Pop Life STL

White-Hot ‘Suddenly Last Summer’ Burns Brightly on TWSTL Stage

By Lynn Venhaus

Featuring an indelible performance by Naima Randolph as the traumatized Catharine Holly in an impeccably staged “Suddenly Last Summer,” this year’s Tennessee Williams Festival St. Louis’ centerpiece created a vivid atmospheric contemplation on mental health, homophobia, and the truth.

These topics often associated with the playwright are still thought-provoking in contemporary times, some 66 years after he wrote it in New York City and first presented off-Broadway in 1958 as a 90-minute one-act, double-billed with “Something Unspoken.”

One of Williams’ most haunting and lyrical works, “Suddenly Last Summer” is best known for the melodramatic 1959 movie starring three future legends –Elizabeth Taylor as Cathy and Katherine Hepburn as Violent Venable, both Oscar-nominated for their performances, and Montgomery Clift as Dr. “Sugar,” and those shadows loom large.

The screenplay, a Williams’ collaboration with Gore Vidal, differs from the play in opening it up to show scenes at the beach, and other scenes, characters, and subplots were added. This being through a ‘50s lens, they had to remove explicit references to homosexuality. It’s a different world today in terms of taboos, although people still use each other, and issues raised persist.

However dated the material, director Tim Ocel doesn’t downplay the inferences. He is a master at interpreting Williams’ artistry, making it relatable for a modern audience.

Along with producer Carrie Houk, a master caster and the festival’s executive producer, he has put together a powerhouse ensemble, who brings to life many dark elements of human nature – including greed, deception, delusion, desire, desperation, and dominance.

Just as he did in a stunning “A Streetcar Named Desire” in 2018 and meticulous “The Night of the Iguana” in 2019, both at The Grandel, Ocel’s retelling is fresh and visionary, emphasizing the horror of a tragic death that is framed like a fascinating murder mystery and gripping courtroom drama.

Oh, what a tangled web we find the Venable family in when they reinforce lies over truth. At the domineering matriarch’s mansion in the affluent Garden District of New Orleans in 1936, brain surgeon Dr. Cukrowicz, aka “Dr. Sugar,” is summoned there to review her niece’s case.

Through her wealth, the bitter Violet hopes to keep Cathy institutionalized and have a lobotomy performed, so that a scandalous family secret won’t be exposed. She has kept her in a private mental asylum since she returned from Europe.

Violet’s cherished son, Sebastian, a closeted gay poet, has been brutally killed while on vacation in Spain, accompanied by his cousin instead of Mommie dearest. The circumstances are unclear, and no one believes Cathy’s horrific account. Locked away against her will, she has been further victimized by her treatment. Now, she can not only reveal the ugly truth but be spared more damage.

Randolph is spellbinding as she recounts the details of a summer holiday at Cabeza de Lobo to those assembled, led by an always stellar Bradley Tejeda as Dr. Sugar, who skillfully guides the proceedings as he gently probes a vulnerable and broken Cathy.

Cathy knows she is being manipulated, and after being injected with a truth serum, weaves a riveting account of being a decoy to attract young boys for the predatory Sebastian’s exploitation. She was used just like they were, but instead of earning sympathy, she’s trying to be suppressed by everyone.

Dr. Sugar’s not entirely convinced Cathy is insane, but at stake is a large donation to his psychiatric research from Mrs. Venable.

Tejeda, brilliant as Tom in 2021’s outdoor “The Glass Menagerie” and comical as Alvaro in last year’s “The Rose Tattoo,” is cool and calm in a crisp white suit, fully aware of the evil in the Venable’s jungle-garden, where his interrogation takes place.

Lisa Tejero deftly commands the stage as the controlling Mama Bear who makes her late husband’s family feel small in her presence, ready to pounce on those she considers duplicitous and weak. She will do whatever it takes to preserve her son’s legacy, even if it is fiction.

Clad in black and using a cane as a scepter, Tejero displays cunning in all interactions, as well as impatience and aggravation when things don’t go her way. She also conveys selfishness, an appalling lack of civility as a socialite and less-than-gracious hostess.

Cathy’s mother and brother, Mrs. Holly and George, eager to not have anything interfere with the $100,000 inheritance bequeathed by Sebastian in his will, are trying not to act anxious, but their true colors emerge. Rengin Altay as the fretful in-law, and Harrison Farmer, as her ambitious son, comfortably service Williams’ script in these stock characters.

In other supporting roles are Bethany Barr as Violet’s accommodating assistant Miss Foxhill, and Ieshah Edwards as the not-so-compassionate Sister Felicity.

Of course, Williams would name characters Venable and Felicity, as he mines his life for a sad exploration of horrible human behavior.

The production team has enhanced the Southern gothic moods, with captivating lighting design by Matthew McCarthy, evocative set design by James Wolk, and polished period costume design by Dottie Marshall Englis. Henry Palkes’ original music score, this third for TWSTL, adds so much texture to these productions.

What is missing in Williams’ play is the protagonist, and it is up to the cast to flesh out Sebastian, and all his contradictions, through the filters of his mother and cousin. The actors conjure up graphic images through their ability to craft a portrait through language.

Many of Williams’ tortured soul characters face moral dilemmas, either as prey or predator, to survive in an unforgiving world. Randolph’s unnerving portrait of a victim shatters the norms, which is what Williams so often does.

While her performance leaves a lasting impression, that’s not the only memorable aspect. The nuance and craft have left their mark on this eighth annual festival, which continually surprises with new ways and different angles to Williams’ storytelling.

The Tennessee Williams Festival St. Louis presents “Suddenly Last Summer” Sept. 7 – 17, with Thursday through Saturday performances at 7:30 p.m. and Sunday matinees at 3 p.m. in the Catherine B. Berges Theatre at COCA, University City. For more information, visit www.twstl.org

Photos by Suzy Gorman

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8 min read

Rock Legends Come Alive in Stages’ Rollicking ‘Million Dollar Quartet’

By Lynn Venhaus

To see the transformative power of music first-hand, just be in an audience for Stages St. Louis’ production of “Million Dollar Quartet,” because you will watch as a crowd of adults become kids again.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at Sun Studios in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

The man who gave them their start, Sam Phillips, deservedly known as “The Father of Rock ‘n Roll,” narrates this twist-of-fate tale, a true David vs. Goliath industry narrative featuring the star power of four future legends.

As impresario Phillips, Jeff Cummings is well-suited to play the country boy mogul with savvy instincts on hit-making, conveying equal parts passion and pride.

The cast’s remarkable full-throttle energy, showmanship, and musicality turned the Kirkwood Performing Arts Center’s Ross Family Theatre into a freewheeling and fun house party where the ready-to-rock crowd blissed out to the enduring rhythm of roots rock ‘n roll. The company, all seasoned professionals, many veterans of this show, looked like they were having so much fun performing together.

Perhaps I can speak for my fellow Boomers, as I felt we were transported back to sock hops, Teen Towns and listening to our transistor radios with earphones before bedtime. And couldn’t resist the urge to toe-tap and clap along, for the hits just kept on coming: “Hound Dog,” “Long Tall Sally,” “Great Balls of Fire,” “Who Do You Love,” “Sixteen Tons,” “Folsom Prison Blues,” and “I Walk the Line” among them.

Brady Wease as brash Jerry Lee Lewis. Photo by Phillip Hamer.

But it’s not merely a blast from the past — rather, a vivacious retelling of magical music moments in pop culture history. Music Director and Conductor David Sonneborn, who also plays the drums as session musician W.S. “Fluke” Holland, has splendidly brought out the best in everyone.

The joint was jumping, and it was a thrill to be a part of such a joyful celebration. There was a whole lotta shakin’ going on during the coda/extended curtain call, with the crowd on their feet for most of it — and singing along to “See You Later Alligator.”

Director Keith Andrews, who also choreographed Edward La Cardo as an unstoppable Elvis, marvelously captured the lightning-in-a-bottle aspect of four rock ‘n roll influencers for a perfect show, lovingly crafted and crisply performed by an ensemble who achieves synchronicity together but also stands out individually. It’s his sixth time directing this show, and his command of the material is evident.

This jukebox musical displays the heart, humor and overflowing talent of these scrappy guys who came from humble Southern beginnings, carved a place in history for themselves and put Sun Studios on the map.

Carl Perkins, who hadn’t been able to follow up “Blue Suede Shoes” with another hit, has a simmering resentment towards Elvis, for his performance on “The Ed Sullivan Show” and other grievances. He has a chip on his shoulder and a festering attitude, which Jeremy Sevelovitz carefully projects.

Jeremy Sevelovitz as Carl Perkins. Phillip Hamer Photography.

Carl’s brother, Jay, is one of the session musicians, and Chuck Zayas knows how to slap that bass, having been a founding cast member, and has been rockin’ out for more than 30 years in bands and on stage.

The story begins with the premise that rockabilly specialist Carl Perkins is there to record some new music with a brash piano player from Louisiana – Jerry Lee Lewis, whose swagger and desire to be the center of attention rubs him the wrong way. Brady Wease’s bravado blazes the stage as a boyish “The Killer” and his prowess pounding the keys is fun to watch.

With his deep voice and confident demeanor, Scott Moreau’s ease as Johnny Cash is noteworthy. He has played this role more than 1,000 times, and that experience shows. His way with the guitar, and impressive vocals are riveting. “Ghost Riders in the Sky” is one of the standouts, and his gospel influences are emphasized.

La Cardo embodies the young energetic Elvis, now a movie star too, who would prefer solid career advice rather than a chorus of ‘yes’ men. In this show, he brings a girlfriend along, and Shelby Ringdahl fits right in as Dyanne, belting out “I Hear You Knockin” and delivering a sultry “Fever.” At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer.

Besides the smokin’ hot beats, there is drama in between songs dealing with show biz and their personal relationships, just to create conflicts and tension.

The show’s original concept by Floyd Mutrix was solid gold, and it premiered in Florida in 2006. A regional Chicago production was mounted in 2008, starting at the Goodman, then moving over to the Apollo, where it celebrated its 2,500^th performance six years later. The show closed in 2016, ranking as the third-longest running show in Chicago theater history.

Scott Moreau as Johnny Cash. Phillip Hamer Photography.

Nominated for three Tony Awards — for Best Musical, Book by Colin Escott and Mutrux, and Best Performance by a Featured Actor, which was won by Levi Kreis as Jerry Lee Lewis, the show opened on Broadway in April 2010 and closed in June 2011, after having played 489 performances and 34 previews,

I first saw this on its national tour in 2013 at the Fox Theatre, and then The Rep staged a slick, exuberant production in 2017. While both were enjoyable and executed well, the Stages one seems the most spirited, with an extra oomph of pizzazz and far more nuance.

Not only is this ensemble aces, percolating on all cylinders, but the creative team has showcased its mastery – scenic designer Adam Koch for a vintage studio interior, costume designer Brad Musgrove – of course the quartet are in colorful sequined blazers for the grand finale!, the exceptional expertise of lighting designer Sean M. Savoie, and clear sound designed by Beef Gratz.

The vibrancy of the production is unforgettable, and you surely will sing a happy tune while leaving the building.

Jeff Cummings as Sam Phillips. Phillip Hamer Photography

“Stages St. Louis presents “Million Dollar Quartet” from Sept. 8 to Oct. 8 at the Kirkwood Performing Arts Center. For more information: stagesstlouis.org.

The iconic photo of Dec. 4, 1956. It hangs on the wall of Sun Records in Memphis (worth the tour!).

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4 min read

Cheeseburger in Paradise: Hi-Pointe Theatre and Hi-Pointe Drive-In Team Up for Special Offer Sept. 18

Cinema St. Louis is excited to partner with the Hi-Pointe Drive-In to celebrate National Cheeseburger Day on Monday, Sept. 18, at the Hi-Pointe Theatre with a special screening of the 1997 cult classic, GOOD BURGER.

Join the Hi-Pointe Drive-In, everyone’s favorite local burger joint, for incredible food specials throughout the day (see below for the themed-menu) and get your picture taken with the original Good Burger car at their McCausland location.

Then, walk up to the iconic Hi-Pointe Movie Theatre for a 7 p.m. screening of the 1997 film “Good Burger,” a story about two hapless youths who lead their burger joint in a fight against the giant fast-food chain across the street. This film will surely entertain and stars Kel Mitchell, Kenan Thompson, and Sinbad, dishing up some of the best laughs around.

The Hi-Pointe Theater will give $2 off a ticket with proof of food purchase or your best Good Burger car photo at the Hi-Pointe Drive-In.

“We will be slangin’ burger and shake specials of course as well as selling exclusive merch and opening up the OG Goodburger car and letting y’all get in and take pics! Come by for a burg and then hop over to the theatre for a show,” Hi-Pointe Drive-In said on their Facebook page.

About the Menu

McCausland Location only: Mondo Burger combo with a Strawberry Jacuzzi Shake $20 Double Burger with Gouda Cheese, bacon, BBQ sauce, onion straws, lettuce, and pickles on a Brioche bun Strawberry marshmallow shake topped with a fresh strawberry. All Locations: Big Mic $30 Huge, eight-patty cheeseburger, Big Mac-style Ed’s Special Sauce $5 Ando Sauce Bottle

Go to https://bit.ly/Hi-Pointe_GoodBurger for more information and online ticket sales.

Cinema St. Louis / Hi-Pointe Theatre

For more than 30 years, Cinema St. Louis (CSL) has served as the region’s go-to arts nonprofit for educating and inspiring audiences of all ages through film. Annually, the organization hosts the St. Louis International Film Festival (SLIFF) — included among USA Today’s 10 Best “Film Festivals Worth Traveling To” — as well as the St. Louis Filmmakers Showcase, QFest St. Louis, Classic French Film Festival, and Golden Anniversaries. In January 2023, CSL found its new home in the iconic Hi-Pointe Theatre, a beautiful art-deco palace for film with the best popcorn in town.

Hi-Pointe Drive-In

The Hi-Pointe has been an iconic St. Louis destination ever since this spot was a little drive-in in the 1980’s. Located in the historic Hi-Pointe neighborhood, just off Highway 40, this spot is a great place to pop into before or after events around town, or even as the main event. Their chef-inspired menu uses locally sourced ingredients and has something for folks from many walks of life, from their creative burgers, sandwiches, and shakes to healthy salads and a menu for the little ones. Following the tradition of killin’ it, Hi-Pointe Drive-In is brought to you by your friends from Sugarfire Smokehouse, among a few of your other favorite eateries.

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8 min read

Hercule Poirot’s Back in Spookily Fun Whodunit ‘A Haunting in Venice’

By Alex McPherson

Featuring skillfully disorienting filmmaking, excellent performances, and wry charm, director Kenneth Branagh’s third Hercule Poirot outing, “A Haunting in Venice,” is reliably enjoyable, if undercutting its emotional beats through rushed pacing.

Based on Agatha Christie’s 1969 novel “Hallowe’en Party,” Branagh’s film moves the action from 1960s England to 1947 Venice, with the trauma of World War II still lingering fresh. The strikingly mustached, thick-accented Poirot (Branagh) is now retired, attempting to live an isolated life distanced from prospective clients. His Italian bodyguard, Vitale Portfoglio (Riccardo Scamarcio), is ferocious in warding off any sap who tries to get Poirot’s attention, knocking them into Venetian canals if need be.

Poirot is clearly worn down from his years of sleuthing, and the personal costs his work has rendered on his well-being are on full display. The detective is content to live out his remaining days in peace, until his old friend, the quick-witted, fast-talking author Ariadne Oliver (Tina Fey) shows up and invites him to a séance with the goal of having Poirot deduce if the “medium,” a world-famous weirdo named Mrs. Reynolds (Michelle Yeoh), is a fraud.

The site is a labyrinthine palazzo that’s the rumored subject of a curse (and a playplace for children’s Halloween festivities with an accompanying puppet show). The séance is for a young girl, Alicia Drake, who fell off a balcony there and drowned a year earlier, either from suicide or murder.

The attendees include Alicia’s despondent mother, a former opera singer named Rowena (Kelly Reilly), the caring and religious housekeeper Olga Seminoff (Camille Cottin), Mrs. Reynold’s immigrant helper Desdemona (Emma Laird), Alicia’s PTSD-stricken doctor Leslie Ferrier (Jamie Dornan), Leslie’s creepily observant son Leopold (Jude Hill of “Belfast” fame), and Alicia’s easily angered ex-fiancé Maxime (Kyle Allen).

Despite some aggressively irritating clangs and bangs — the jumpy sound design in “A Haunting in Venice” irritates as much as it immerses — things seem to be going pretty well on Poirot’s end, until, well, there’s another death on the premises.

Potentially supernatural happenings are afoot — something that Poirot might not be able to reason his way out of before the dark and stormy night runs its course — as everyone reckons with ghosts and past decisions that haunt their psyches — just not to the level of, for example, “Talk to Me,” which released earlier this year. Branagh’s film is never exactly scary, but there’s much to appreciate about “A Haunting in Venice,” particularly regarding Branagh’s skills as a director.

The post-war time period is vividly realized with striking colors and production design; the warmth of daylight flows into a stormy night with Haris Zambarloukos’ crisp cinematography and Lucy Donaldson’s snappy editing, wind buffeting aged windows and flashes of lightning illuminating danger, real or not. Branagh has fun deploying visual tricks to catch viewers off guard throughout, including ominous shapes/figures lurking in the background, as visual red herrings. Hildur Guðnadóttir’s string-filled score adds an extra layer of foreboding.

Branagh and Zambarloukos frame the action in wide-shots and canted angles, playing around with camera techniques and points-of-view to reflect Poirot’s increasing discombobulation. Despite all this, Branagh reverts to surface-level shocks — plates shattering, doors blowing open, light bulbs exploding, etc. — that don’t fully capitalize on the setting, even though the actors were allegedly unprepared for some surprises on-set.

Indeed, “A Haunting in Venice” is content to startle, rather than disturb, held back from showing anything truly shocking through the PG-13 rating and refusing to deviate all that much from Poirot’s detective story roots. This renders the film’s horror-inflected touches somewhat muted on a visceral level, if harmlessly entertaining. More notably, the approach plays into Branagh’s exploration of Poirot as a character and his place in the world.

Poirot, jaded in his profession and gradually losing faith in his own ability for rational explanation of what’s happening, is as off-kilter as the camerawork — unsteady and struggling for balance. But he never gives up, fighting for reason over superstition, and familiarity over the unfamiliar, not unlike the film’s comforting return to formula in its second half.

As a result, Branagh’s straddling of different genres reflects Poirot’s internal struggle. The palazzo’s creaks, groans, and apparitions dare our lovable detective to surrender to the madness, but he refuses to, ultimately discovering his reason for being on the other side of it all.

Branagh’s performance, as Poirot, remains thoroughly engaging, maintaining a self-awareness that strikes a fine balance between cartoonishness and seriousness. It’s an excellent turn, barring some muffled dialogue: a larger-than-life character in a larger-than-life situation.

The remaining ensemble shines along to varying degrees — Fey, Yeoh, and Hill make strong impressions, with Hill perfectly embodying the creepy and erudite Leopold — each character reckoning with regret, trauma, and confronting their pasts to find new paths forward, morally corrupt though they might be.

The mystery itself is compelling, albeit rather simplistic. Observant viewers will be rewarded, but Branagh aims for accessibility over nuance. Additionally, Michael Green’s screenplay lacks subtlety in revealing character motives and larger themes, streamlining the mystery so that threads don’t become overwhelming. What’s sacrificed is time spent developing any individual character, Poirot among them, on a more poignant level. At least there’s a shout-out to St. Louis!

“A Haunting in Venice” is more about the journey than the destination, with Branagh’s directing and haunted-house mood-setting taking center stage, but there’s little denying the pure entertainment value of Poirot’s latest case. It doesn’t take much thinking to deduce that “A Haunting in Venice” is worth watching on the big screen in a packed theater, everyone squirming during jump scares and embarking on a good old fashioned whodunit with a director and cast rising to the challenge.

“A Haunting in Venice” is a 2023 mystery-thriller directed by Kenneth Branagh and starring Branagh, Tina Fey, Keilly Reilly, Jamie Dornan, Jude Hill, Michelle Yeoh, Camille Cottin and Kyle Allen. It is rated PG-13 for some strong violence, disturbing images and thematic elements, and the run time is 1 hour, 43 minutes. It opens in theatres Sept. 15. Alex’s Grade: B+.

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New Jewish Theatre News Press Releases Theatre
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4 min read

Two Regional Premieres Highlight New Jewish Theatre’s 26th Season in ’24

The New Jewish Theatre is pleased to announce its 2024 season, which is also its 26th season of producing professional plays and musicals at the J. The season celebrates some of the New Jewish Theatre’s most beloved playwrights while also bringing new works to St. Louis audiences with two regional premieres.

The season will kick off on March 21, 2024, with the great Arthur Miller’s searing classic All My Sons, one of the most iconic dramas of the 20th century. Miller won the very first Tony Award ever given for Best Author (now known as Best Play) for the premiere in 1947.

Following this great American play, we’re excited to bring a new work to our NJT audience. We will present the regional premiere of We All Fall Down by Lila Rose Kaplan, opening May 30, 2024. Directed by Artistic Director Rebekah Scallet, the play tells the story of one family’s attempt to come together for a Passover dinner with hilarious and heartbreaking results.

Next up will be Red by John Logan, opening July 25, 2024. Another Tony Award winner for Best Play in 2010, it is an introspective look at abstract expressionist painter (and Latvian-born Jewish immigrant) Mark Rothko at the height of his fame. As he takes on his largest commission to date, he also takes on a new assistant who challenges his work and ideals.

Next is another regional premiere: Trayf by Lindsay Joelle, opening September 12, 2024. It is the story of two young men excited to drive their first Chabad “Mitzvah Tank” around 1990s New York City and perform good deeds, but find their lives irrevocably changed by exposure to the secular world.

And for that dose of holiday romance, NJT will present a romantic musical comedy by Austin Winsberg, Alan Zachary, and Michael Weiner called First Date, opening November 21, 2024. When blind date newbie Aaron is set up with serial-dater Casey, a casual drink at a busy New York restaurant turns into a hilarious high-stakes dinner.

“This is my first time putting together the New Jewish Theatre season, and I couldn’t be more excited about the plays we have in store for 2024. It’s a wonderful mix of classic and new work, comedies and dramas, and even a musical rom-com. Representing Jewish playwrights, values, and historical figures, the season’s plays each ask how we stay true to ourselves in an ever – evolving and challenging world,” says Artistic Director Rebekah Scallet.

The shows will premiere at The J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis). Season subscriptions go on sale on November 30, 2023, and single tickets will be available for purchase on February 1, 2024. Tickets are available by phone 314-442-3283 or online at newjewishtheatre.org.

ABOUT THE NEW JEWISH THEATRE:

The New Jewish Theatre is dedicated to exploring Jewish themes and celebrating Jewish writers while examining the full range of the human experience. We present universal work through a Jewish lens, using our productions to enrich lives, promote inclusivity, and build community.

Cover photo by Mark Rothko taken by his wife, Kate Rothko, in 1961. Photo of one of his “Red” abstract paintings. Getty Images.

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Events News On Stage Press Releases St Louis Shakespeare Festival Theatre
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4 min read

This Year’s Shakespeare in the Streets ‘The Game’s Afoot’ Takes Place Downtown Sept. 14-16

The 10th Anniversary Shakespeare in the Streets: “The Game’s Afoot,” is happening in Downtown St. Louis Sept. 14, 15 and 16 at the corner of 22nd and Olive, and is free to attend.

“Shakespeare in the Streets: The Game’s Afoot”

Written by Benjamin Hochman (award-winning St. Louis Post-Dispatch sports columnist)Based on Shakespeare’s epic Henriad saga and inspired by true stories of soccer in St. Louis SEP 14- 15, at 8:00 p.m. and SAT, SEP 16 at 6:00 p.m.

On Saturday, following the earlier performance at 6 p.m., Fleur De Noise will lead 300 guests (capacity limited. first come, first serve) across the street into CITYPARK and the Moneta Pitch Club. Fans can enjoy snacks, cash bar and a public watch party of the CITY SC vs. HOUSTON DYNAMOS game. The match begins at 7:30 p.m. Guests must show a wristband to enter CITYPARK, which can only be secured at the performance. Space is limited to the first 300 guests in attendance.

Plus an amazing line-up of soccer legends making a special guest appearance on-stage throughout the weekend, including Olympic Gold Medalist, U.S. National Team members, current CITY2 player and broadcasters. (See full list and schedule below).

Lori Chalupny Lawson (Thursday, 9/14) – St. Louis native and current Head Coach for Women’s Soccer at Maryville University. Lori played soccer at the highest level, including a 2015 World Cup Champion and 2008 Olympic Gold Medalist. As a youth, she played for Neirnx Hall and J.B. Marine and is a member of the St. Louis Soccer Hall of Fame.
William “Ty” Keough (Friday, 9/15 & Saturday, 9/16) – is a former professional soccer player, Washington University head coach and MLS announcer. He appeared on the U.S. national team in 1979-1980 and qualified for the 1980 Olympic team. He is the son of Harry Keough, who played on the notable 1950 World Cup team.
John Klein III (Saturday, 9/16) – Missouri-native and second-generation St. Louis major leaguer. John signed with CITY 2 in 2023 and made his debut for CITY SC in the game against Sporting KC. He attended Saint Louis University, where he won many accolades during his college career.
Bill “Mr. Soccer” McDermott (Thursday-Satruday, 9-14-16) – A household soccer name in St. Louis and announcer for St. Louis University soccer since 1972. As a player, Bill competed with greats and as an announcer for 50 years, he’s covered MLS, World Cups, and Olympic games.
Fleur De Noise (Thursday-Saturday, 9-14-16) – One of the six official supporter groups for CITY SC and the heartbeat of all home games. They’ll bring an original soccer chant to the show.

Cast: Keating (Falstaff), Thomas Patrick Riley (Hotspur), Jack Kalan (Hal), Summer Bear (Angela), and many others. Creative Team: Scott Neale( Set Designer) 5-time Shakespeare in the Park designer, Shavaré (COSTUME DESIGN) and Bryant Powell (Lighting design). More info at stlshakes.org/soccer

This is the 10th production of Shakespeare in the Streets and love letter to the people who live, work and visit our region. So far, we’ve used the well-known works of Shakespeare as a mirror for residents of Cherokee Street, The Grove, Clayton, Old North, Maplewood, Downtown, 24:1, Brussels (IL), The Ville, Bevo Mill, and now our first non-geographic story, soccer.

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The Bach Society of Saint Louis Announces 83rd Concert Season

Performance highlights include the annual Christmas Candlelight Concert and Bach’s St. John Passion

The Bach Society of Saint Louis Executive Director Melissa Payton has announced the performances for its 83rd season. Season highlights include the season opener, Eternal Light showcasing Howard Goodall’s masterpiece Eternal Light: A Requiem; the annual Christmas Candlelight Concert, a St. Louis tradition since 1951 at 560 Music Center featuring award-winning soprano Josefien Stoppelenburg; Bach’s St. John Passion, a moving concert at the First Presbyterian Church of Kirkwood; and the season finale concert The Heart of Bach, Choral Motets and Organ Chorales which includes breathtaking chorales and captivating solos, interwoven with audience participation. Tickets for all performances are available online at bachsociety.org.

“Every season presents us with the opportunity to fulfill our mission of sharing the amazing and timeless music of Bach with our St. Louis audience and explore new and exciting works. I’m excited to begin this season with a beautiful requiem in English as well as Latin by the English film composer Howard Goodall,” shared Music Director and Conductor A. Dennis Sparger.

The Bach Society opens the season with Eternal Light on Sunday, October 22, 2023, at the First Presbyterian Church of Kirkwood. Led by Music Director and Conductor, A. Dennis Sparger featuring The Bach Society Chorus and Orchestra, Eternal Light will be an emotional journey like no other. Highlighting Howard Goodall’s masterpiece Eternal Light: A Requiem, this concert promises to be an awe-inspiring experience. Alongside, BSSL will showcase choral favorites by renowned composers such as Ola Gjeilo, Jean Sibelius and Olaf Christenson. The concert will feature soprano Hannah De Priest, tenor Dan Frazure and baritone Tyler Duncan.

The 83rd season continues with the Christmas Candlelight Concert on Saturday, December 9, 2023, at 2 P.M. and 7 P.M. This treasured St. Louis tradition has delighted audiences since 1951. Guests are invited to come together with their loved ones, sing heartwarming carols and enjoy the enchanting ambiance of the Candlelight Processional. The holiday concert will showcase the Bach Society Chorus and Orchestra with award-winning soprano Josefien Stoppelenburg. A new venue for this event, both concerts will take place at 560 Music Center on the campus of Washington University in St. Louis.

“Our Christmas concert includes lovely settings of familiar carols plus Handel’s Gloria for virtuoso soprano and strings, featuring the Dutch soprano Josefien Stoppelenburg,” said Music Director and Conductor A. Dennis Sparger.

On Sunday, March 10, 2024, The Bach Society will return to the stage to present Bach’s St. John Passion at First Presbyterian Church of Kirkwood. Bach’s St. John Passion weaves the narrative of Christ’s last days with an intricate tapestry of profound emotions, transcendent harmonies and soaring melodies. Led by Music Director and Conductor, A. Dennis Sparger, featuring The Bach Society Chorus and Orchestra, the concert features an international collection of Baroque soloists including tenor Steven Soph as the Evangelist, bass Stephen Morscheck singing the words of Jesus, soprano Emily Donato, countertenor Jay Carter, tenor Gene Stenger and baritone Elijah Blaisdell.

“We’re excited to celebrate the 300th Anniversary of the very first performance of Bach’s St. John Passion with a fresh, new presentation of our own with The Bach Society Chorus and Orchestra. We’ll conclude the season performing several of Bach’s motets at Peace Lutheran Church – a new venue for us – that offers beautiful acoustics for some of Bach’s most heartfelt pieces” shared Executive Director Melissa Payton.

The Heart of Bach, Choral Motets and Organ Chorales at Peace Lutheran Church

on Sunday, May 19, 2024, will wrap up the season. This brilliant collection of sacred music has stood unwavering through the ages as they’ve enjoyed an uninterrupted performance history. The concert showcases Bach’s motets performed by the Bach Society Chorus and captivating organ solos, interwoven with audience participation and accompanied by cello and bass.

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Featured Movies Reviews
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6 min read

‘Sitting in Bars With Cake’ Is Sweet Ode to Female Friendships

By Lynn Venhaus

“Sitting in Bars with Cake” may not be an original idea, using baking skills as a romance magnet, but it’s an appealing, sweet premise that unfolds as a deeper-than-you-realized emotional ode to friendship.

Best friends since their childhood in Phoenix, outgoing Corinne (Odessa A’zion) and shy Jane (Yara Shahidi) are in their 20s, living in Los Angeles and navigating their career paths. They join a group of girlfriends every weekend to experience the local nightlife.

One such evening, Jane brings the chocolate cake that she baked for Corinne’s birthday into a bar, and the beautifully decorated cake entices guys, who are craving a piece. Aha! Corinne comes up with an idea of bringing Jane’s cakes to bars around town to get Jane out of her comfort zone and she can meet more people. The goal: 50 cakes in a year. And what a life-changing year it is.

At first, the movie is fun and breezy, capturing the energy of 20-somethings navigating their place in the world. Then, it veers into heartfelt and sincere as it deals with a life-altering diagnosis.

Audrey Shulman penned the screenplay based on true events with her BFF Chrissy. What started as a blog in 2013 turned into a published 2015 cookbook about looking for Mr. Right by using a specific way to a man’s heart.

She recounted her year spent baking, ‘cake-barring,’ and offering slices of creative dessert in “Sitting in Bars with Cake: Lessons and Recipes from One Year of Trying to Bake My Way to a Boyfriend” that included 35 inventive recipes.

Each made-from-scratch cake was paired with a short essay and a tongue-in-cheek lesson about meeting guys, with such chapters: Sweet, Salty, Bitter, Fruity, and Savory. The guys ran the gamut from tech bros and cowboys to hipster nerds and bikers.

In the movie, cakes range from classics like Pumpkin Pie and Carrot Cakes to adventurous Chinese Prune, Licorice and Leather, Pina Colada Cocktail and a cherry-flavored CBD infused cake, all supervised by culinary producer and food stylist Megan Potthoff, a former pastry chef – and they are works of art. She’s worked on “Master Chef” and “Iron Chef,” among other TV and movie projects. If your mouth doesn’t water, you have the willpower of steel.

For the movie adaptation, Shulman shifts the dating focus as secondary to the very human bond between the roommates. How Generation Z finds their way in becoming the people they want to be is a major aspect of the story, and a good one to endear the characters.

This is a terrific cast, with Yara Shahidi as plain Jane and Odessa A’zion as live-wire Corinne believable as besties going through a year of life changes. Both rising stars after these strong and warm performances, they project a palpable bond. Shahidi, who played Zoey on “black-ish” and was Tinkerbell in the Disney “Peter and Wendy” reboot, pairs well with A’zion and her work crush Owen (Rish Shah). She works as a mailroom clerk, but she’s in her happy place baking, and needs to own up to her lack of desire to attend law school, her parent’s dream for her.

A’zion, most known for the 2020 “Hellraiser” remake, conveys resilience and her character’s commitment to not losing her indomitable spirit. She’s the fun-seeker, the goofball belting out “Wake Me Up Before You Go-Go” at karaoke, waking up her roomie to order fries on a late-night food run, and eager to shake things up in general. In short, the life of the party.

The supporting cast is also aces, with Bette Midler as Corinne’s uber-hip music industry boss Benita, Ron Livingston and Martha Keller as Corinne’s doting parents Fred and Martha, and Navid Negahban and Adina Porter as Jane’s driven parents Isaac and Tasha.

Director Trish Sie, of “Pitch Perfect 3,” keys into the quirkiness of Los Angeles nightlife – a drag show at a roller rink? — and an uncommon office setting with various personalities making their presence known.

Production Designer Tracy Dishmann includes clever graphics to announce each cake, and captures well the girls’ apartment and all the hangouts.

With inevitable comparisons to “Julie and Julia” and “Beaches,” this drama-soaked comedy – not really a rom-com – showcases how friends support each other through sickness and health, ups and downs, and why the value of those relationships is priceless.

“Sitting in Bars with Cake” is a 2023 drama-comedy directed by Trish Sie and starring Yari Shahidi, Bette Midler, Ron Livingston, Martha Kelly, Navid Negahban, Adina Porter,and Rish Shah. It is rated PG-13 for strong language, some drug use, sexual references, and thematic elements and has a runtime of 2 hours, 1 minute. It started streaming on Amazon Prime Sept. 8. Lynn’s Grade: B

Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.

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Events New Jewish Theatre News Press Releases Theatre
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3 min read

New Jewish Theatre Celebrates 25 Years of Productions on Sept. 10

The New Jewish Theatre welcomes the community to celebrate its 25th season of telling universal stories through the lens of the Jewish experience. On September 10, 2023, from 4:30-6 pm, the public is invited to join New Jewish Theatre leaders and actors at the Carl & Helene Mirowitz Performing Arts Center in Creve Coeur to celebrate, reminisce, and raise money for the future of live theatre at the Jewish Community Center.

Emceed by long-time New Jewish Theatre performer Will Bonfiglio, the event will feature a retrospective video and performances from some of the New Jewish Theatre’s favorite past productions starring their original actors. Following the shows, participants will have the opportunity to socialize with the stars, including notable figures like Johanna Elkana from “The Last of the Red Hot Mamas,” Sharon Hunter and Tim Schall from “Hello Muddah, Hello Faddah,” Jennifer Theby Quinn from “My Mother’s Lesbian Jewish Wiccan Wedding,” and many others! The evening will close with the 2024 season line-up announcement from Artistic Director Rebekah Scallet.

The New Jewish Theatre was officially founded in 1997 by Kathleen Sitzer. Originally hired to be the Theatre Coordinator, overseeing a community theatre called “The Shalom Players,” Sitzer had the idea to establish a professional theatre company at the J. She increased the company’s focus on Jewish themes, stories, and authors, and put a greater emphasis on new and thought-provoking work. Thus the “New Jewish Theatre,” was born.

That first year there were three performances: “A Body of Water” by Jenna Zark, “Another Antigone” by AR Gurney, and “Jest A Second” by James Sherman. Through the years, the theatre grew to a five-play season and developed a reputation as one of the best small professional theatres in St. Louis evidenced by its 142 nominations and 30 wins from the St. Louis Theatre Circle Awards.

Intimate Apparel, Fully Committed, Brighton Beach Memoirs

Some notable productions through the years include:

“Way to Heaven” (2012) by Juan Mayorga, directed by Doug Finlayson, featuring then 11-year-old Elizabeth Teeter, who recently appeared in “Beetlejuice” on Broadway.
“Old Jews Telling Jokes” (2014) by Peter Gethers and Daniel Okrent, directed by Eddie Coffield. This was one of NJT’s biggest hits – non-stop laughs from start to finish!
“District Merchants” (2019) by Aaron Posner, directed by Jacqueline Thompson. This reimagining of “The Merchant of Venice” was nominated for five St. Louis Theatre Circle awards, winning three.

Tickets to the 25th Anniversary Celebration start at $72 for individuals or $360 for a group of six. Ticket price includes heavy appetizers, cake, and beverages, which will be served before the performances. Individuals can buy tickets or donate at give.jccstl.org/NJT25 or learn more about the New Jewish Theatre at newjewishtheatre.org.

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Dance Dance St Louis News Press Releases
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11 min read

Cutting-Edge Touring Companies In Dance St Louis’ 58th Season

Single Tickets Now on Sale Dance St. Louis’ 2023/24 season features some of the most talked about touring companies from Chicago, New York City and Los Angeles

NOV 11, 2023: Trinity Irish Dance Company MAR 1 & 2, 2024: Ailey II APR 6, 2024: BODYTRAFFIC MAY 24 & 25, 2024: Emerson SPRING TO DANCE® Festival 2024

Dance St. Louis, one of the oldest and one of only four nonprofit dance-only presenters in the country, is pleased to announce its 2023/24 season with single tickets ($45-$75) now on sale through MetroTix. Now in its 58th year, Dance St. Louis continues its mission of bringing world-class dance that wouldn’t otherwise be presented to the St. Louis region. Season 58 brings the excitement and exhilaration of some of the most talked about, cutting-edge nationally touring companies. The season lineup includes presentations of Chicago’s Trinity Irish Dance Company (November 11), New York City’s Ailey II (March 1 & 2), Los Angeles’ BODYTRAFFIC (April 6), and the 16th Annual Emerson SPRING TO DANCE® Festival 2024 (May 24 & 25), which brings together top companies and artists from across the country and beyond. All Dance St. Louis presentations take place at the Touhill Performing Arts Center.

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Trinity Irish Dance Company
Direct from Chicago… Saturday, November 11, 2023 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69

dancestlouis.org/trinity-irish-dance-company

“[stretches] the limits of what Irish dance can do aesthetically and rhythmically” – Chicago Tribune
It’s everything you expect, but like nothing you’d imagine. Recognized for ushering in “a new era for Irish step dance” (Chicago Tribune) and hailed as “impossibly complex” (The New York Times), this uniquely Irish American company, founded in 1990 by creative force and renowned choreographer Mark Howard, is the birthplace of progressive Irish dance. Through a blend of percussive power and aerial grace, the company’s repertory has elevated the art form for nearly three decades. A primarily female company, with 18 female dancers and 3 male dancers, Trinity Irish Dance Company also sends a consistent message of female empowerment, celebrating the strength of women through casting, choreography, and intentional costuming.
Trinity Irish Dance Company’s November 11th presentation features a variety of works, ranging from those displaying virtuosic footwork to a hybrid of Irish step and American tap to original, classic pieces by founding artistic director Mark Howard that reflect his unique fusion of vibrant Irish traditions with ever-evolving American innovation. The evening’s presentation includes live music by a band fronted by Killarney-born, New York-based singer/songwriter Brendan O’Shea.

Meagan King and Patrick Gamble of Ailey II.

Ailey II Direct from New York City…
Presented by PNC Arts Alive Friday and Saturday, March 1 & 2, 2024 at 7:30 p.m. Free “Speaking of Dance” pre-show talk at 6:30 p.m.Touhill Performing Arts Center Single tickets: $45, $65, $75

dancestlouis.org/ailey-ii

“The dancers in Ailey II are spectacular beings” – The New York Times
Back by popular demand, Ailey II brings their “off-the-charts-energy” (The New Yorker) to St. Louis, returning to Touhill where the company sold out months in advance the last time they were presented by Dance St. Louis. Ailey II has flourished into one of the most popular dance companies in the country, combining a rigorous touring schedule with extensive community outreach programs. The company is universally renowned for merging the spirit and energy of the country’s best early-career dance talent with the passion and artistry of today’s most outstanding choreographers.
Founded in 1974, Ailey II embodies Alvin Ailey’s pioneering mission, and under the leadership of Artistic Director Francesca Harper the company continues to thrive. The Los Angeles Times hails the dancers as “indefatigable, virtuosic and relentlessly sexy.” Dance Magazine calls Ailey II “second to none” and The New York Times declares “There’s nothing like an evening spent with Ailey II, the younger version of Alvin Ailey American Dance Theater.” “Highbrow/Brilliant” says New York Magazine. The renowned ensemble of rising stars will bring St. Louis audiences to their feet on March 1 and 2, performing works by emerging and established choreographers.

BODYTRAFFICDirect from Los Angeles…
Saturday, April 6, 2024 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69

dancestlouis.org/bodytraffic

“… one of the most talked-about young companies, not just in L.A. but nationwide” – Los Angeles Times
Named “the company of the future” by The Joyce Theater Foundation, Dance Magazine’s “25 to Watch,” and “Best of Culture” by the Los Angeles Times, BODYTRAFFIC has surged to the forefront of the contemporary dance world with compelling style that “suggests invention, attitude, and urban edge” (The Boston Globe). Widely acclaimed for its “peerless dancers” who “can do it all from hip-hop to ballet” (LA Dance Chronicle), the world-class contemporary dance company is composed of artists who received their training in some of the finest schools throughout the world. The combination of superb dancers and accomplished choreographers has led the company the forefront.
Led by Artistic Director Tina Finkelman Berkett, BODYTRAFFIC has conquered the contemporary dance world with stunning performers, technical mastery, and a commitment to the most challenging repertoire. The company is deeply committed to producing acclaimed works by distinctive choreographic voices. Surprising, unforgettable and bursting with cutting-edge “vivid theatricality” (The Boston Globe), the company continues to make waves from coast to coast with its universal appeal to new audience members and dance lovers alike.

16th Annual Emerson SPRING TO DANCE® Festival 2024Presented by Whitaker FoundationMemorial Day WeekendFriday and Saturday, May 24 & 25, 2024 Doors open at 5:30 p.m. Lobby performances at 6:30 p.m. Mainstage performances at 7:30 p.m. Touhill Performing Arts CenterSingle Tickets: $10, $20, $25 | 4-Packs: $75 | 6-Packs: $100

dancestlouis.org/emerson-spring-to-dance-festival-2024

“Successful both as a celebration of dance and as an invitation to bask in its artistry.” – St. Louis Post-Dispatch
The Midwest region’s most celebrated dance festival returns for its 16th year! Nationally touring professional companies from coast to coast flock to St. Louis to bestow their artistry. It’s an unmatched buffet of dance, featuring two days of nonstop dance from a wide array of companies. As one of the region’s must-see festivals, SPRING TO DANCE offers something for everyone, from modern, ballet and contemporary to tap, aerial, hip hop, flamenco and more, with a distinct, dynamic program each night. Come experience what the Chicago Tribune hails as “arguably the best dance buffet in the Midwest.” ___________

SINGLE TICKETS

Single tickets are $45-$75 and go on sale August 25 via MetroTix at metrotix.com and 314.534.1111. Single tickets ($10-$25) to the 16th Annual Emerson SPRING TO DANCE® Festival 2024 go on sale in January 2024.
SEASON SUBSCRIPTIONS

2023/24 season ticket packages are also currently on sale and available by phone at 314-534-6622, email at [email protected] or online at https://www.dancestlouis.org/23-24-season-subscriptions. Season subscriptions provide subscribers access to the best seats, deferred payment, most advantageous pricing, no ticket fees, and guaranteed access to this season’s presentations. Season subscriptions include a 4-Show Package ($253, $218), 3-Show Package ($228, $198), and You-Pick-Two Package ($159-$133).
SPONSORS

Dance St. Louis is grateful for sponsor support to continue its mission of bringing world-class dance to St. Louis. Major sponsors of the 2023/24 season include Ameren, Cardinals Care, Edward Jones, Emerson, Employees Community Fund of Boeing, Missouri Arts Council, National Endowment for the Arts, Regional Arts Commission, The Shubert Foundation, McCarthy, and Whitaker Foundation. Bayer Fund is the education outreach title sponsor.

About Dance St. Louis

Founded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 57 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org.

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