To close our first (and we hope only) virtual season, we offer another retrospective of some of our past shows that explore themes related to refuge and asylum, as well as reconciling with past injury and injustice. The video will open on YouTube, FridayJune 18 at 8 PM and follow our usual show schedule.
Once again we reached out to a number of actors, directors, designers and even a critic (!) — and we hope this foray behind the scenes conveys how grateful we are to have so many talented professionals in our collective.
To view the actual video please use the link below:
(starts at 8PM) June 18 – 20 June 24 – 27July 1- 4
Contributors include: Steve Callahan, Eric J. Conners, J. Samuel Davis, Kareem Deanes, Shanara Gabrielle, Laura Hanson, David A. N. Jackson, Erin Kelley, Amy Loui, Peter Mayer, Brian McClelland, Scott Neale, Jane Paradise, Mona Sabau, Patrick Siler, Bonnie Taylor, Lisa Tejero, Jaqueline Thompson, and Magan Wiles.
By Alex McPherson An uplifting, inspiring, though unremarkable sports drama, director Ty Roberts’ new film, “12 Mighty Orphans,” meets expectations without going the extra mile.
Based on Jim Dent’s novel of the same name and inspired from true events, the film transpires within the grimy, dust-swept landscape of Texas during the Great Depression of the 1930s. Many orphaned children were sent to such places as Fort Worth’s Masonic Home until able to join the workforce.
Rusty Russell (Luke Wilson), an orphaned World War I veteran himself, begins teaching math and science there. He is accompanied by his wife, Juanita (Vinessa Shaw), who teaches English, and his young daughter. He also becomes the new football coach, with kind-hearted physician Doc Hall (Martin Sheen) taking on assistant duties. Rusty believes the sport can help give the teenaged players a sense of community despite their hardships.
With the kids lacking shoes, protective gear, and footballs to practice with, Rusty immediately realizes the challenges ahead of him. Difficulties are exacerbated by the abusive treatment the boys receive from superintendent Frank Wynn (Wayne Knight), who forces the boys to operate an in-house printing press, as well as by the tempers of several players, including the mentally scarred Hardy Brown (Jake Austin Walker). Will they be able to overcome these challenges and acquire a renewed sense of purpose in their lives?
Offering neither surprises nor genuine thrills, “12 Mighty Orphans” rides on its crowd-pleasing cliches and likable performances to score touchdowns. While Rusty’s team pioneered innovations in football that became widely used later on, “12 Mighty Orphans” plays much more to tradition, for better and worse. Some viewers might be left underwhelmed, but Roberts’ film delivers a sentimental story of comradeship and hope during crushing times.
Luke Wilson as Rusty Russell
Indeed, “12 Mighty Orphans” offers a sense of comforting predictability that’s difficult to fault, even though there isn’t much to ponder once the credits roll. All the expected plot beats of the “inspirational sports film” genre are covered, including the value of perseverance and the true meaning of victory, with ample speechifying to boot. The cast of characters — especially Rusty, Hardy, and the other orphans on the team — are largely sympathetic and likable, with fine acting across the board.
Wilson gives a fittingly sincere effort as Rusty, conveying a stubborn optimism that yields both frustration and life-affirming joy, belying deeper insecurities. Sheen is decent, swigging alcohol and providing dry-humored remarks, in addition to delivering the film’s simplistic narration. Less strong are Shaw, not given much to work with, and Knight — rendered a one-note antagonist whose subplot doesn’t meaningfully add to the themes being explored. Lane Garrison is amusingly over-the-top portraying a petty rival coach from a nearby, wealthy high school.
The true standouts are the kids themselves. Walker brings a shattered, tormented quality to his performance as Hardy, portraying an individual suffering from impossible grief thrust into a new environment. His arc over the course of the film, as he discovers a passion for football and gradually bonds with his teammates, is moving and heart-warming, albeit easy to foresee. Jacob Lofland is excellent as Snoggs, a lean sap with a penchant for immaturity who nevertheless deeply cares for his peers.
Although “12 Mighty Orphans” fails to delve into its time period or the inner-workings of the Masonic Home with much nuance, it’s easy to root for “The Mighty Mites” as they grow closer as a family unit and achieve national attention. Still, overdone narration sometimes breaks the flow, especially when Sheen bluntly explains themes near the end, as do some eye-rollingly trite bits of dialogue and abrupt flashbacks to Rusty’s wartime past.
Fortunately, the film is so heartfelt in its ambitions, and ultimately affecting in its execution, that the numerous criticisms I have don’t detract much from the experience. Not everything needs to be an unforgettable, emotional powerhouse, and “12 Mighty Orphans” succeeds where it counts.
“12 Mighty Orphans” is a 2021 fact-based sports drama directed by Ty Roberts and starring Luke Wilson, Martin Sheen, Vinessa Shaw, Wayne Knight, Jake Austin Walker, Jacob Lofland and Lane Garrison. It is rated PG-13 for violence, language, some suggestive references, smoking and brief teen drinking, and the run time is 1 hour, 58 minutes. Alex’s Grade: B. The film is in theatres June 18.
By Lynn Venhaus Of all this summer’s films, “Luca” might be the one that gives you a serious case of wanderlust – and nostalgia for the summers of your youth.
The playful computer-generated animated feature sweeps us away into two exotic worlds – under the sea and on land – for a fun, fast-paced teenage adventure. You will wish Portorosso was real – not just a reference to Hayao Miyazaki‘s film “Porco Rosso” from 1992.
Set in a beautiful seaside town on the Italian Riviera, “Luca” is a sea monster-turned-little boy experiencing an unforgettable summer filled with gelato, pasta and scooter rides. Luca Paguro (Jacob Tremblay) shares adventures with his new best friend, Alberto (Jack Dylan Grazer), who is also a sea monster, and meets Giulia (Emma Berman), who will change his life, and her fisherman father Massimo (Marco Barricelli), while he’s hiding from his fretful parents Daniela and Lorenzo (Maya Rudolph, Jim Gaffigan). Can he still live in both worlds without fear?
Following a long line of Disney dreamers, Luca Paguro is a charmer – coming of age as he straddles his natural sea world and the picturesque fishing village he discovers during an escapade with his new best friend, the worldlier and more mischievous Alberto.
Jim Gaffigan and Maya Rudolph voice parents Lorenzo and Daniela
Luca herds goatfish by day, trying to stay safe, warned by his protective mother (Maya Rudolph) about dangers of the outside world. But he yearns to see what’s out there for himself. When he ventures above the surface, he appears to be a human, but once wet, he reverts to his sea monster scales.
With wide-eyed wonder and an insatiable curiosity, Luca wants to explore the vast universe that he is only now experiencing. It turns into an unforgettable summer on the sun-kissed shores of Italy, set in the ‘50s – captivating us in the grand time-honored tradition of a hero’s far-away journey.
The vivid animation matches the creators’ limitless imaginations, and the swift shapeshifting between the ‘human’ boys and the sea monsters is remarkable. During the credits, watercolor drawings, reminiscent of old picture books, dot the frames.
Pixar’s latest and 24th feature, “Luca,” isn’t as profound or ground-breaking as “Soul,” “Coco” or “Inside Out,” but is a pleasant excursion into a gorgeous nook of land-and-sea, as refreshing as an ocean breeze.
The characters, conceived by director Enrico Casarosa and co-writers Jesse Andrews (“Me and Earl and the Dying Girl”) and Mike Jones (“Soul”), are distinguished by colorful personalities and exaggerated physical features – whether it’s a brawny dad bod with a thick mustache or a swaggering pompadoured bully in sunglasses.
The appealing voice cast imbues characters with warmth and humor, and particularly amusing are Sandy Martin, Mac’s Mom on “It’s Always Sunny in Philadelphia,” as the saucy grandma, and Sacha Baron Cohen as the hulking gravel-voiced Uncle Ugo (stay for the credits for more on this imposing creature).
Tremblay, now age 14, conveys enthusiasm and amazement over everything Luca sees and does. The guileless Tremblay broke through in “Room” (2015) and has followed up with the earnest “Wonder” and the hilarious “Good Boys.” He is a natural fit for the sea creature-out-of-water Luca.
He pairs well with Jack Dylan Grazer, Eddie in the “It” movies, who is the headstrong Alberto, and Emma Berman as the smart and lively Giuilia. Their silly shenanigans recall vintage cartoons – and even “Stand By Me.”
Casarosa’s directorial debut was the lush moonlit “La Luna,” an animated Pixar short shown before “Brave” in 2012 and nominated for an Academy Award. Inspired by his childhood in Genoa for both the short and feature, he has infused this film with a marvelous sense of atmosphere.
Through a big-hearted approach, Casarosa has expanded on the themes of family, friends and community, while also bathing it in a gorgeous glow at nighttime. The lighting here is exquisite.
Cultural touches – on food, lifestyle and landscape – add to the film’s precise sense of style.
The music is another memorable aspect – Dan Romer’s score blends Italian opera, folk music and spirited instrumental pieces to amplify the jolly and jaunty elements.
An original story that may be more of a pastiche and feels like a beach read, “Luca” is an enchanting take on celebrating differences and youth friendships.
If you notice nods to “The Little Mermaid,” “Finding Nemo” and “Pinocchio,” so be it, but it also is an homage to Casarosa’s major influence Miyazaki — plus Fellini and other Italian cinema greats too.
Dive in and just have fun with it, an Italian ice optional.
“Luca” is a 2021 animated feature and comedy-adventure. Directed by Enrico Casarosa, it has voice work from Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Marco Barricelli and Jim Gaffigan. Rated PG for rude humor, language, some thematic elements and brief violence, it has a run time of 1 hour, 35 minutes. Lynn’s Grade: A-. The film is streaming on Disney Plus beginning June 17 at no extra premium fee.
By Lynn Venhaus EGOT winner Rita Moreno, who will turn 90 on Dec. 11, traveled from Puerto Rico to America with her mother when she was 5 years old. She would go on to a legendary career as an actress, singer and dancer that has spanned 70 years.
A candid documentary, “Rita Moreno: Just a Girl Who Decided to Go for It,” is a loving and illuminating look at her life and struggles.
Just when you think this will be a fawning showbiz portrait, Moreno matter-of-factly points out the bumps in the road in a difficult journey to stardom. She shares intimate details about the racism and sexism she endured on Broadway and in Hollywood, reveals jaw-dropping abuse and a toxic relationship with Marlon Brando.
Her resilience, and talent, would help her triumph over adversity – but what a remarkable, strong woman. Fiesty and fearless now, the former Rosita Dolores Alverio is still going strong. She is an executive producer on Steven Spielberg’s remake of “West Side Story,” to be released this December, and was on the rebooted sitcom “One Day at a Time” from 2017 to 2020.
Often cast as a stereotypical ethnic minority early in her career, she discusses her efforts to break barriers, fight for representation and forge a path for other artists.
Winning the Oscar in 1962
The talking heads include George Chakiris, fellow Oscar winner for “West Side Story” (1961) as Bernardo to her Anita; Morgan Freeman, who appeared with her on PBS’ “The Electric Company,” for which she won a Grammy; and Latino performers who consider her a role model: Gloria Estefan, Eva Longoria, Justina Machado. Karen Olivo and Lin-Manuel Miranda, who is one of the executive producers on the documentary.
The spry Moreno, a widow and mother of one daughter, is a marvel of movement. An activist ready to take to the streets, she chronicles her early involvement in civil rights and how she continues to fight injustice.
The career achievements are vast – including two Emmys, for ‘The Rockford Files” and “The Muppet Show,” and a Tony for “The Ritz” in 1975. The director has inserted copious amounts of archival footage, and Moreno’s body of work is impressive.
For 89 minutes, this fascinating and inspiring documentary shows how the gutsy Moreno survived – and thrived – in a cutthroat business. I’m eager to see the next chapter.
“Rita Moreno: Just a Girl Who Decided to Go for It” is a 2021 documentary directed by Mariem Perez Riera. It is rated PG-13 for mature thematic content, some strong language including a sexual reference, and suggestive material, and has a run-time of 1 hour, 30 minutes. Lynn’s Grade: A
Available in local theatres June 18and at the Tribeca Film Festival June 9-20, with virtual screenings at Tribeca at Home through June 23.
Imagine “The Glass Menagerie” performed where it first began.
A site-specific production at the historic “Tennessee,” the Westminster Place apartment in the Central West End where it all began, will be part of the 6th annual Tennessee Williams Festival St. Louis this summer. Brian Hohlfeld will direct.
The event will include the TW Tribute: St. Louis Woman, Scholars Panels, and a Workshop/Reading of “Why Does Desdemona Love the Moor,” which will be presented prior to its Provincetown Tennessee Williams Theatre Festival engagement, to be directed by Thomas Mitchell.
Author Henry Schvey will sign his book, “Blue Song: St. Louis in the Life and Work of Tennessee Williams.” The event will feature a conversation with Schvey, a professor of drama and comparative literature at Washington University. He wrote the 2011 book, “Tennessee Williams at 100: From Washington University to the Wider World.”
Tennessee Williams Scholar Thomas Mitchell will lead a Tennessee Williams Walking Tour of the Central West End. From 1918 to 1922, Williams lived with his family at 4633 Westminster. He attended Soldan High School. He later moved to University City and studied at Washington University.
An opening weekend Block Party is also planned.
Additional productions, events and full casts will be announced at the beginning of July.
Certified with Missouri Arts Safe, the entire festival team is fully vaccinated.
About the Festival
The Tennessee Williams Festival St. Louis was established in 2016 by Carrie Houk, the award-winning producer, casting director, actor, and educator. The Festival, which aims to enrich the cultural life of St. Louis by producing an annual theater festival and other artistic events that celebrate the artistry and life of Tennessee Williams, was named the 2019 Arts Startup of the Year by the Arts & Entertainment Council.
In 2014, Houk produced Williams’ “Stairs to the Roof” with such success that the ongoing annual Festival was established. The inaugural Festival was themed “Tennessee Williams: The St. Louis Years,” followed by “The Magic of the Other” in 2017 and “The French Quarter Years” in 2018. The 2019 festival featured “Night of the Iguana” and “A Lovely Sunday for Creve Coeur.” As the years have passed, the awards have mounted. In the last two years, the St. Louis Theater Circle has given them 12 awards. The Festival has attracted thousands to its readings, panel discussions, concerts, exhibitions, and productions.
About Tennessee Williams
Tennessee Williams
Born Thomas Lanier Williams III in 1911 in Mississippi, Williams moved to St. Louis at age seven, when his father was made an executive with the International Shoe Company (where the City Museum and the Last Hotel are now located).
He lived here for more than two decades, attending Washington University, working at the International Shoe Company, and producing his first plays at local theaters. He credited his sometimes difficult experiences in St. Louis for the deeply felt poetic essence that permeates his artistry. When asked later in life when he left St. Louis, he replied, “I never really left.”
Most people are familiar with the famous works that have garnered multiple Pulitzer Prizes, Tony Awards and Academy Awards, such as The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof and Suddenly Last Summer.
He also wrote hundreds of additional plays, stories, essays, and poems, many of which are only now seeing the light of day as his estate permits greater access. He is today considered by many leading authorities to be America’s greatest playwright.
The Pulitzer Prize-winning playwright visits St. Louis to discuss her timely and important works, being presented locally by both theatre groups
ST. LOUIS (June 18, 2021) – The Repertory Theatre of St. Louis (The Rep) and St. Louis Black Repertory Company (The Black Rep) are pleased to welcome two-time Pulitzer Prize-winning playwright Lynn Nottage to St. Louis for a very special roundtable event, Telling the ‘Tale’ with Lynn Nottage on Friday, June 25 at 6 p.m. via Facebook Live and YouTube. Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis and Ron Himes, Founder and Producing Director of The Black Rep will spend 90 minutes in conversation with Nottage, moderated by Adena Varner, Director of Learning and Community Engagement for The Rep.
The conversation will center on two key works by Nottage being presented by the local theatre groups: Mlima’s Tale, currently being performed by The Rep through July 11 at the Catherine B. Berges theatre at COCA; and Sweat, set to open The Black Rep’s 45th season from September 8 through 26 at the Edison Theatre at Washington University.
“Lynn Nottage is one of the most important voices in modern American theatre, so bringing her thought-provoking, Mlima’s Tale, to life as The Rep’s first in-person production this year has been a true joy” said Sharif. “It is a gift for the St. Louis community to have two of her groundbreaking plays produced this year. I am delighted to partner with Ron Himes in this incredible opportunity to delve deeply into her work and the themes she explores.”
Himes added, “I’m looking forward to being in conversation with these two brilliant women of the theatre and to continue The Black Rep’s relationship with Lynn Nottage by presenting Sweat to open our in-person 45th Anniversary season. We have presented Intimate Apparel and Ruins in past seasons and our audiences have been moved; our artists have been challenged. Mlima’s Tale continues to elevate Nottage as one of our best American playwrights.”
Nottage is the first, and remains the only, woman to have twice won the Pulitzer Prize for Drama. Her plays have been produced widely in the United States and throughout the world. She was named as one of Time magazine’s 100 Most Influential People in 2019.
Telling the ‘Tale’ with Lynn Nottage is a free online event with an RSVP required via Eventbrite.
About The Repertory Theatre of St. Louis
The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.
About St. Louis Black Repertory Company
Founded in 1976 by Producing Director Ron Himes, The Black Rep is one of the largest professional African-American theatre companies in the nation and the largest African American professional performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African American and African Diaspora playwrights are produced. Main-stage productions and education programs combine to reach more than 80,000 people annually. For more information visit theblackrep.org.
By Lynn Venhaus Oh the irony. Henry, who is an off-kilter sort, likes to sing “On the Sunny Side of the Street” when his life is anything but – or at least appears that way. That sets the tone for “Here Lies Henry,” a kooky one-man show that opened by The Midnight Company at the Kranzberg Arts Center’s blackbox theatre last weekend.
Part jester, part blowhard, Henry’s personality is central to his act, a freeform stream of conscience where he wonders aloud why there are yellow fire trucks and repeats his schtick with some twists. He wants to tell you something that you don’t already know. He can rant but he’d rather get a laugh. Did he really say that? Did he commit any of the crimes he takes credit for?
Henry is an entertainer created by the fertile mind of quirky Daniel MacIvor, a Canadian playwright, actor and screenwriter. MacIvor specializes in solo pieces, just like Joe Hanrahan, a St. Louis theater veteran, who acts, directs, writes and produces. He adds the peculiar and curious Henry to his repertoire of uncommon characters.
Hanrahan likes choosing works that aren’t part of the mainstream, and as The Midnight Company’s latest one-man show, the first since the coronavirus public health restrictions lifted, it’s a good fit.
Hanrahan has previously performed MacIvor’s other works, “Cul-de-Sac” and “House,” and understands the rhythm the playwright attains in this 1995 work.
As he tackles love and death, Hanrahan displays Henry’s awkwardness, his impish penchant for odd jokes and puns, and builds more confidence as he weaves tall tales. Henry might be “not quite right,” but will we know?
Director Ellie Schwetye, who has worked with Hanrahan multiple times, is also familiar with the off-center and the screwball. There is an ease to the presentation, maintaining a mood where you don’t quite know what’s happening or where it will go, but you’re willing to take the ride.
That uncertainty is the chief tone throughout – as Henry, who admits he lies, embellishes stories about his parents and life. Is he serious? Is this a TED talk? Or is this a comedy club’s open-mic night? It has that feel of a guy telling big whoppers at a bar – but you can’t ignore him here as he is compelled to get on your good side.
As always, Hanrahan is entertaining in his unconventional, idiosyncratic way. “Here Lies Henry” doesn’t necessarily answer the Big Questions, but you’ll have fun with the asking.
Technically, the show flows smoothly, with Tony Anselmo’s lighting design and Kevin Bowman’s production design. Anselmo designed lighting for Midnight Company’s past works, “Popcorn Falls” and “A Model for Matisse.”
“Here Lies Henry” is an interesting look at one man’s point of view. The play is presented without intermission and runs 70 minutes.
Photo by Joey Rumpell
“Here Lies Henry” will be performed at 8 p.m. Thursday through Saturday, from June 10 to June 26, with a 2 p.m. matinee on Sunday, June 27, at the Kranzberg Black Box. For tickets, visit MetroTix.com or MidnightCompany.com. Call 314-487-5305 for more information.
A soul-stirring examination of love, injustice, and the American Dream, director Heidi Ewing’s new film, “I Carry You With Me,” will stay with me for a long time to come.
Based on a true story, the film centers around Iván (Armando Espitia), an aspiring chef living in Puebla, Mexico, and barely making enough money to support his wife and young child. Iván is also gay and remains unable to freely express himself. While visiting a nightclub with his good-humored best friend, Sandra (Michelle Rodríguez), he meets a charismatic schoolteacher named Gerardo (Christian Vazquez). After spending the night together, the two fall passionately in love, yet their relationship is fraught with danger. It doesn’t take long before Iván’s wife finds out about Gerardo, and she promptly cuts Iván off from interacting with her or their son. Devastated and lacking opportunities for economic mobility, Iván decides to illegally cross the border into the U.S., then onto New York City, with hopes of a new beginning.
Veering elegantly between several timelines, “I Carry You with Me” presents a heartbreaking story of rebellion against prejudice. Ewing’s film urges viewers to treat those in similar situations with respect, dignity, and appreciation of the sacrifices they make in pursuit of a better life.
Beginning with documentary footage of the real Iván riding the metro in NYC, the bulk of the film takes place through flashbacks that illuminate his story in an engrossing fashion — echoing his nostalgia for years gone by and fears for his uncertain future. Espitia powerfully conveys Iván’s internal conflicts, including regarding the legal consequences of being an undocumented immigrant, with a mournful air that sparks empathy from the moment we lay eyes on him. Vazquez delivers an effective performance, but it’s clear the film’s attention rests mainly on Iván’s character. Their bond is the film’s core, and Ewing emphasizes the difficulties of maintaining it in the face of biased, heteronormative standards.
Several sequences remind me of Barry Jenkins’ filmography in how the editing and camerawork evoke complex emotions in a manner that’s rarely pretentious, but deeply tender. “I Carry You With Me” is not an uplifting film by any means, but the film creates instances of beauty that radiate from the screen. Ewing proceeds to counter those moments in scenes that inspire anger, frustration, and sympathy for the lead characters — rendering fleeting moments of relief all the more poignant, and emphasizing the tragedy of what’s lost through existing in a world drenched in inequality.
From its opening frames, “I Carry You With Me” has a strong sense of place, and Ewing’s documentarian background is on full display. The cluttered cityscapes and wide open rural prairies, often draped in darkness, visualize an environment equally overwhelming and restrictive — one which holds memories both joyous and tragic for our protagonists. Indeed, as the central romance blossoms, “I Carry You With Me” takes detours into both men’s childhoods, showcasing threats from their respective fathers to abandon their homosexuality. These well-acted sequences, though undeniably difficult to watch, underscore what’s at stake.
The concept of memory, in fact, plays a huge role in the film as a whole — especially when it switches to a more traditional documentary style in its last third — where we observe how Iván and Gerardo have been morphed by the past, retaining only pieces of their former selves as they make tough decisions in service of love and personal growth.
Although the nonlinear structure gives more attention to Iván than Gerardo, “I Carry You With Me” is an altogether impressive film, formulating a persuasive cry for justice for all human beings, regardless of sexual orientation or place of origin, with lyrical verve. While Ewing may be preaching to the choir, her film depicts lives whose stories are absolutely worth telling, and which should be carried in our hearts.
“I Carry You With Me” is a 2020 drama directed by Heidi Ewing and starring Armando Espitia and Christian Vasquez. It is rated R for language and brief nudity and runs 1 hour, 51 minutes. Alex’s Grade: A-. It is available in selected St. Louis theatres on July 2 and available virtually at the Tribeca Film Festival (Tribeca at Home through June 23).
Edward Coffield, Artistic Director of the New Jewish Theatre, has announced two exciting, live and in-person performances to take place in the Fall and Winter of 2021.
The first show will be Ari Axelrod’s Jewish Broadway, featuring Broadway star Ari Axelrod. Two performances are planned, Saturday evening, October 16 and Sunday afternoon, October 17.
The second show, Cabaret at the J: A Little Song, A little Dance, A Little Seltzer Down Your Pants! starring Eric Williams and Sharon Hunter are scheduled, on Saturday evening, December 18 and Sunday afternoon, December 19.
Tickets for all performances, which will be held at the Staenberg Family Complex in Creve Coeur, go on sale August 15 at newjewishtheatre.org
Coffield says, “We are so excited to return to live performances! These amazing shows featuring top line talent are the perfect way to kick it off.
We also look forward NJT’s return to the Wool Studio Theater beginning January 2022 when we will launch a full season of shows.”
ABOUT THE J: The J is an interactive, multi-generational gathering place that offers a variety of programs and services to both the St. Louis Jewish community, and the community at large. The Jewish Community Center provides educational, cultural, social, Jewish identity-building and recreational programming and offers two, state-of-the art fitness facilities, all designed to promote physical and spiritual growth. Everyone is welcome at the J.
KEEP LIVE ALIVE SAINT LOUIS, the community fundraiser presented by The St. Louis Classic Rock Preservation Society is proud to announce it has raised over $100,000 from individual donations and local corporate sponsorships from Weber Chevrolet, Ezra Brooks 99, Fair Saint Louis, and Hubbard Broadcasting.
KEEP LIVE ALIVE SAINT LOUIS raised enough funds to grant a $1,000 check for every valid and completed application from people in the St. Louis region who have lost income over the last year due to the pandemic.
In addition to the individual grants, KEEP LIVE ALIVE SAINT LOUIS was able to hire various professionals in the entertainment industry in St. Louis who had been laid-off due to the pandemic in the production of the KEEP LIVE ALIVE video presentation. Those hired in different positions included camera persons, sound and lighting professionals, grips among others.
The campaign launched on March 12, 2021, with a 90-minute video special featuring many local radio personalities from KSHE 95, 92.3 WIL, 105.7 The Point and 106.5 The Arch, along with several local and national recording artists and entertainers including The Red Rocker Sammy Hagar, Kevin Cronin from REO Speedwagon, Paula Poundstone, Lindsay Ell, Greg Warren, Lady J, Pat Liston and Danny Liston from Mama’s Pride, Roland Johnson, Brad Noe and Alexandra Kay.
The campaign was supported by some of the top performance venues in the St. Louis area including The Fabulous Fox Theatre, Hollywood Casino Amphitheatre, The Pageant, The MUNY, Enterprise Center, Loretto-Hilton Center for the Performing Arts, The Sheldon, and The Family Arena.
St. Louis Classic Rock Preservation Society is a 501(c)(3) charitable organization and the Executive Producer of KEEP LIVE ALIVE SAINT LOUIS. Its mission is to preserve, promote and honor St. Louis’ unique classic rock heritage and its place in music and pop culture history.
For more information contact: Julie Lally, 314-749-5915
Pictured: Members of the St. Louis Classic Rock Preservation Society with Favazz and John Ulett from KSHE 95 at the Keep Live Alive Saint Louis Appreciation Night at Drive-In STL. Photo credit: Karl Lund
