Intermission’s Over – Touring Shows Return to The Fox This November

Intermission’s Over – Touring Shows Return to The Fox This November

The Fabulous Fox Theatre is thrilled to announce the return of the U.S. Bank Broadway Series to the Fox stage.  “After our long intermission that began in March 2020, we can’t wait for this new season to begin on November 16, 2021” said Director of Programming John O’Brien.  The six-show season will include two of the shows that were postponed at the end of the 2019-2020 season, HAMILTON and CATS; and four postponed shows from the 2020-2021 season, PRETTY WOMAN: THE MUSICAL, THE PROM, MEAN GIRLS and MY FAIR LADY.  “We are thrilled to fit most of our missed shows in the coming season,” said O’Brien.  “Although Disney’s Frozen will need to wait until a future season, we will have the return of Disney’s THE LION KING in the summer of 2022.”  Subscribers will have the option to purchase the six-show package or add THE LION KING for a seven -show package.

“The Fabulous Fox is working with government and health officials to create and implement health and safety protocols that will ensure the safe return of audiences at full capacity so subscribers can enjoy their same great seats.  This does include improvements to the Theatre’s air handling system. More information along with a detailed outline of protocols will be made available prior to our reopening,” said O’Brien.  

PRETTY WOMAN: THE MUSICAL | November 16-28, 2021

After an incredible run on Broadway, Audience Choice Award winner PRETTY WOMAN: The Musical will begin its national tour this fall. PRETTY WOMAN: The Musical is brought to life by a powerhouse creative team representing the best of music, Hollywood, and Broadway. Featuring direction and choreography by two-time Tony Award® winner Jerry Mitchell (Hairspray, Kinky Boots, Legally Blonde), an original score by Grammy® winner Bryan Adams and Jim Vallance (“Summer of ’69”, “Heaven”), and a book by the movie’s legendary director Garry Marshall and screenwriter J.F. Lawton, PRETTY WOMAN: The Musical will lift your spirits and light up your heart. “If you love the movie, you’ll love the musical!” (BuzzFeed News).


CATS | December 21, 2021-January 2, 2022

CATS, the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in over 30 countries and 15 languages, will resume its tour across North America!  Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—”Memory”. Winner of 7 Tony Awards® including Best Musical, CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Andrew Lloyd Webber (The Phantom of the Opera, School of Rock, Sunset Boulevard), original scenic and costume design by John Napier (Les Misérables), all-new lighting design by Natasha Katz (Aladdin), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom) and direction by Trevor Nunn (Les Misérables) make this production a new CATS for a new generation!

The Prom

THE PROM | January 25-February 6, 2022

Everyone’s invited to the joyous Broadway hit that New York Magazine calls “smart and big-hearted” and The New York Times declares it “makes you believe in musical comedy again!” THE PROM is a new musical comedy about big Broadway stars on a mission to change the world and the love they discover that unites them all.  Variety raves, “It’s so full of happiness that you think your heart is about to burst.” And The Hollywood Reporter cheers, “It’s comic gold!” You belong at THE PROM!

MEAN GIRLS | February 15-27, 2022

Direct from Broadway, MEAN GIRLS is the hilarious hit musical from book writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director Casey Nicholaw (The Book of Mormon). Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung. New York Magazine cheers, “MEAN GIRLS delivers with immense energy, a wicked sense of humor and joyful inside-jokery.” USA Today says, “We’ll let you in on a little secret, because we’re such good friends: Get Your Tickets Now!”

MY FAIR LADY | March 22-April 3, 2022

From Lincoln Center Theater and director Bartlett Sher comes “a sumptuous new production of the most perfect musical of all time” (Entertainment Weekly), Lerner & Loewe’s MY FAIR LADY.  Boasting such classic songs as “I Could Have Danced All Night,” “The Rain in Spain,” and “Wouldn’t It Be Loverly,” MY FAIR LADY tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady.”  But who is really being transformed?

HAMILTON | April 12-May 15, 2022

HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony ® , Grammy ® , and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. This “theatrical landmark has transformed theater and the way we think about history” (The New York Times)

THE LION KING | June 1-18, 2022

More than 100 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when St. Louis’ best-loved musical returns to the Fabulous Fox Theatre.  Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway.  Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals.  THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice.  There is simply nothing else like THE LION KING.

Series Specials

Four additional Broadway shows will be offered as specials to 2021–2022 season ticket holders for priority seating before their public on-sale dates.

The splendor of the holiday season at the Fox will return in 2021.   One of the world’s most beloved and timeless stories is a holiday tradition at the Fox: the Nebraska Theatre Caravan production of A CHRISTMAS CAROL will play December 2-5.  A MAGICAL CIRQUE CHRISTMAS brings dazzling performers and breathtaking cirque artists to the Fox stage for a spell-binding holiday production December 9.  The most famous reindeer of all will soar into the Fox December 17-18 when RUDOLPH THE RED-NOSED REINDEER the Musical takes the Fox stage.  

The 25thAnniversary production of RIVERDANCE returns March 11-13. This tour is a powerful and stirring reinvention of this beloved favorite, celebrated the world over for its Grammy award-winning score and the thrilling energy and passion of its Irish and international dance. Disney’s THE LION KING will also be available as a special for those who choose the six-show season.

Current season ticket holders will receive their specific account information with their options for the six or seven show package in late April.

New season ticket packages will go on sale June 7.  On-sale dates for individual shows will be announced later. For more information, visit www.FabulousFox.com.  The Broadway Series at the Fabulous Fox Theatre is presented by U.S. Bank.  The Fox Box office is currently closed.

Facebook Comments

Bob Odenkirk Punches Up ‘Nobody’ As A Wimpy Dad Hiding Dark Secret

Bob Odenkirk Punches Up ‘Nobody’ As A Wimpy Dad Hiding Dark Secret

 By Lynn Venhaus
This is one of the most violent movies I have ever seen. That said, it is a mostly satisfying thriller of kick-it-up-a-notch action, interesting plot developments and a nimble cast that elevates the good vs evil throwdown.

An ordinary husband and father with a desk job, Hutch Mansell (Bob Odenkirk) is in a rut. Every day is monotonous and nondescript until intruders break into his suburban home, and while his son Blake (Gage Munroe) acts, he thinks twice before using a golf club he grabbed to defend himself. While everyone thinks he’s a chump, the incident sparks a long-simmering rage and he becomes a vigilante of sorts.

However, this isn’t as far-fetched as you think because he has a dark secret. When he gets in the way of a brutal drug lord (Aleksey Serebryakov), things really heat up.

From Charles Bronson’s “Death Wish” in 1974 that ushered in mild-mannered dads exacting their own street vengeance to Liam Neeson’s dangerous dad in the “Taken” trilogy (2008-2014) and all the copycats in between, these movies have an appeal as strictly black-and-white action, no gray areas or nuance, in seeking retribution. You get exactly what you expect.

With a sharp script by Derek Kolstad, co-creator of the John Wicks trilogy, the pleasures of seeing a regular Joe reveal his long-dormant lethal skills in clever ways are central to the secret identity plot.

Carrying the film with genuine authority is Bob Odenkirk, who not only stars but is a producer. The Chicago native attended Southern Illinois University Carbondale and after years as a comedy writer and performer, is now best known as glib attorney Jimmy McGill from “Breaking Bad,” which was spun off into the hit series “Better Call Saul.” The Emmy nominated actor’s keen sense of timing is a plus as an action hero, although he’s not a stranger to drama either, having appeared in “The Post” and “Little Women.”

Director Ilya Naishuller, an indie rock musician and lover of hard-core video games, kicks the film into high gear with non-stop mayhem after Hutch turns his frustration and anger into vengeance that sets into motion a battle royale with Russian drug lord Yulian Kuznetsov, played by Aleksey Serebryakov as a ruthless hothead with some clownish behaviors.

But first establishing the drudgery of Hutch’s daily life and his family dynamic is key to understanding the transformation and the shocking previous life.

Hutch works on the finances of his father-in-law’s manufacturing business. He’s the butt of his more macho brother-in-law Charlie’s jokes. His teenage son thinks he’s a wimp, unlike his younger daughter Abby (Paisley Cadorath) who adores him. His wife Becca (Connie Nielsen) is a successful realtor and distant. He keeps taking life’s indignities on the chin as a “nice guy.”

So, in the aftermath, when they are in further harm’s way, his sudden protective reflexes are a surprise.

Somehow, his dad David (Christopher Lloyd), a retired FBI agent living in a nursing home, and his brother Harry (RZA), do not raise an eyebrow when he must do what he has to do. After all, they have secrets too, and it is fun watching the tables turn. Lloyd and RZA are terrific in support.

The barrage of gunfire and fights gets tedious because of its take-no prisoners formula, but that’s what the action genre delivers, and the mind games are an interesting twist.

Bob Odenkirk as Hutch Mansell in Nobody, directed by Ilya Naishuller.

Hutch won’t be considered a “nobody” for much longer, and they did leave it open to a sequel. Odenkirk, as a new action star in the Jason Statham lane, is one of the more startling notes of the spring movie season. But I would never bet against him, would you?


“Nobody” is an action-thriller directed by Ilya Naishuller that stars Bob Odenkirk, Connie Nielsen, Aleksey Serebryakov, Christopher Lloyd, RZA, Gage Munroe and Paisley Cadorath. It is rated R for strong violence and bloody images, language throughout and brief drug use. Lynn’s Grade: B-. In theaters March 26.

Facebook Comments

Period Spy Yarn ‘Six Minutes to Midnight’ Lacks Crisp Execution

Period Spy Yarn ‘Six Minutes to Midnight’ Lacks Crisp Execution

By Lynn Venhaus
Based on true events, “Six Minutes to Midnight” is a period spy yarn that sounds more exciting than it is.

On Aug. 15, 1939, seventeen days before World War II, an English language teacher disappears from the coastal boarding school, Augusta-Victoria College, where he worked. The 20 pupils are all daughters of Nazi VIPs and tension is high.

The headmistress Miss Rocholl (Judi Dench) hastily hires a replacement, Thomas Miller (Eddie Izzard), who is an undercover British agent trying to find out what happened. But he becomes compromised and is wrongly accused of murder, trying to stay out of jail and not attract enemy attention while the PE teacher Ilse Keller (Carla Juri) is a Nazi sympathizer. Tension skyrockets and everybody is in danger.

A very thin story, co-written by the film’s star Izzard, director Andy Goddard and Celyn Jones, isn’t helped by erratic pacing and dull execution.

The characters are poorly developed, and Oscar winners Judi Dench and Jim Broadbent, as the Bexhill-on-Sea bus driver, are not given much to do, which is a shame.

The August-Victoria College really took in German teenage girls from 1932 to 1939 on the southern coast of England. Izzard grew up in the area, so he has an interest in sharing this little-known tale.

The period production design by Candida Otton and the seaside cinematography by Chris Seager are both first-rate, with an appropriate mix of danger levels in the music score by Marc Streitenfeld.

Izzard, a comic genius whose one-woman shows have earned much acclaim and awards over the years, is a capable actor. He was the best thing about “The High Note,” in a small role as a global rock superstar. But a gentleman spy, who plays the piano, might be a tad far-fetched.

The local lawmen are part granite, part camp — although James D’Arcy as Captain Drey and Kevin Eldon as Sergeant Simmons seem to enjoy stretching their stereotypical roles.

While the intrigue gains momentum in the second half, ratcheting up the tension because no one can be trusted, it still is a choppy mess. At 99 minutes, the film feels as if portions are missing that could have illuminated the story better.

Given what they had to work with, the result shouldn’t have been so stodgy.

“Six Minutes to Midnight” is a drama, thriller directed by Andy Goddard and co-written by Goddard, Eddie Izzard and Celyn Jones, based on a true event. It stars Izzard, Judi Dench, Carla Juri, James D’Arcy and Jim Broadbent. The 2020 film, which runs 1 hour, 39 minutes, is rated PG-13 for some violence. Lynn’s Grade: C+. It is in theaters and video on demand March 26.

Facebook Comments

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

By Alex McPherson

“Zack Snyder’s Justice League” is an entertaining, four-hour superhero epic that greatly improves on Joss Whedon’s 2017 version. After leaving the first production due to a family tragedy, director Snyder is finally able to give fans what they’ve been craving. 

Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller), Cyborg (Ray Fisher), and another familiar face team up to take down a world-ending threat. This time, a horned monstrosity named Steppenwolf (Ciaran Hinds) seeks to eliminate humanity from Planet Earth via three powerful “Mother Boxes” and rebuild it under the leadership of Darkseid (Ray Porter), who wants to control the galaxy. Feeling partly responsible for the death of Superman (Henry Cavill) in “Batman V. Superman: Dawn of Justice,” Batman becomes a reluctant leader as he and Wonder Woman bring the squad together. Heroes both new and old undergo their own arcs, to varying degrees — involving the topics of grief, faith, hope, and unity in times of crisis.

Aiming to please those who willed it into existence, “Zack Snyder’s Justice League” is difficult to recommend to viewers who aren’t already fans of the DC Cinematic Universe. The film contains moments of emotional resonance and visual spectacle, but proves grueling by the final hour — reverting to predictable plotting and repetitive, CGI-reliant action sequences.

At least the central characters are given more opportunities to shine. From its opening frames, “Zack Snyder’s Justice League” establishes itself as a slower, mournful affair, with a 4:3 aspect ratio, dour chapter titles, muted color palette, and a clearer sense of organization. Snyder has crafted an unarguably more coherent storyline than before, maintaining a grittier tone than the original cut and giving scenes more time to breathe. Even though the storytelling itself is clunky, largely thanks to hit-or-miss dialogue and frequent exposition dumps, I appreciate Snyder’s ambition. 

The added depth to Cyborg (a.k.a Victor Stone) is particularly noteworthy. After Victor and his mother are killed in a car crash, his father, Silas Stone (Joe Morton) uses a Mother Box to resurrect Victor in a robotic body. Thanks to his new abilities, Victor becomes an all-powerful presence, able to tap into the world’s technological web with ease, and representing the League’s key to vanquishing Steppenwolf. Despite his powers, Cyborg is gripped with resentment towards his father and deeply uncertain of his own future. Fisher’s acting is endearing and empathetic, the most convincing in the entire film. His character  — practically deserving of its own standalone installment — remains the heart and soul of the whole endeavour. 

The Flash (a.k.a. Barry Allen) is also further fleshed out, but his journey lacks the nuance and complexity of Cyborg’s. He is much more confident in his speedy capabilities and doesn’t spout as many cringey quips as in the 2017 iteration. Batman, Aquaman, and Wonder Woman, on the other hand, aren’t given much new material to work with under Snyder’s guidance, but we’re given more context for their actions. This helps create a stronger sense of flow from scene to scene than before, and all the actors give decent performances.

In terms of antagonists, Steppenwolf’s goals are more clearly outlined. Exiled from his demonic homeworld, he’s trying to prove himself to his master, Darkseid. Even though we understand where he’s coming from, Steppenwolf is still difficult to empathize with. Revealing more about his history doesn’t automatically fix his blandness or render him memorable. He’s big, powerful, odd-looking, and ready to slice and dice his way to victory.

Speaking of violence, “Zack Snyder’s Justice League” is rated R, allowing Snyder to indulge in bloody carnage that feels far more visceral than other cinematic comic book offerings. As expected, however, Snyder deploys an over-abundance of slow motion to present every shot as a work of art to be gawked at. Yes, there’s instances of beauty in his eye-popping, effects-heavy compositions, but they lose their thrill as the hours pile up.

Combined with an unnecessary epilogue that’s purely fan service, “Zack Snyder’s Justice League” doesn’t quite justify its existence for casual moviegoers. Nevertheless, I wholeheartedly support Snyder’s efforts to realize his vision. That being said, four hours is a huge time commitment, especially when viewed in a single sitting, and his film doesn’t differentiate itself enough to truly stand out.

A self-serious, over-indulgent, yet admirable effort, “Zack Snyder’s Justice League” isn’t the masterpiece that some have touted it as, but it proves sporadically enjoyable. I just needed a long nap afterwards.

“Zack Snyder’s Justice League” is a 2021 release from Warner Brothers that is exclusively showing on HBOMax, as of March 18. It stars Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ray Fisher and Ezra Miller as the six superheroes in the DC Justice League. is Rated R for violence and some language. It has a run time of 242 minutes. Alex’s Grade: B –

Facebook Comments

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

Nightmarish Sci-Fi ‘Come True’ Is Mysterious Slice of Horror

By Alex McPherson

Anthony Scott Burns’ new directorial effort, “Come True,” is a flawed yet eerily effective horror film that explores the nature of dreams.

Burns’ film centers around Sarah Dunne (Julia Sarah Stone), a sleep-deprived high school student drifting through her day-to-day life. She refuses to stay at her mother’s house, possibly due to an abusive past, and relies on her friend, Zoe (Tedra Rogers), as her main support system. She has recurring nightmares where she flows through a post-apocalyptic wasteland containing shadowy figures, cavernous interiors, and a never-ending stream of passageways — always ending near a humanoid, cloaked in darkness, with glowing eyes and an imposing physique. 

Lacking a secure place to slumber overnight, Sarah enrolls in a sleep study run by a group of scientists with suspicious morals. The team, led by Dr. Meyer (Christopher Heatherington), is able to observe participants’ dreams as they’re experiencing them, thanks to some 80s-inspired sci-fi technology. Soon enough, the study goes off the rails as strange events start occurring. What ensues is a mind-boggling ride where Sarah’s life is thrown into turmoil. 

Suffice it to say, “Come True” is out there. Viewers expecting clear-cut resolution will be disappointed. Indeed, Burns’ film sacrifices plot coherence for atmosphere and mood. This style, however, ultimately overshadows some thematic missteps later on.

Eschewing the jump-scare-heavy tendencies of mainstream horror, “Come True” relies primarily on creating a sense of uneasiness and danger looming on the horizon. Burns’ precise cinematography — full of slow zooms and long, drawn-out shots of mysteriously empty streets and glossy, claustrophobic interiors — encourages us to consider more malevolent operations behind the scenes.

The proceedings are also divided into chapters with Jungian-inspired titles, such as “The Persona” and “The Shadow,” inferring a grander picture beyond Sarah’s immediate situation. Combined with the aforementioned nightmarish sequences and a score overly reliant on the synthesizer — it’s practically as if we’re experiencing a dream along with Sarah. 

Regarding her character, Stone gives a noteworthy performance that renders Sarah captivating from beginning to end. Although “Come True” withholds information from us regarding her past experiences, Stone empathetically conveys her exhaustion, fear, and disorientation as she’s sent down a turbulent path that keeps both herself, as well as viewers, second-guessing what’s real and what isn’t.

Her character arc, as well as the plot’s larger themes, aren’t spelled out to viewers, which heightens unpredictability and encourages reflection once the end credits roll. This is a highly metaphorical, bizarre coming-of-age tale of subconscious thoughts rendered conscious experience, targeting universal fears that the screenplay assumes many of us share. “Come True” takes some work to decipher, but holds rewards for viewers up for the challenge. At least, I think so. There’s some elements of the story I haven’t wrapped my head around yet.

That’s not to say the film’s ambiguity works entirely in its favor. When a young, creepy scientist named Jeremy (Landon Liboiron) shows up, “Come True” expects viewers to care for him, and his uncomfortable relationship with Sarah, without developing his character in a satisfying fashion. Saddled with occasionally clunky dialogue, he remains far less interesting than Sarah herself.

Additionally, the film’s final moments are unintentionally humorous and feel overly blunt in comparison to the slow-burn pace adopted previously. More than anything else, viewers will likely be left feeling befuddled and maybe even cheated.

Despite unfortunate detours into perversion and muddled storytelling in its latter half, “Come True” provides memorable visuals and a multi-layered plot that earn a recommendation.

“Come True” is an unrated sci-fi horror film from IFC Midnight that was released March 12. Directed by Anthony Scott Burns, it stars Julia Sarah Stone, Christopher Heatherington and Landon Liboiron, it runs 1 hour, 45 minutes. Alex’s grade: B

Facebook Comments

The Muny’s 103rd Season Tickets Now On Sale

The Muny’s 103rd Season Tickets Now On Sale
The Muny season tickets for the 2021 summer season went on sale on Monday, March 22. Tickets can be purchased online at muny.org or by phone by calling (314) 361-1900. Currently, the box office in Forest Park is closed to the public.

The 2021 season includes three Muny premieres, family favorites and the return of beloved classics. The seven shows are: Seven Brides for Seven Brothers (July 5 – 11), Disney and Cameron Mackintosh’s Mary Poppins (July 14 – 22), Smokey Joe’s Cafe (July 25 – 31), The Sound of Music (August 3 – 9), Sweeney Todd (August 12 – 18), On Your Feet! (August 21 – 27) and Chicago (August 30 – September 5).

A final decision regarding the status of the 2021 season will be made in late spring based on the current health landscape, best practices and all available information.

SEVEN BRIDES FOR SEVEN BROTHERS
A DANCE-FILLED CLASSIC
July 5 – 11
Based on the Academy Award-winning 1954 film, Seven Brides for Seven Brothers is Americana at its finest. With an age-old tale of wooing and winning, the battle of the sexes and some barn-raising dancing, this western rollick features whistle-worthy favorites, including “Bless Your Beautiful Hide” and “Goin’ Courtin’.” With two of the most eminent dance scenes in musical theatre history and seven times the fun, saddle up for an unforgettable joyride through the Oregon frontier.

The Muny’s Production of Disney and Cameron Mackintosh’s MARY POPPINS
A Musical based on the stories of P.L. Travers and the Walt Disney Film
PRACTICALLY PERFECT FOR THE MUNY!
Proudly Sponsored by Edward Jones
July 14 – 22
Based on one of the most popular films in history, Disney and Cameron Mackintosh’s Mary Poppins is practically perfect in every way. Transporting audiences by umbrella to London at the turn of the last century, this Tony Award-winning stage adaptation features a magical carpet bag full of classics, including “Chim Chim Cher-ee,” “Step in Time,” “A Spoonful of Sugar” and “Supercalifragilisticexpialidocious.” With winds in the east and a mist coming in, somethin’ is brewin’ and about to begin!

SMOKEY JOE’S CAFE
The Songs of Leiber and Stoller
MUNY PREMIERE!
Proudly Sponsored by Ameren
July 25 – 31
Ben E. King, The Coasters, Elvis Presley, Peggy Lee and The Drifters – what do they have in common? Besides being some of the most popular artists of the 50s and 60s, their hits, and over 35 others, are the bread and butter of Smokey Joe’s Cafe. Set in St. Louis’ historic Gaslight Square, Broadway’s longest-running musical revue includes Grammy Award-winning favorites such as “Yakety Yak,” “Jailhouse Rock,” “On Broadway” and “Love Potion No. 9.” With this generation-defining Muny premiere, audiences will be dancing in the aisles.

THE SOUND OF MUSIC
FIRST MUNY PRODUCTION SINCE 2010!
Proudly Sponsored by Emerson
August 3 – 9
Considered by many to be the world’s most beloved musical, The Sound of Music reminds us that with high-spirited hope, heartfelt compassion and unwavering determination, life’s mountains can always be climbed. With its Tony, Grammy and Academy Award-winning score, including “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the iconic title track “The Sound of Music,” the hills of Forest Park come alive once more!

SWEENEY TODD
The Demon Barber of Fleet Street
A Musical Thriller
LONG-AWAITED MUNY PREMIERE!
Proudly Sponsored by Missouri Lottery
August 12 – 18
The Broadway legend and American musical masterpiece makes its Muny debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world with its dark wit, murderous melodies and haunting tale of love, revenge and mayhem. Considered to be one of composer Stephen Sondheim’s greatest showpieces, this eight-time Tony Award-winning thriller features hair-raising favorites, including “The Worst Pies in London,” “A Little Priest” and “Johanna.” With this Muny premiere, audiences are guaranteed an unforgettable evening in the barber chair.

ON YOUR FEET!
The Story of Emilio & Gloria Estefan
REGIONAL AND MUNY PREMIERE!
Proudly Sponsored by BMO Harris Bank
August 21 – 27
Based on the inspiring true story of the queen of Latin pop, Gloria Estefan and her husband, Emilio, On Your Feet! is a universal sensation that shows what can happen when two people believe in their talent, music and one another. Their moving rags-to-riches story features some of the most chart-topping songs of the past quarter-century, including “Rhythm is Gonna Get You,” “1-2-3,” “Coming Out of the Dark” and the title hit, “Get On Your Feet.” With this Muny premiere, audiences will leave ready to “Conga!”

CHICAGO
FIRST MUNY PRODUCTION SINCE 2012!
Proudly Sponsored by U.S. Bank
August 30 – September 5
Start the car and head to a “whoopee spot” where crime and corruption are hot! Kander and Ebb’s internationally-acclaimed musical about fame, fortune and justice features a headline-worthy story of how two icon-victs become Jazz Age celebrities. Set during the Prohibition era, this six-time Tony Award-winner, the longest-running American musical in Broadway history, includes showstopping standards such as “Cell Block Tango,” “Mister Cellophane” and the notorious “All That Jazz.”

To view a campus construction update, please click here.

Single tickets will be available beginning June 1. Muny gift cards for the 103rd season are now available online. For more information, visit muny.org or call (314) 361-1900.

For updates and information regarding The Muny’s Second Century Capital Campaign, please click here.

###

The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org
Facebook Comments

Nine PBS Offers More on Hemingway and His St. Louis Influences

Nine PBS Offers More on Hemingway and His St. Louis Influences

Before next month’s premiere of Hemingway on Nine PBS, tonight’s Living St. Louis at 7 pm features author Andrew Theising, who discusses the influence St. Louisans had on young Ernest Hemingway, including the three women from St. Louis whom he married.

On March 29 at 7 pm, Hemingway’s running with the bulls in Pamplona and his relationship with author A.E. Hotchner is on Living St. Louis.  Both episodes will livestream during broadcast and are available to watch after broadcast on ninepbs.org and the PBS Video App.

FILE – In this undated file photo, A.E. Hotchner, left, and author Ernest Hemingway pose for a photo in Seattle. Hotchner was staging Hemingway’s story “A Short Happy Life” in a pre-Broadway tour in Seattle. A.E. Hotchner, a well-traveled author, playwright and gadabout whose street smarts and famous pals led to a loving, but litigated memoir of Hemingway, business adventures with Paul Newman and a book about his Depression-era childhood that became a Steven Soderbergh film, died Saturday, Feb. 15, 2020, at age 102. (AP Photo, File)

Nine PBS will also host a virtual screening with director Lynn Novick and producer Sarah Botstein on Monday, April 19, at noon. Registration will open soon at ninepbs.org/events.  

Ernest Hemingway, the iconic literary figure considered one of the greatest American writers and among the first to live and work at the treacherous nexus of art and celebrity, is the subject of an upcoming three-part, six-hour documentary series directed by award-winning filmmakers Ken Burns and Lynn Novick.  

The series airs three consecutive nights, April 5-7, from 7-9 pm, with an encore presentation from 9–11 pm. Hemingway will be available to stream for free on ninepbs.org and the PBS Video App. A trailer for the series is available here.   

Narrated by long-time collaborator Peter Coyote, the series features an all-star cast of actors bringing Hemingway (voiced by Jeff Daniels), his friends, and family vividly to life. Through letters to and from his four wives—voiced by Meryl Streep, Keri Russell, Mary-Louise Parker and Patricia Clarkson—the film reveals Hemingway at his most romantic and his most vulnerable, grappling at times with insecurity, anxiety, and existential loneliness.  
   

Hemingway interweaves a close study of the biographical events of the author’s life with excerpts from his fiction, nonfiction, and short stories, informed by interviews with celebrated writers, scholars, and Hemingway’s son, Patrick. The filmmakers explore the painstaking process through which Hemingway created some of the most important works of fiction in American letters. 

“The documentary attempts to go beyond prevailing assumptions about Ernest Hemingway and his writing. At the same time, we are unsparing in our inquiry into less well-known aspects of his character and writing. Our intent is to offer viewers an honest portrayal of a complex and conflicted writer who left an indelible mark on literature,” says director Ken Burns. 

About Nine PBS  

As an essential community institution, Nine PBS exists to enable access to information, knowledge, and learning opportunities for all. We tell stories that move us. We meet people where they are the most comfortable consuming content. Nine PBS’s platforms include four distinct broadcast channels (Nine PBS, Nine PBS KIDS®, Nine PBS World, and Nine PBS Create), ninepbs.org, social media, the free PBS Video App, streaming services, live and virtual events, and the Public Media Commons. Since 1954, Nine PBS has accepted the community’s invitation into their homes, schools, and businesses. 

Ernest Hemingway and his second wife Pauline Pfeiffer


Facebook Comments

Stages St Louis Adjusts 2021 Mainstage Season

Stages St Louis Adjusts 2021 Mainstage Season

In response to continuing COVID-19 restrictions and after extensive discussions with staff leadership and the Board of Trustees, STAGES St. Louis will officially amend the 2021 Mainstage Season.

The mainstage production of A CHORUS LINE as well as the Family Theatre Series production of A YEAR WITH FROG & TOAD are cancelled. STAGES will still celebrate its 35th Anniversary Season and move into the new Kirkwood Performing Arts Center with revised schedules for ALWAYS… PATSY CLINE and JERSEY BOYS,

Subscribers will receive a mailing the week of March 29 containing additional information and confirming these changes. The letter will also lay out all possible ticketing options for A CHORUS LINE.

“When planning for our return to live performances last fall, no one imagined that we would be in this challenging position once again,” said Associate Producer Andrew Kuhlman. “But, like so many others, here we are. And while these decisions have been incredibly difficult, we believe that they have been made with the best interest of our community in mind and we remain steadfastly hopeful.”

ALWAYS… PATSY CLINE and JERSEY BOYS will be performed in the brand new Ross Family Theatre at The Kirkwood Performing Arts Center in Downtown Kirkwood. The adjusted season schedule will be as follows:

  • ALWAYS… PATSY CLINE (August 6 – September 5, 2021)
  • JERSEY BOYS (September 24 – October 24, 2021)

“Our top priority since the start of the COVID-19 pandemic has been the health and safety of our patrons, performers, staff, students, and community,” said Executive Producer Jack Lane. “Despite the challenges of the past year, I cannot imagine a better way to celebrate a return to live theatre than with our 35th Anniversary Season premiering at our new home in The Ross Family Theatre at the Kirkwood Performing Arts Center.”

Two-show subscriptions will go on sale beginning May 17, as will subscriber exchanges and subscriber single ticket sales. General public single ticket sales will begin June 1. Any further changes to the 2021 Season will be posted on the STAGES website and shared via email and social media.

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website.

STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of the new Kirkwood Performing Arts Center.

STAGES Performing Arts Academy is regionally renowned for its innovative and multi-
disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences. For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.

Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.

Facebook Comments

Anthony Hopkins’ Tour de Force as ‘The Father’

Anthony Hopkins’ Tour de Force as ‘The Father’

By Lynn Venhaus
Without sentimentality, “The Father” depicts a man’s growing dementia and the sheer terror of the disorientation he feels as he doesn’t realize what is happening as he loses his grip on reality. In a bravura performance, Anthony Hopkins draws us into his world as we are caught as off-guard as he is.

Anthony (Anthony Hopkins) is a learned, successful man who refuses his daughter Anne’s (Olivia Colman) assistance as he ages. He begins to doubt her and other loved ones as he tries to make sense of what’s going on around him. The story is adapted from the play by Florian Zeller, who has directed this film

Many families endure these same situations as matriarchs and patriarchs age, so this is a relatable journey that hits close to home as we watch a proud, intelligent, successful man decline and his family feels helpless in response.

Because of the film’s honesty, it is a hard watch, but its shared humanity is what gets us through the experience.

Florian Zeller, who wrote the 2012 play, “La Pere” in his native tongue, won the 2014 Moliere Award for Best Play in France. The play went on to open in London and on Broadway, with Frank Langella winning his fourth Tony Award for his performance as the title character.  The English translation by playwright Christopher Hampton, Oscar winner for “Dangerous Liaisons,” is what is used for the film adaptation.

With sly editing and deft production design, we are kept guessing about the time and place, and what’s going on in Hopkins’ residence and in his head.

Because it is adapted from a play, “The Father” can’t really outgrow its stage constraints.

The ensemble is first-rate, particularly Olivia Colman as his adult daughter. We feel her pain acutely.

Both Hopkins and Colman have received much acclaim for their performances, and with Oscar nominations March 15, one can predict their names will be on the short lists.

While Hopkins, one of our finest actors, has an incredible range as a performer, it is in this film’s final 10 minutes where he gives everything he is capable of and leaves us shattered.

As “The Father,” it is perhaps his best work in a storied career, including an Academy Award for the creepiest villain of all-time in “The Silence of the Lambs” and last year’s Oscar nomination for Best Supporting Actor in an astute portrait of former Pope Benedict in “The Two Popes.”

This is a film that will linger for a long time.

“The Father” is a 2020 drama directed by playwright Florian Zeller. It stars Anthony Hopkins, Olivia Colman, Olivia Williams, Rufus Sewell, Mark Gatiss and Imogene Poots. Rated: PG-13 for some strong language, and thematic material, its runtime is 1 hour, 37 minutes. It is in theaters on March 12.

Facebook Comments

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

By Alex McPherson

Shot entirely via iPhone, director Anthony Z. James’ “Ghost” is a thought-provoking exploration of fatherhood, redemption, violence, and how the past informs the present.

The film takes place during a single day and follows Tony Ward (Anthony Mark Streeter), an ex-con re-entering society after 10 years behind bars. Emerging into an unforgiving world that’s moved on without him, Tony attempts to mend fractured relationships, including with his son, Conor (Nathan Hamilton), and chart a new path forward for himself.

Conor is psychologically scarred by his father’s actions and the direction his own life took as a result, but still cares for him nevertheless. Both men are forced to confront whether they will be consumed by their demons or work to overcome them. When Tony’s old boss, Dominic (Russell Barnett), shows up, complications arise. Can Tony escape the world he left behind, or is history doomed to repeat itself?

Even though “Ghost” dips into familiar territory, James’ film is a refreshingly subdued affair, with a pair of intriguing central characters and a strong sense of place.

From the opening frames, it’s clear that Tony feels alienated in the working-class streets of London. Streeter’s nuanced performance expertly conveys Tony’s regret, grief, and determination to turn his life around. He’s prone to brashness, but remains sympathetic. Hamilton is similarly effective as Conor — a youthful individual full of potential, yet held back by his own impulsivity that likely stems from his troubled childhood. Their scenes together, combined with James’ restrained approach, are where the film absolutely shines.

Shooting via iPhone lends a gritty, tactile edge to the proceedings, giving the film a documentary-esque feel at times. “Ghost” is more focused on small-scale relationships than anything else, willing to take an unhurried pace to tell a story that feels grounded in plausibility. Overlooking some occasionally shoddy sound design and awkward camera placements, it’s difficult to imagine “Ghost” being presented any other way. 

The majority of the film unfolds in prolonged conversations that feel true to life, for the most part — complete with awkward pauses and cinematography that creates a voyeuristic, fly-on-the-wall quality throughout. During other moments, James presents shots reflective of characters’ mental states. Tony, Conor, and Dominic are often framed against borders, both literal and figurative, that illustrate their difficulties connecting with the world around them, as well the internal conflicts they individually face.

Despite the film’s success in these areas, however, “Ghost” resorts to predictable beats by its conclusion. While I appreciate how James ratchets up tension in confrontations later on, these scenes betray the naturalistic approach utilized previously — sending the film down a bloody path of genre convention that feels forced rather than organic.

Additionally, James crams too much plot into a short time frame. Coming in at only 85 minutes, I wish that he had given these characters more time to grow, rather than trying to condense their journeys into a single day.

 It’s also disappointing that the side characters surrounding Tony and Conor aren’t given much development. Conor’s ex-girlfriend, Kat (Severija Bielskyte), for example, is used primarily to demonstrate Conor’s misplaced anger, without being given an opportunity to leave much of an impression. Similarly, Tony’s ex-wife, Valerie (Emmy Happisburgh), only features prominently in a couple of scenes, and undergoes a rushed arc that defies believability. Heading into its suspenseful final act, Dominic also gets an exposition-dump-heavy subplot that’s too convoluted for its own good — albeit one that concludes in a darkly poetic fashion.

All in all, “Ghost” is worth recommending to viewers seeking a crime drama with a compelling relationship at its core. Although the final act lacks the finesse that came before, there’s much to enjoy in this promising debut.

“Ghost” is a 2020 film released last summer that is now available on Amazon Prime. Directed by Anthony Z. James and filmed entirely on an iPhone, the film runs 1 hour, 25 minutes. It starts Anthony Mark Streeter and Nathan Hamilton. Alex’s Rating: B

Facebook Comments