should like because it might take me out of my comfort zone (which I don’t mind at all, if it’s well-constructed, well-acted and says something).

I’m “aware.” Art is subjective. This is only my opinion. Whether or not you agree, I consider my role is to explain my view – and if something is worth your time and money.

Not that I need to explain myself, but I have seen many controversial plays, many heralded shows that fall short in a certain venue or a regional group’s interpretation. It happens. Isn’t the first rule of theater “know your audience”?

Go ahead, push boundaries, if it helps the story and its impact. Was it necessary to convey a romance in such a way? No. Discretion would have gotten the point across with several kisses and embraces.

For the record, I consider The Rep’s “Take Me Out” in 2005, part of its acclaimed but short-lived “Off the Ramp” series, to be one of the finest productions I have ever seen, and I sat very, very close to full frontal nudity while ball player characters rinsed, lathered, and repeated in shower scenes. (Fun Fact: I won an Illinois Press Association award for that review, back when they awarded reviews, and I was a full-time newspaper employee).

Of course, “House of Joy” is more than one incendiary scene, but by the time chaos and revolt occurs, is anyone on the edge of their seat? And do we really understand what is happening, and who’s aligned with who?

Its ambition is to be epic in scope, and the play is being misrepresented by comparing it to more cinematic genre-busting fare, calling it “Swashbuckling”? This is nothing close to DC’s Wonder Woman or the bad-ass Marvel Cinematic Universe women in “Black Panther.”

Of course, I’m all for women power, for I stand on the shoulders of giants. Sisters doing it for themselves is reason to celebrate. Getting away from abuse is necessary, especially for the queen. Can we get something to cheer about that’s lucid?

Playwright Shekar comes with quite a resume, full of awards and recognition, and has television and film credits as well. It doesn’t matter what she did before or after this play to a puzzled audience watching “House of Joy.”

If this is the first time this version has been presented, perhaps it needs to be workshopped further to make it stronger and more appealing.

Nevertheless, the production elements are stunning in execution – particularly what’s swirling on the on-stage screen, the collaboration between Projections Designer Stefania Bulbarella, Projections Programmer Devin Kinch, Projections Animator/Illustrator Joaquin Dagnino and Associate Projections Designer Brian Pacelli, who take it to next-level by changing it constantly and expanding the panoramic vistas.

That technical razzle-dazzle is complemented by Lighting Designer Sarah Hughey and Sound Designer Porchanok “Nok” Kanchanabanca. The costumes designed by Oona Natesan are exotic and elegant, with outstanding hairstyling (no name in program).

Director Lavina Jadhwani utilizes a spare stage designed by Dahlia Al-Habeli where movement flows crisply, and the palace guards are choreographed by Aparna Kalyanaraman.

Because this is what I consider a work-in-progress, in her program notes, Jadhwani described putting this show together as “jumping onboard a moving train.” Maybe some of us found it to be a trainwreck – it needs to be disassembled and put back together logically.

I didn’t find “House of Joy” joyous or fun or exciting or any of the words being used in marketing. Sure, it’s about “all you need is love” or “love is the answer” or “the love you take is equal to the love you make.” I think.

I’d like to have reasons to determine its impact. Spoiler alert: We don’t really know what happens to most of the characters when it ends, so how can we be moved or know what to feel when it leaves us hanging?

Answers, I’d like answers.

Photos by Eric Woolsey.

“House of Joy” is being presented Aug. 28 – Sept. 18 on The Repertory Theatre of St. Louis’ mainstage, 130 Edgar Road, Webster Groves. For schedule of performances and ticket information, visit www.repstl.org.

Proof of a full COVID-19 vaccination and a valid ID, or a negative COVID test taken 24 hours before the performance, are required for entry into any Repertory Theatre event. Masks are highly encouraged, but optional. Front of House Staff will have one-time use masks on hand for patrons that would like to use them.

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On October 7–8, Jonathon Heyward makes his SLSO debut conducting the first SLSO performances of Kaija Saariaho’s Ciel d’hiver and Joseph Bologne’s Violin Concerto No. 2 performed by SLSO violinist Hannah Ji; concerts conclude with Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition

On October 15–16, conductor Hannu Lintu returns to Powell Hall with frequent SLSO guest Kirill Gerstein in performances of Sergei Rachmaninoff’s Piano Concerto No. 2 and John Corigliano’s Symphony No. 1

On October 21–22, Music Director Stéphane Denève leads the SLSO in its first performances of Reena Esmail’s Testament (from Vishwas), Florent Schmitt’s The Tragedy of Salome Suite, and rare performances of Francis Poulenc’s Stabat Mater and Final Scene from Dialogues of the Carmelites performed with the St. Louis Symphony Chorus and soprano Jeanine De Bique in her SLSO debut

On October 28–29, Thomas Søndergård makes his SLSO debut conducting Anatoly Liadov’s The Enchanted Lake, Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1, performed by Stephen Hough, and Sergei Prokofiev’s Symphony No. 7

The St. Louis Symphony Orchestra announced details for its classical concerts at Powell Hall throughout the month of October, including rare performances of Francis Poulenc’s Stabat Mater with Music Director Stéphane Denève and the St. Louis Symphony Chorus; the first SLSO performances of works by Joseph Bologne, Reena Esmail, and Kaija Saariaho; performances of John Corigliano’s Symphony No. 1, a modern masterpiece; and beloved favorites including Modest Mussorgsky’s Pictures at an Exhibition and Pyotr Ilyich Tchaikovsky’s Piano Concerto No. 1. The month also features the SLSO debuts of two guest conductors, Jonathon Heyward and Thomas Søndergård, who were recently appointed as Music Directors at the Baltimore Symphony Orchestra and Minnesota Orchestra, respectively; and the SLSO debut of Trinidadian soprano Jeanine De Bique.

Tickets start at $15 and are on sale now. Tickets may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. All Saturday night concerts will be broadcast live on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, or online (stlpublicradio.org/listen.php). Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each concert in the auditorium. 

The SLSO’s 143rd season runs through June 2023. For more information, visit slso.org

Pictures at an Exhibition

Friday, October 7, 2022, 10:30am CDT

Saturday, October 8, 2022, 8:00pm CDT

On October 7–8, Jonathon Heyward—the 29-year-old recently named Music Director of the Baltimore Symphony Orchestra— leads the SLSO in a program that transcends boundaries. The program begins with contemporary composer Kaija Saariaho’s celestial work, Ciel d’hiver (Winter Sky), an SLSO premiere. Then, the concert transitions into Joseph Bologne’s Violin Concerto No. 2 performed by SLSO violinist, Hannah Ji. Bologne is often noted as the first Black Classical composer. The concert concludes with a sonic art gallery with Maurice Ravel’s orchestration of Modest Mussorgsky’s Pictures at an Exhibition, an epic tour of musical paintings and vibrant orchestral colors.

Rachmaninoff’s Second Piano Concerto

Saturday, October 15, 2022, 8:00pm CDT

Sunday, October 16, 2022, 3:00pm CDT

The next weekend, October 15–16, frequent SLSO guest conductor Hannu Lintu returns to the Powell Hall podium for the ninth time to conduct the orchestra in John Corigliano’s Symphony No. 1, a deeply personal work in remembrance of the composer’s friends lost during to the AIDS epidemic. In the first half of the concert Lintu will be joined by frequent SLSO guest and recording partner Kirill Gerstein in performances of Sergei Rachmaninoff’s Piano Concert No. 2, a lyrical and colorful piece.

Stéphane Conducts Poulenc

Friday, October 21, 2022, 7:30pm CDT

Saturday, October 22, 2022, 8:00pm CDT

On October 21–22, Denève leads a program of sacrifice and tragedy. Concerts open with the SLSO’s first performance of Reena Esmail’s Testament (from Vishwas), the story of a saint-poet’s trials. Following is Florent Schmitt’s The Tragedy of Salome Suite, an intense and shimmering piece based on a poem by Robert d’ Humières. Then, the St. Louis Symphony Chorus and Trinidadian soprano Jeanine De Bique join the orchestra for two of Francis Poulenc’s choral works: Stabat Mater, which the composer wrote in response to a close friend’s death, and the Final Scene from Dialogues of the Carmelites, which depicts the fictionalized story of the Carmelite nuns who were executed for refusing to renounce their faith. Known for her “dramatic presence and versatility” (Washington Post), De Bique is a prizewinner in several competitions including the Young Concert Artists, Inc. Music Competition, the Hertogenbosch International Vocal Competition, the Viotti International Music Competition, and the Gerda Lissner Vocal Competition (New York).

Tchaikovsky’s First Piano Concerto

Friday, October 28, 2022, 10:30am CDT

Saturday, October 29, 2022, 8:00pm CDT

To close the month, conductor Thomas Søndergård, who was recently appointed Music Director for the Minnesota Orchestra, makes his debut performance at the SLSO with a program featuring heartfelt expression and vivid imagery. The concert begins with the mystical and idyllic The Enchanted Lake by Anatoly LiadovThen, pianist Stephen Hough brings Tchaikovsky’s First Piano Concerto to roaring life. The program concludes with Prokofiev’s Symphony No. 7, which balances joy and despair in the composer’s final work.

Calendar listings:

The St. Louis Symphony Orchestra will perform the following concerts in October of 2022:

Pictures at an Exhibition

Guest conductor, Jonathon Heyward makes his SLSO debut in two concerts, October 7–8, which feature SLSO premieres of Kaija Saariaho’s Ciel d’hiver and Joseph Bologne’s Violin Concerto No. 2 performed by Hannah Ji. The concert closes with Modest Mussorgsky’s Pictures at an Exhibition.

Friday, October 7, 2022, 10:30am CDT

Saturday, October 8, 2022, 8:00pm CDT

Powell Hall, 718 N. Grand Blvd., St. Louis, MO

Jonathon Heyward, conductor (SLSO debut)

Hannah Ji, violin

Kaija SAARIAHO                                   Ciel d’hiver (Winter Sky) (First SLSO performances)

Joseph BOLOGNE                                 Violin Concerto No. 2 (First SLSO performances)

Modest MUSSORGSKY (orch. Ravel) Pictures at an Exhibition

Rachmaninoff’s Second Piano Concerto

October 15–16, Guest conductor, Hannu Lintu returns to Powell Hall for two concerts October 15–16 featuring Sergei Rachmaninoff’s Piano Concerto No. 2 performed by frequent SLSO guest, Kirill Gerstein, and John Corigliano’s Symphony No. 1, a deeply moving work.

Saturday, October 15, 2022, 8:00pm CDT

Sunday, October 16, 2022, 3:00pm CDT

Powell Hall, 718 N. Grand Blvd., St. Louis, MO

Hannu Lintu, conductor

Kirill Gerstein, piano

Sergei RACHMANINOFF                    Piano Concerto No. 2

John CORIGLIANO                               Symphony No. 1

Stéphane Conducts Poulenc

October 21–22, Music Director Stéphane Denève conducts the SLSO in Reena Esmail’s Testament (from Vishwas) and Florent Schmitt’s The Tragedy of Salome Suite. Then, Trinidadian Soprano Jeanine De Bique takes center stage with the St. Louis Symphony Chorus in Francis Poulenc’s Stabat Mater and Final Scene from Dialogues of the Carmelites.

Friday, October 21, 2022, 7:30pm CDT

Saturday, October 22, 2022, 8:00pm CDT

Powell Hall, 718 N. Grand Blvd., St. Louis, MO

Stéphane Denève, conductor

Jeanine De Bique, soprano (SLSO debut)

St. Louis Symphony Chorus

Reena ESMAIL                                       Testament (from Vishwas) (First SLSO performances)

Florent SCHMITT                                  The Tragedy of Salome Suite

Francis POULENC                                 Stabat Mater

Francis POULENC                                 Final Scene from Dialogues of the Carmelites

Tchaikovsky’s First Piano Concerto

October 28–29, Thomas Søndergård makes his SLSO debut conducting Anatoly Liadov’s The Enchanted Lake and Sergei Prokofiev’s Symphony No. 7. Then, pianist Stephen Hough returns to Powell Hall’s stage for a performance of Pyotr Ilyich Tchaikovsky’s First Piano Concerto.

Friday, October 28, 2022, 10:30am CDT

Saturday, October 29, 2022, 8:00pm CDT

Powell Hall, 718 N. Grand Blvd., St. Louis, MO

Thomas Søndergård, conductor (SLSO debut)

Stephen Hough, piano

Anatoly LIADOV                                   The Enchanted Lake

Pyotr Ilyich TCHAIKOVSKY               Piano Concerto No. 1

Sergei PROKOFIEV                               Symphony No. 7

About the St. Louis Symphony Orchestra

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

The SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.

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By Lynn Venhaus

“Clerks III” is strictly for fans, a View Askew production set in that Kevin Smith universe that the writer-director broke through the business with in 1994, which has been his calling card ever since – but actually has a few very adult things to say.

Following a massive heart attack, Randal (Jeff Anderson) enlists his fellow clerks Dante (Brian O’Halloran) and Elias (Trevor Fehrman), along with friends Jay (Jason Mewes), and Silent Bob (Kevin Smith), to make a movie immortalizing his life at the convenience store that started it all.

This third installment is the final chapter in the lives of the New Jersey guys portrayed in the award-winning “Clerks” and its 2006 sequel, “Clerks II.”

As clerks in a convenience store, the characters were neighborhood slackers with obsessive pop culture interests who dealt with bizarre circumstances and oddball customers. Their circle of friends rounded out an eclectic ensemble.

Shot in black-and-white on a very low budget, the comedy became a sensation when the burgeoning independent film scene gave rise to fresh viewpoints. Smith won the Filmmakers Trophy at the ’94 Sundance Film Festival and “Award of the Youth” and the Mercedes-Benz Award at Cannes, and was nominated for three Independent Spirit Awards for first feature, first screenplay and debut performance (Anderson).

The original “Clerks” spoke to Gen X’ers in a relatable way, especially those in dead-end jobs who didn’t see their dreams ever becoming realities. After “Mallrats” came out a year later, Smith cemented his role as a voice of his generation.

In “Clerks II,” set 10 years later, they wear their lack of ambition like a badge of honor. After the Quick Stop and the adjacent video rental store are destroyed by a fire, the guys work at a fast-food restaurant, Mooby’s. Dante, engaged to Emma and planning to move to Florida, falls in love with fellow employee Becky (Rosario Dawson). With help from stoners Silent Bob and Jay, Dante and Randal buy the Quick Stop and RST Video, thus continuing their journey.

The surprise outcome of the first film, in an ‘only in the movies’ way, saw Smith achieving real-world success by tapping into those hopes, dreams, fears, deep love for the “Star Wars” franchise and his encyclopedic knowledge of comic book characters and superhero/fantasy scenarios. He has made 13 feature films since then, but his career has expanded in many directions. Above all, he is an observer of fate’s strange twists.

They say write what you know, and he did. A struggling filmmaker who worked at a convenience store close to a highway gave him an endless source of material.

For this leg of the trilogy, Smith takes more events from his life, notably the near-fatal heart attack he suffered before one of his comedy appearances in 2018. Older, wiser, and healthier, his point is that you are never too old to completely change your life.

Randal’s life-altering experience of winding up in the hospital, near death, triggers his decision to be a filmmaker, convincing Dante to make his movie. They shoot it at the Quick Stop.  

It’s very meta, and it knows it. The movie-making experience is a rocky one, presenting hilarious situations and revisiting some of the more controversial plot developments in the previous two.

Jason Mewes as Jay and Kevin Smith as Silent Bob in Clerks III. Photo Credit: Courtesy of Lionsgate

In supporting roles, Amy Sedaris is very funny as a wacky no-filter doctor without any bedside manner and Dawson, as Dante’s beloved wife Becky.

Familiar faces are seen in cameos, with star turns from Ben Affleck as Boston John, Sarah Michelle Gellar, Fred Armisen, Justin Long and others.

But hidden in the bluster of these films is an underlying sentimental theme of pals going through the ups and downs of life together, and those ties that forever bind us.

And those schmoes that you grew up with, no matter how things turned out, are what’s important. That is ultimately Smith’s point. They may be juvenile, vulgar, and misguided, but they have a bond – which is often put to the test.

After all, Dante and Randal must confront their future – because they are grown-ups.

A quick wit and a glib tongue, Smith writes natural dialogue that’s funny and fast. You gotta keep up and pay attention.

The crude dark comedy is Smith’s wheelhouse, and he also edited and produced, besides showing up as the iconic Silent Bob character, who along with Jay, hung out in front of the store. The loitering pot-dealing pair were the core characters in three movies – “Jay & Silent Bob Strike Back” in 2001, “Jay & Silent Bob’s Super Groovy Cartoon Movie!” in 2013 and “Jay & Silent Bob Reboot” in 2019.

Television shows, animated programs, video games and comic books have sprung from Smith’s prolific Viewaskewniverse. In 1999, he made the religious comedy “Dogma,” which became a controversy magnet. Although widely panned, 2004’s “Jersey Girl” is much better than expected (Seriously, Affleck, who also starred in “Chasing Amy,” and Liv Tyler make a sweet couple, Raquel Castro is adorable as young Gertie and George Carlin plays the grandpa).

With a great deal of affection and a very personal perspective, Smith concludes his saga in a satisfying way.

Do not leave until you hear the song, “I’m from New Jersey,” over the closing credits. John Gorka wrote this quintessential Jersey song in 1991, and it is so fitting here. Touche, Mr. Smith.

“Clerks III” is a 2022 comedy written and directed by Kevin Smith and starring Brian O’Halloran, Jeff Anderson, Trevor Fehrman, Rosario Dawson, Amy Sedaris, Kevin Smith, Jason Mewes, Sarah Michelle Gellar and Ben Affleck, It is rated and runs 1 hour, 55 minutes. It opens in theaters on Sept. 13 and runs for one week as a Fathom Event. Lynn’s Grade: B-

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FULL LIST OF WINNERS

COMPETITION
Golden Lion for Best Film: “All the Beauty and the Bloodshed,” Laura Poitras
Grand Jury Prize: “Saint Omer,” Alice Diop
Silver Lion for Best Director: “Bones and All,” Luca Guadagnino
Special Jury Prize: “No Bears,” Jafar Panahi
Best Screenplay: “The Banshees of Inisherin,” Martin McDonagh
Volpi Cup for Best Actress: “Tár,” Cate Blanchett
Volpi Cup for Best Actor: “The Banshees of Inisherin,” Colin Farrell
Marcello Mastroianni Award for Best Young Actor: “Bones and All,” Taylor Russell

HORIZONS
Best Film: “World War III,” Houman Seyyedi
Best Director: “Vera,” Tizza Covi and Rainer Frimmel
Special Jury Prize: “Bread and Salt,” Damian Kocur
Best Actress: “Vera,” Vera Gemma
Best Actor: “World War III,” Mohsen Tanabandeh
Best Screenplay: “Blanquita,” Fernando Guzzoni
Best Short Film: “Snow in September,” Lkhagvadulam Purev-Ochir

Cate Blanchett as Tar

LION OF THE FUTURE
Luigi de Laurentiis Award for Best Debut Feature: “Saint Omer,” Alice Diop

HORIZONS EXTRA
Audience Award: “Nezouh,” Soudade Kaadan

VENICE CLASSICS
Best Documentary of Cinema: “Fragments of Paradise,” K.D. Davison
Best Restored Film: “Branded to Kill,” Seijun Suzuki

VENICE IMMERSIVE
Best Immersive Experience: “The Man Who Couldn’t Leave,” Chen Singing
Grand Jury Prize: “From the Main Square,” Pedro Harres
Special Jury Prize: “Eggscape,” German Heller

VENICE DAYS (announced earlier)
Cinema of the Future Award: “The Maiden,” Graham Foy
Director’s Award: “Wolf and Dog,” Cláudia Varejão
People’s Choice Award: “Blue Jean,” Georgia Oakley

CRITICS’ WEEK (announced earlier)
Grand Prize: “Eismayer,” David Wagner
Special Mention: “Anhell69,” Theo Montoya
Audience Award: “Margini,” Niccolò Falsetti
Verona Film Club Award: “Anhell69,” Theo Montoya
Mario Serandrei – Hotel Saturnia Award for Best Technical Contribution: “Anhell69,” Theo Montoya
Best Short Film: “Puiet,” Lorenzo Fabbro and Bronte Stahl
Best Director (Short Film): “Albertine Where Are You?,” Maria Guidone
Best Technical Contribution (Short Film): “Reginetta,” Federico Russotto

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Appointments made to Principal Flute, Associate Principal Viola, Associate Principal Timpani/Section Percussion, and Second Bassoon positions

The St. Louis Symphony Orchestra and Music Director Stéphane Denève are pleased to announce the appointments of four new full-time musicians as the SLSO begins its 2022/2023 season, the orchestra’s 143rd.

The SLSO’s 2022/2023 season begins in mid-September with the annual free community concert in Forest Park. Throughout the season, Denève and the SLSO perform repertoire that spans genre and time and celebrates music without boundaries, offering a musical journey to places near and far, real and imaginary, physical and spiritual. 

The SLSO’s new musicians are:

Julia Paine, Second Bassoonist, joins the SLSO following appearances with a variety of orchestras including the St. Paul Chamber Orchestra, the North Carolina Symphony, Charlotte Symphony, the Louisiana Philharmonic Orchestra, and Oregon Symphony. A graduate of the University of Miami and the Shepherd School of Music at Rice University, Paine is a native of the Chicago suburbs.

Paine succeeds Felicia Foland, who held the Second Bassoon position for 31 seasons until her retirement at the conclusion of the 2021/2022 season.

Kevin Ritenauer, Associate Principal Timpanist/Section Percussionist and the Paul A. and Ann S. Lux Chair, was appointed to the SLSO following four seasons as a percussion fellow at the New World Symphony in Miami Beach, Florida. He has performed around the country with orchestras including The Cleveland Orchestra, National Symphony Orchestra, Kansas City Symphony, Atlanta Symphony Orchestra, and the San Francisco Symphony. He received his Master of Music from the Cleveland Institute of Music.

Ritenauer succeeds Tom Stubbs, who held the Associate Principal Timpani position for 51 years prior to retirement in 2021.

Matthew Roitstein, Principal Flutist and the Herbert C. and Estelle Claus Chair, joins the SLSO after eight seasons as the Associate Principal Flutist of the Houston Symphony. He also held positions in the Honolulu Symphony Orchestra and the Sarasota Opera Orchestra. Roitstein has performed as guest principal flute with the Dallas Symphony Orchestra, Fort Worth Symphony Orchestra, and River Oaks Chamber Orchestra. He has also taught extensively in the United States as well as throughout South and Central America. Roitstein received bachelor’s degrees in architecture and music from the Massachusetts Institute of Technology and a Master of Music at Rice University’s Shepherd School of Music.

Roitstein assumes the position formerly held by Principal Flutist Mark Sparks from 2000 to 2021.

Alejandro Valdepeñas, Associate Principal Violist, enjoys a multi-faceted career as a violinist and violist. He has recorded with the Amici Chamber Ensemble and the Toronto Symphony Orchestra Chamber Soloists. He has spent multiple summers as a violinist with the Santa Fe Opera and has also performed with the Calgary Philharmonic Orchestra. In the summers, Valdepeñas has performed at the Aspen Music Festival and School and Norfolk Chamber Music Festival at Yale. Originally from Toronto, Canada, Valdepeñas made his solo debut on violin at age 9 with the Toronto Symphony Orchestra.

Valdepeñas succeeds longtime Associate Principal Violist Kathleen Mattis, who retired in September 2019.

About the St. Louis Symphony Orchestra

Celebrated as a leading American orchestra, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 143rd year with the 2022/2023 season and its fourth with Music Director Stéphane Denève. The SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations, honoring its mission of enriching lives through the power of music.

The SLSO serves as a convener of individuals, creators, and ideas, and is committed to building community through compelling and inclusive musical experiences. As it continues its longstanding focus on equity, diversity, inclusion, and access, the SLSO embraces its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.

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September 9 – 11 located in 7 blocks of downtown Clayton

WHAT:  The Saint Louis Art Fair presented by Centene Charitable Foundation (SLAF) and produced by Cultural Festivals host its 29th year as the Art Fair returns. This three-day FREE celebration of art attracts thousands of art enthusiasts from across the region to a space filled with beautiful art from 182 artists this year. There will also be live music, delicious food samplings from some of the area’s premier restaurants, children’s activities, and much more. Interactive artistic experiences including custom-led tours to help you, “Meet the Artists,” larger-than-life floral installations, and chalk art creations are new additions this year. The Saint Louis Art Fair is a nationally juried fine art and fine craft show consistently ranked as one of the nation’s top fine art fairs.

WHEN: Friday, September 9 from 5:00 pm to 10:00 pm

Saturday, September 10 from 11:00 am to 10:00 pm

Sunday, September 11 from 11:00 am to 5:00 pm

The Creative Castle area with hands-on activities for children will have hours on Saturday: 11:00am to 7:00pm and on Sunday: 11:00am to 5:00pm. The Creative Castle is a land ruled by “little people” where strollers have the right-of-way and children are encouraged to explore their creativity and learn about the arts.

WHERE: Located in seven (7) blocks of Downtown Clayton

Full interactive map is here: https://saintlouisartfair.com/saint-louis-art-fair/event-map.html

Media is asked to check in at 18 S. Central Avenue for Press Badges/VIP Badges

ENTERTAIMENT: There are three (3) performance stages with full schedule located here: https://saintlouisartfair.com/saint-louis-art-fair/performances.html

  1. Main Stage entertainment presented by Enterprise (located at Carondelet and S. Central Avenue) will have Indie Rock to Jazz, R & B to Funk and music that is sure to have guests dancing the day and night away. Musicians include Molly Lovette, All4Nothin, The Burney Sisters, Mark Biehl World Jazz, Retro Boogie, The Yard Darts, The Blue Sparks, The Friday Jam Band, Flying House Band, The Late Greats, Dizzy Atmosphere, Meredith Shaw, Steve Ewing Acoustic Duo, and The Remedy.
  2. Performing Arts Stage supported by the William T. Kemper Foundation (located on Forsyth near S. Central) will feature DJs, Yoga, and include the Saint Louis Story Stitchers Artists Collective that will be host poetry, dance, and other performances throughout the weekend. This will be near the Creative Castle area where children will be able to explore their creativity and learn about the arts.
  3. The Independent artist stage (located at Forsyth and Brentwood) will highlight independent local artists and comedians.

DRINK: Together with Grey Eagle Distributing, the Saint Louis Art Fair provides a selection of offerings at the beverage booths. The beverage booths are staffed with non-profits in Saint Louis area; they share in the proceeds of the sales, supporting community organizations and keeping the Art Fair FREE!

FOOD: Pleasures of the Palate, restaurant row, features some of the most diverse brick-and-mortar restaurants from all around the St. Louis area. Each of these restaurants are ready to offer their special delicacies and feature food from different regions around the world! Restaurants include: Hacienda, Juniper, Pappy’s, Kimchi Guys, La Colombianita, Seven Gables Inn, Sador Del Sur, Steve’s Hot Dogs, Tivanov Catering Company, The Capital Grille, Clementine’s Naughty and Nice Creamery, Sedara Sweets & Ice Cream.

New this year will feature Clarendale Clayton Luxury Senior Residences showcasing its culinary arts, offering chef demonstrations and tasty culinary delights for guests to sample.

FOR MORE INFORMATION: Please refer to saintlouisartfair.com for more details and a full schedule.

About Cultural Festivals and the Saint Louis Art Fair: Cultural Festivals enhances the cultural landscape of St. Louis, offering innovative programs that bring the arts to dedicated arts enthusiasts.

The Saint Louis Art Fair presented by Centene Charitable Foundation and produced by Cultural Festivals is a not-for profit corporation, designated by the Internal Revenue Service as a 501(c)3 organization and is tax-exempt in the state of Missouri. Governed by a local board of directors, all support goes directly toward presentation of the annual St. Louis Art Fair and its cultural outreach programs and services presented throughout the year. Donations to the Art Fair are tax-deductible as a charitable contribution. For more information, visit www.saintlouisartfair.com.

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The Midnight Company will present the World Premiere of ST. LOUIS WOMAN, a play with music starring LAKA, written and directed by Midnight’s Artistic Director, Joe Hanrahan.  ST. LOUIS WOMAN will run October 6 – 22 at the .ZACK theatre, with performances Thursdays/Fridays and Saturdays at 8pm, and Sunday matinees October 9 and 16 at 2pm.  Tickets are $30 for Fridays/Saturdays and Sundays, and $20 for Thursdays, and tickets are on sale now at MetroTix.com.

 ST. LOUIS WOMAN will honor the enduring legacy of some of the amazing women in St. Louis who brought this city to the world with their timeless music, dance and poetry.  LAKA will portray such legendary artists as Josephine Baker, Tina Turner and Katherine Dunham (and present the poetry of Maya Angelou, the song stylings of chart-toppers Fontella Bass and Ann Peebles, and the Gospel classics of the legendary Willie Mae Ford Smith.)  These women were born in St. Louis, or came here when young (typically to join Gospel choirs), or, in Dunham’s case, moved here during the height of their careers to continue their momentous work.

LAKA is a singer-songwriter who prides herself in performing a multitude of genres. She recently released her third single, a country-folk song titled “Keep it to Myself”, written by Mike Lipel. LAKA debuted her first cabaret show at the Blue Strawberry in October of 2020 titled “The Music in Me”, her life story through music and went on to perform the show earlier this year in New York City at the venue, Don’t Tell Mama. She noticed that the life stories she told in between songs connected her audience more to the songs. Laka continued to branch out this year with appearances in Las Vegas, Naples, FLA, and Nashville.

 The Midnight Company is celebrating its 25th Anniversary producing theatre in St. Louis, presenting a full season of plays in 2022 after receiving 14 nominations from the recent St. Louis Theatre Critics Circle Awards, winning four.   This year, Midnight presented ANOMALOUS EXPERIENCE in May, and RODNEY’S WIFE in July, with ST. LOUIS WOMAN rounding out this season.  But this Fall, Midnight’s work can also be seen at…

LAKA as TIna Turner. Photo by Todd Davis


 ST. LOUIS THEATRE SHOWCASE  Friday/Saturday September 16 & 17 at the Public Media Commons, 3653 Olive St.  Each night, beginning at 7pm, five different St. Louis theatre companies will present a short play or piece of theatre.  Midnight will be in the Saturday night lineup, presenting a new play by Joe Hanrahan – LAST CALL, directed by Sarah Holt, performed by Tom Kopp and Joe Hanrahan.  The event is FREE, and you can register to attend at KWMU.org.  Local craft beverages will be available.

And…TRUE Community Theatre’s SHORTS FESTIVAL, new plays by local playwrights about Truth, Lies, and Confessions.  Friday/Saturday November 4 and 5, it will be presented at Union Avenue Christian Church, 733 Union Avenue at 7pm  Tickets can be purchased with a donation, and can be reserved at EventBrite.com.  Midnight will be offering another Hanrahan script, PATIENT #47, directed by David Wassilak (David is appearing in Albion Theatre’s HEROES, opening September 23), featuring Alia Arif and Hanrahan.

THE COLLABORATORS:  
THE BAND  Backing up LAKA will be two of her favorite musicians.  Corey Patterson on keyboards (Corey is the Music Director for the show) and Gabe Bonfii on percussion.
Bruce Bramoweth is our Music Consultant.  Bruce has a show every Sunday night on KDHX – “Chicken Shack,” a mix of blues and jazz and r&b and much more.
CHOREOGRAPHY by Ashley Tate.  Ashley has been the Artistic Director for the Ashleyliane Dance Company, which is celebrating its 15th year of Dance.  She recently accepted a position as Assistant Professor of Dance at University of North Carolina at Charlotte, but not before working with LAKA for ST. LOUIS WOMAN, and working with Joan Lipkin on DANCE THE VOTE, September 24, 12:30pm at Missouri History Museum.  Ashley promises to be back in St. Louis as often as she can.
COSTUME DESIGN/STAGE MANAGEMENT by Liz Henning.  Liz has worked with Midnight on numerous shows, and last year was nominated for Outstanding Costume Design from the St. Louis Theatre Critics Circle for TINSEL TOWN.
VIDEO DESIGN by Michael Musgrave-Perkins.  Michael has provided video design for several Midnight shows, including TINSEL TOWN, A MODEL FOR MATISSE, JUDGMENT AT NUREMBERG and LITTLE THING BIG THING.
LIGHTING DESIGN by Tony Anselmo and PRODUCTION DESIGN from Kevin Bowman, both who have provided outstanding work for previous Midnight shows.

THE PLAYWRIGHT/DIRECTOR: Joe Hanrahan is Midnight’s Artistic Director, and for them, he’s written LIFE AFTER DEATH, THE BALLAD OF JESSIE JAMES, DRACULA  (adaptation), THE EVEREST GAME, MY VIOLIN MY VOICE, NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND (nominated Outstanding New Play St. Louis Theatre Critic Circle 2021), TINSEL TOWN (Winner Outstanding New Play by the Circle, 2021), and several shorter plays for The Crawl.   His scripts have also been performed in Kansas, Brooklyn, NY, and in St. Louis.  As a director, he’s directed several Midnight shows, and filled the same role for The Black Rep (THE BROWNSVILLE RAID and NO CHILD), SATE (CUDDLES), R-S Theatrics (THE FLICK), Clayton Community Theatre (A VIEW FROM THE BRIDGE, Winner Outstanding Director, Arts for Life), and Webster Groves Theatre Guild (BUS STOP and THE UNDERPANTS.)  He most recently directed RODNEY’S WIFE for Midnight.

Laka as Josephine Baker. Photo by Todd Davis

Hanrahan said “When I first heard LAKA sing, I was amazed.  One of the best voices I’d ever heard, she could sing literally anything, and anything she sang moved me.  When we met, she was interested in expanding the range of her talents, maybe doing something more theatrical.  So the concept for ST. LOUIS WOMAN was born.  And as I’ve gotten to know her, her intelligence, determination and work ethic has helped carve the path for this show.  This is a unique opportunity to present some of the great art and tremendous people who carved out their exceptional careers in St. Louis.”

And LAKA said, “After seeing one of Joe Hanrahan’s one-man plays, I thought how neat it is for one person to be able to captivate an audience with acting alone. Because of my cabaret shows, I thought I could learn from him to be better at what I do.  When Joe introduced the idea behind St. Louis Woman I was immediately drawn to it. St. Louis has a rich music history, being an epicenter during the height of jazz, blues, and rock’n roll.  I think we sometimes forget the prominence that our beautiful city once held and how many greats called this area home. During the preparation for this play, I’ve become ever more connected to these artists and this city that I call home. Their stories are inspiring, motivating, and courageous. I’m honored and humbled to pay tribute and increase awareness of these women’s role in St. Louis history. The current arts scene in the city is continuing to resurge and remembering the past will certainly help forge our future.”

Midnight is cross-promoting with several like-minded organizations, and hopes to spread the word about their upcoming events:
MISSOURI GOSPEL HALL OF FAME  Go to mogospel.com to find out more about their work preserving and enlightening a new wave of Gospel Music.
CONSUMING KINETICS DANCE COMPANY  Go to ckdc.org and learn about their shows and classes.  On Oct 22 and 23, at the Marcelle Theatre, they will present “French Connection,” original dances celebrating the legacy of Josephine Baker (a principal character in ST. LOUIS WOMAN.)
MISSOURI HISTORY MUSEUM  Go to mohistory.org for information about their continuing exhibit “ST. LOUIS SOUND,” with pictures, film and audio exploring the deep roots of popular music in the city.
JAZZ ST. LOUIS  Go to jazzstl.org and learn about the full array of performers they have coming up in the months ahead, including several shows from the incomparable Regina Carter in September.
CINEMA ST. LOUIS Go to cinemastlouis.org for their variety of always fascinating programs.  Last month they allowed Midnight to promote ST. LOUIS WOMAN during their showing of Josephine Baker’s first silent film “Siren Of The Tropics,” which was shown as part of their French Film Festival.
And, of course, ASHLEY LIANE DANCE COMPANY.  Go to ashleyliane.com, and follow the group’s shows and events.
More at midnightcompany.com
and lakasoul.com

photos by Todd Davis
video by Keyaira Harris

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By Lynn Venhaus
The skies cleared for some extended periods, Pujols hit his 695th home run, Cardinals swept the Cubs, and the St. Nicholas Greek Orthodox Church Greek Festival was back on the church grounds in the Central West End this Labor Day Weekend!.

This 105th annual tradition is such a fun fest, with good food and fellowship, a community coming together and a cultural celebration with music, dancers, cuisine and families. Tours and a gift shop are available inside the church, which is located at 4967 Forest Park Avenue, St. Louis. It’s been on my radar since I moved to St. Louis the summer of 2015.

Hours are from 5 to 9 p.m. Friday, 11 a.m. to 9 p.m. Saturday and Sunday, and from 11 a.m. to 6 p.m. on Monday, rain or shine. Admission is free and there is free parking available in the BJC parking lot off Euclid.

For more information, visit www.opastl.com. There is an online menu and you can see info about their other events throughout the year, mostly at their family life center..

Greek Salad in to-go containers. Lynn Venhaus photo.

Do not fret about intermittent showers — food is not only served outside under the big Taverna tent in the courtyard (adjacent to Forest Park Avenue), but inside the auditorium too, so you can dig into the yummy food and partake of good cheer anywhere.

There are church tours of that majestic building and its iconography (last one at 5:30 p.m.) and a gift shop indoors, too. You can purchase their tasty Greek salad dressing — a bottle is $4, and there’s a special Hellenic Cuisine Cookbook for $25.
Free parking is in the BJC Garage nearby (east).

Separate stands for flaming Saganaki and Baklava Sundaes/Loukoumades (fried dough with honey and nuts) are outside, but plate dinners, pastitsio (baked casserole of macaroni and ground beef with bechamel sauce), authentic Gyros, Spanakopita (spinach pie) Greek salad, Greek fries, extra Tzatziki dip/sauce, and yummy pastries are available at different food stands in auditorium and courtyard around the grounds. Beer, wine and Coca-Cola product soft drinks and water are served too.


I was there Sunday evening, sitting at an outdoor table streetside, and we had a blast listening to music and selecting which treat out of the assorted pastry boxes we were going to try. (My favorite was Kataifi – honey syrup-soaked shredded filo dough roll with nuts), but there is Baklava, Kourabiedes (powdered sugar dusted butter cookies), Finikia (syrup-soaked walnut cookies) and Koulouria (braided butter cookies) too inside the boxes.

You can get individual treats, but some are sold out, so if you get the pastry box, you still get Baklava and the powdered sugar Greek wedding cookies.

Everyone was raving about the custard-layered pastry squares, Galaktoboureko, which are not in the box and only available in the auditorium.

For the first time, I ordered the shish kebab plate, for normally I get a gyro, but now that I live in St Louis Hills, I have four nearby restaurants with delicious gyros (The Gyro Company, Apollonia Restaurant, Dado’s Cafe, Cafe Nova), so I have easy access.
Plate dinners come with either lamb shanks, lemon-herb grilled chicken or grilled pork kebabs, served over flavorful garlicky rice pilaf.

Tom Ginos, Paul Xenakis and Kathy Ginos working the beverage tent. Lynn Venhaus Photo.


People are so friendly — I snapped this shot of Tom Ginos, Paul Xenakis and Kathy Ginos working the beer and wine tent streetside Sunday night.

Kudos to Festival Food Coordinator Chris Anastas and the many volunteers who did hours of prep and manned the stands to help many hungry diners.

Pork Shish Kebabs with Rice Pilaf and a Spanokopita. Lynn Venhaus photo.

The annual Labor Day festival, 105 years strong!, helps with the church’s local and national charities. What a well-run fest it is! “Great food and drink are a way of life with the people of Greece,” their program says.

For more info, visit www.opastl.com and you can check out the menu online.

Saganaki (flaming cheese). Lynn Venhaus Photo

If you miss it, they’ll not only be back next year, but throughout the year they have a few special occasions. So, you have other opportunities to “Eat, Drink and Be Merry Like a Greek” for a day. Visit the website for more information, but mark your calendar for:

Greek Kitchen Holiday Open House on Saturday, Nov. 5, from 10:30 a.m. to 3 p.m. at the St. Nicholas Family Life Center, 12550 S. 40 Drive, St. Louis 63141. Open to the public.
Friday Lenten Fish Fry in 2023 at the Family Life Center. Dine-in or carryout.
A Taste of the Greek Festival in July 2023 in the Family Life Center. Dine-in or carryout.

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