Venue: Webster University’s Winifred Moore Auditorium in Webster Hall, 470 E. Lockwood Ave.
Tickets: Tickets are $15 for general admission; $12 for students and Cinema St. Louis members. Webster U. students are admitted free. Advance tickets can be purchased through the Cinema St. Louis website.
Passes: Two types of passes are available: Five-Film Passes are $65, $50 for CSL members; All-Access Passes are $120, and $95 for CSL members.
The 15th Annual Robert Classic French Film Festival — sponsored by Jane M. & Bruce P. Robert Charitable Foundation and co-presented by the Webster Film Series — celebrates St. Louis’ Gallic heritage and France’s cinematic legacy. This year’s featured films span the decades from the 1920s through the 1990s, offering a revealing overview of French cinema.
The fest annually includes significant restorations, and this year is no different, touting a brand-new restoration of Claire Denis’ “Chocolat,” which is the filmmaker’s debut feature. The fest also screens the seldom seen “Martin Roumagnac” in a new restoration, starring Marlene Dietrich and Jean Gabin in a riveting crime thriller.
Every program features introductions and discussions by film or French scholars and critics. All films are in French with English subtitles.
The Jane M. & Bruce P. Robert Charitable Foundation is the event’s title sponsor. This festival is co-presented by the Webster Film Series.
Free parking is available in the lots both in front of and behind Webster Hall; no permits are required on weekends.
8 Women, 2002
FILM SCHEDULE
For film synopses, see the CSL website
Friday, April 14, 7:30 PM
Pierrot le fou
Jean-Luc Godard, France, 1965, 110 min., color, French, DCP
Intro and discussion by Pete Timmermann, director of the Webster U. Film Series and adjunct professor of film studies at Webster U.
Sponsored by Jane M. and Bruce P. Robert Charitable Foundation
Intro and discussion by Jessica Pierce, St. Louis-based filmmaker.
Sunday, April 23, 7:30 PM
The Wing or the Thigh/L’aile ou la cuisse
Claude Zidi, France, 1976, 104 min., color, French, Blu ray
Intro and discussion by Salim Ayoub, the Jane M. and Bruce P. Robert Endowed Professor in French and Francophone Studies and director of the Centre Francophone at Webster University.
Friday, April 28, 7:30 PM
Le Magnifique
Philippe de Broca, France/Italy/Mexico, 1973, 95 min., color, French, DCP
Intro and discussion by Jean-Louis Pautrot, professor of French and in the Department of Languages, Literatures and Cultures at Saint Louis University.
Fat Girl, 2001
Saturday, April 29, 7:30 PM
Fat Girl
Catherine Breillat, France/Italy, 2001, 86 min., color, French, English & Italian, Blu ray
Intro and discussion by Andrew Wyatt, film critic and Managing Editor of The Take-Up.
Sunday, April 30, 7:30 PM
Shoot the Piano Player
François Truffaut, France, 1960, 81 min., black & white, French, Blu ray
Intro and discussion by Cliff Froehlich, former executive director of Cinema St. Louis and adjunct professor of film studies at Webster University.
Sponsored by Jane M. and Bruce P. Robert Charitable Foundation
Amanda McMichael to host the eighth annual event April 15
Amanda McMichael will be the master of ceremonies for the eighth annual Theatre Mask Awards, which will be presented on April 15, sponsored by Arts For Life. Tickets must be ordered by April 10.
Through the nonprofit organization AFL, the TMAs have honored drama and comedy plays since 2015.
“Arts For Life provides a community recognition program. These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.
This year’s TMAs includes a luncheon menu starting at 11 a.m., with doors open at 10:30 a.m., on Saturday, April 15, at Andre’s Banquet Center South, 4254 Telegraph Road, St. Louis.
Cocktail attire is suggested. Seating will be eight per table, and seating assignments will be available at the entrance.
Tickets, including full brunch, are $28 each, with a $2 fee if you purchase tickets online. Here is the link for purchase or to download a form to mail-in: https://artsforlife.org/2023-ceremony-tickets
The buffet menu includes chicken parmesan, roast beef, cavatelli con broccoli, Italian potatoes, salad, rolls, brownies, soft drinks, and coffee. Only a cash bar is available. There is an ATM machine on the premises.
McMichael won the TMA in 2020 for Lead Actress in a Comedy, for Act Two Theatre’s “Plaza Suite,” which was performed in 2019. She has participated and is supportive of local community theater, and is also a small business owner, of Once Upon a Time, in St. Charles’ historic business district.
Award Nominations
For the TMAs, the Hawthorne Players in Florissant received 18 nominations for “A Curious Incident of the Dog in the Night-time” (10) and “Picnic” (8), leading all St. Louis area – metro-east Illinois community theater groups.
The O’Fallon Theatre Works had 16 for TMAs – “We Have Always Lived in the Castle” (8) and “Shakespeare in Love.”
The Kirkwood Theatre Guild had 15 TMA nods for “Calendar Girls” (11) and “Cat on a Hot Tin Roof” (4).
Act Two in St. Peters 12 TMA nods for “Arsenic and Old Lace” (10) and “Any Number Can Die” (2).
Monroe Actors Stage Company in Waterloo, Ill., earned eight nominations for “Moon Over Buffalo” (4), “Footlight Frenzy” (3) and “Night Must Fall” (1).
The Theatre Guild of Webster Groves received six for “A Few Good Men” (5) and “Farce of Habit” (1). Goshen Theatre Project in Collinsville, Ill., earned four for the comedy “Puffs.” Wentzville Connection Theatre earned four for “The Dinner Party.” Clayton Community Theatre earned three nominations – “Broadway Bound” (2) and “Uncommon Women and Others” (1). KTK had one nomination for “The Gingerbread Lady.”
Nominations are listed on the website, www.artsforlife.org.
Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”
AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
More information is on the website about the 23rd Best Performance Awards on July 2 at 2 p.m. at the Florissant Performing Arts Center. The BPAs have honored musical theater in community and youth productions since AFL’s founding in 1999.
A heart-warming and speedily paced adventure that respects its source material, “The Super Mario Bros. Movie” succeeds as enjoyable, family-friendly entertainment, elevated by a committed ensemble and the directors’ understanding of the franchise’s expansive possibilities.
Quirky, inseparable brothers Mario (Chris Pratt) and Luigi (Charlie Day) operate a newly opened plumbing business in Brooklyn, trying to make a name for themselves and live up to the expectations of their judgmental father (Charles Martinet). After a hilariously unfortunate incident on their first job involving a pissed-off pooch and explosive collateral damage, the brothers decide to prove themselves by attempting to fix a sewer issue that is wreaking havoc on the populace above.
Alas, this doesn’t go according to plan. Mario and Luigi are sucked via a “warp pipe” into the vibrant, fittingly nonsensical Mushroom Kingdom. Luigi is separated en route and sent tumbling towards the malevolent domain of King Bowser (Jack Black), who has just acquired the all-powerful “Super Star,” seeking to rule the world with his army of Koopas, Goombas, Bullet Bills, and Boos (am I getting all that right?). Bowser also wants to marry Princess Peach (Anya Taylor-Joy), a fearless leader commanding a legion of cutesy Mushroom people.
Thrown into this colorful universe of floating boxes, edible powerups, and traversable pipes out the wazoo, Mario is determined to rescue his dear brother. He eventually teams up with Peach, Toad (Keegan Michael-Key), Donkey Kong (Seth Rogen), and others to save the Kingdom and, as always, leave the door open for future sequel films. To combat Bowser, Mario must be brave, cooperative, and persistent. He can’t let other’s negative perceptions of his capabilities affect him because, by golly, this lovable plumber has to find his brother.
Indeed, “The Super Mario Bros. Movie” isn’t trying to be high art or tell a dramatically impactful story. This is a whimsical, action-packed, fast-moving, easter egg-filled watch. It falls victim to generic clichés from time to time, but maintains a lively sense of fun from start to finish. Directors Aaron Horvath and Michael Jelenic don’t overdose on nostalgia or low-brow humor — crafting a film that isn’t groundbreaking by any stretch, yet one that put a bounce in my step leaving the theater.
First, let’s address the elephant in the room. Much has been debated about Pratt taking on the role, but it turns out the toxicity was unwarranted. As the lead, Pratt is perfectly fine and inoffensive, using a slightly naturalistic tinge to Mario’s traditional accent that allows for range and doesn’t distract from the experience itself. His generally more grounded delivery (apart from moments of terror where he yells “Mamma Mia!” in extravagant fashion) works well with the fish-out-of-water narrative, letting the wacky supporting characters stretch their wings and lean into the absurdity.
Day is excellent as Luigi, albeit sidelined for a good portion of the runtime. He and Pratt have satisfying chemistry, and the screenplay (by Matthew Fogel) foregrounds their sense of brotherly love, giving “The Super Mario Bros Movie” an emotional throughline. This element could have been strengthened by a few additional scenes showing their background together, but there’s enough there to latch onto, and a handful of genuinely poignant moments sprinkled throughout to supplement the zanier ones.
Taylor-Joy brings characteristic dignity to Peach, despite some eye-rolling dialogue regarding her budding romance with Mario and heavy-handed, though welcome, pivot towards empowerment. Peach certainly doesn’t need “saving” this time around. Michael-Key showcases his usual great comedic timing, and Rogen (with his instantly recognizable laugh) is a hoot, selling Kong’s impulsiveness, goofiness, and insecurity. The real star of the film, though, is Black, who imbues Bowser with a deranged, unpredictable, entitled rage — especially apparent in a couple of over-the-top musical numbers, with Black belting out ridiculous lyrics with his whole heart. It’s both amusing and somewhat off-putting — perfect for a nefarious villain.
The film’s visuals, as expected from Illumination, are dazzling: bright, crisp, and filled with minute details that fans of the games will eat up — not aiming for realism in any sense and all the better for it. From far-reaching vistas of giant, candy-colored mushrooms, to a floating castle scorched by fire, and a road/race track on a rainbow, “The Super Mario Bros. Movie” quickly ferries viewers through various locales, never stopping long to smell the roses. Directors Horvath and Jelenic pack in as much as they can during the 92-minute runtime, which remains a blessing and a curse; the film moves too fast for its own good, shepherding viewers at a clip that proves draining by the finale.
The film’s cinematography creatively emulates the games’ style, too, recreating iconic left-to-right platforming, brawls, and surprisingly violent vehicular carnage with camerawork that glides through the craziness, crisply presenting the action from characters’ perspectives. Similarly, Brian Tyler’s score effectively reworks familiar Mario tracks to accentuate pivotal moments.
While still a bit top-heavy on slapstick comedy, the film’s self-aware humor mostly lands, maintaining a sense of good-naturedness (with one enjoyably nihilistic exception that I won’t spoil) that should please youngsters and prompt occasional giggles from older folks. Gamers who grew up with the characters are sure to get a kick out of certain sequences, such as a power-up-filled face-off between Mario and Donkey Kong.
“The Super Mario Bros. Movie” falls prey to sensory overload in the last act — becoming numbing and predictable amid the destruction — and the film’s pervasive ‘80s needle drops are a strange, tired choice, but the film wholeheartedly succeeds where it counts. Initial skepticism aside, it’s surprisingly engaging, and, after HBO’s “The Last of Us,” another example of a video game adaptation done right.
“The Super Mario Bros. Movie” is a 2023 animated comedy-fantasy directed by Aaron Horvath and Michael Jelenic and starring Chris Pratt, Charlie Day, Seth Rogen, Jack Black, Charles Martinet, Anya Taylor-Joy and Keegan-Michael Key. The run time is 92 minutes and it is Rated PG for action and mild violence. It opened in theaters April 5. Alex’s Grade: B
By Lynn Venhaus Stages St. Louis’ “In the Heights,” a jubilant celebration of culture, community, and connection, won six awards, including Outstanding Musical Production, Music Director, Choreography, Set Design, Costume Design (tie) and Ensemble in a Musical, at the St. Louis Theater Circle Awards Monday.
Their world premiere of “The Karate Kid – The Musical” won Outstanding Lighting Design for a total of seven, and Jack Lane, retired executive producer, announced the musical is Broadway-bound in 2024.
Seven is what The Black Repertory Theatre of St. Louis amassed for four productions: August Wilson’s “Jitney” (2 – Outstanding Production and Ensemble), “Behind the Sheet,” (2 – tie for Outstanding Production – Drama and Best Director), “The African Company Presents Richard III” (1 – Supporting Performer, Male or Non-Binary, Cameron Jamarr Davis) and “Dontrell, Who Was Kissed by the Sea” (2 – Lighting Design and Sound Design).
Brian McKnight accepted on behalf of The Black Rep and described founder Ron Himes as a man “who has vision.”
The Muny, SATE (Slightly Askew Theatre Ensemble), and West End Players Guild each won four at the 10th Annual Theater Circle Awards, which recognized achievements in comedies, dramas, musicals and operas.
SATE’s original play “Bronte Sister House Party” won 4 (Best New Play, Outstanding Comedy Production, Comedy Ensemble and Supporting Performer Male or Non-Binary Role). “The Color Purple” at The Muny won 3 – Leading Performer, Female or Non-Binary in a Musical, Supporting Performer, Female or Non-Binary, and Costume Designer while Martin McDonagh’s “The Lonesome West” won 3 – Leading Performer, Male or Non-Binary, Supporting Performer, Female or Non-Binary, and Director Robert Ashton for the West End Players Guild.
For more than 10 years, the St. Louis Theater Circle has been presenting annual awards for regional professional theater, and resumed a live ceremony after virtual productions streamed by HEC Media online in 2020 and 2022 because of the coronavirus pandemic, cancelling 2021 (but including a few of those productions last year).
It was the first live ceremony since 2019, and held at the Repertory Theatre of St. Louis’s Loretto-Hilton Center on Webster University’s campus.
Approximately 90 productions were considered for this year’s event. Three productions – “Chicago” at the Muny, “A Christmas Carol” at The Rep, and “Head Over Heels” at New Line Theatre — were ineligible because the same production was presented within the last three years at the respective venues.
The Circle presented more than 30 categories for outstanding achievements from 2022, with 20 theater companies receiving nominations.
Nationally recognized playwright, theater producer, and long-time advocate for the arts Joan Lipkin was honored with a special award for lifetime achievement.
Records that evening included Joel Moses winning two acting awards in one night and Jennifer Theby-Quinn won her third acting award, joining Will Bonfiglio and Laurie McConnell as three-time winners.
Luis Salgado, who made “In the Heights” ‘pop’ with his spirited direction and vibrant choreography, accepted awards while praising the theater community in St. Louis. He and actor Ryan Alvarado, a nominee for playing Usnavi, flew in from New York City to attend .
Here are the awards given out April 3:
Cameron Jamarr Davis “The African Company Presents Richard III” at the Black Rep
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role: Hannah Geisz, “The Lonesome West,” West End Players Guild
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role: Joel Moses, “Brontë Sister House Party,” SATE
Outstanding Performer in a Comedy, Female or Non-Binary Role: Molly Burris, “Dear Jack, Dear Louise,” New Jewish Theatre
Outstanding Performer in a Comedy, Male or Non-Binary Role: Jason Meyers, “The Lonesome West,” West End Players Guild
Outstanding Lighting Design in a Play: Jasmine Williams, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Sound Design: Jackie Sharp, “Dontrell, Who Kissed the Sea,” The Black Rep
Outstanding Costume Design in a Play: Oona Natesan, “House of Joy,” Repertory Theatre of St. Louis
Outstanding Set Design in a Play (tie): Bess Moynihan, “Rodney’s Wife,” The Midnight Company and Josh Smith, “Much Ado About Nothing,” St. Louis Shakespeare Festival
Winner Jason Meyers, at right “The Lonesome West”
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role: Rachel Tibbetts, “Rodney’s Wife,” The Midnight Company
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role: Cameron Jamarr Davis, “The African Company Presents Richard III,” The Black Rep
Outstanding Performer in a Drama, Female or Non-Binary Role: Jennifer Theby-Quinn, “Iphigenia in Splott,” Upstream Theater
Outstanding Performer in a Drama, Male or Non-Binary Role: Joel Moses, “The Christians,” West End Players Guild
Joel Moses, “The Christians” at West End Players Guild
Outstanding New Play: “Brontë Sister House Party,” by Courtney Bailey, SATE
Outstanding Achievement in Opera: (tie) Thomas Glass, “Harvey Milk,” Opera Theatre of Saint Louis and Robert Mellon, “Falstaff,” Union Avenue Opera
Outstanding Production of an Opera: “A Little Night Music,” Union Avenue Opera
Outstanding Musical Director: Walter “Bobby” McCoy, “In the Heights,” Stages St. Louis
Outstanding Choreographer: Luis Salgado, “In the Heights,” Stages St. Louis
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role: Nicole Michelle Haskins, “The Color Purple,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role: Jeffrey Izquierdo-Malon, “Something Rotten!” New Line Theatre
Outstanding Lighting Design in a Musical: Bradley King, “The Karate Kid – The Musical,” Stages St. Louis
Outstanding Set Design in a Musical: Anna Louizos, “In the Heights,” Stages St. Louis
Outstanding Costume Design in a Musical: (tie) Samantha C. Jones, “The Color Purple,” The Muny and Brad Musgrove, “In the Heights,” Stages St. Louis
Anastacia McCleskey “The Color Purple” at The Muny
Outstanding Performer in a Musical, Female or Non-Binary Role: Anastacia McCleskey, “The Color Purple,” The Muny
Outstanding Performer in a Musical, Male or Non-Binary Role: Ben Davis, “Sweeney Todd,” The Muny
Outstanding Ensemble in a Comedy: “Brontë Sister House Party,” SATE
Outstanding Ensemble in a Drama: “Jitney,” The Black Rep
Outstanding Ensemble in a Musical: “In the Heights,” Stages St. Louis
Outstanding Director of a Comedy: Robert Ashton, “The Lonesome West,” West End Players Guild
Outstanding Director of a Drama: Ron Himes, “Behind the Sheet,” The Black Rep
Outstanding Director of a Musical: Bradley Rohlf, “Assassins,” Fly North Theatricals
“Bronte Sister House Party” won four Circle Awards
Outstanding Production of a Comedy: “Brontë Sister House Party,” SATE
Outstanding Production of a Drama: (tie) “Behind the Sheet,” The Black Rep and “Jitney,” The Black Rep
Outstanding Production of a Musical: “In the Heights,” Stages St. Louis
Special Award: Joan Lipkin, for lifetime achievement
The St. Louis Theater Circle was formed the summer of 2012 and began awarding excellence in regional professional theater in 2013. No touring, community theater or school productions are considered.
Current embers of the St. Louis Theater Circle include Steve Allen, stagedoorstl.com; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Tina Farmer, KDHX; Rob Levy, Broadwayworld.com; Michelle Kenyon, snoopstheatrethoughts.com and KDHX; Gerry Kowarsky, Two on the Aisle (HEC-TV); Chuck Lavazzi, KDHX; Judith Newmark, judyacttwo.com; Lynn Venhaus, PopLifeSTL.com and KTRS Radio; Bob Wilcox, Two on the Aisle (HEC-TV); and Calvin Wilson, St. Louis Post-Dispatch. Eleanor Mullin, local actress and arts supporter, is group administrator.
The mood was extraordinary, and, in Joan Lipkin’s words, we could feel the “palpable joy” for each other. The speeches were heartfelt, and I wish we had them on record. It was truly “celebratory revelry.”
The Black Rep was a winner for four separate shows in the same year, an a back to back winner for August Wilson, as last year’s drama production was “Two Trains Running”)
We discovered we had two different Josh Smiths nominated — the one for Shakepeare’s Italian villa who won for “Much Ado About Nothing” was not the same for the carnival in “Ride the Cyclone.”
Happy the ‘tribe’ had so much fun — and the fellowship was really special. Hope the feedback continues to be positive.
GO SEE A PLAY!
“Jitney” Best Drama Production and Best Dramatic Ensemble
Let’s hear it for the risk-takers. A fascinating underdog story about a game-changing move in corporate America that revolutionized celebrity endorsements is personality-driven, thanks to an all-star cast and savvy script in “Air.”
How Nike was victorious in courting then-NBA rookie Michael Jordan for a shoe campaign in 1984 is told through the eyes of Nike staffers, especially marketing executive Sonny Vaccaro (Matt Damon), advertising manager Rob Strasser (Jason Bateman), shoe designer Peter Moore (Matt Maher), and co-founder and chairman Phil Knight (Ben Affleck).
Tightly constructed, Alex Convery’s first-time screenplay highlights the key elements — a growing niche footwear market; the arrival of the greatest player of all-time, Michael Jordan, on the professional basketball scene; a protective mother’s fierce negotiations; and a think-outside-the-box company located near Portland, Ore. This inspired-by-true-story is an energetic, entertaining film with a lasting impression — and not only for sports fans.
In his first directorial effort since 2016’s lackluster “Live by Night,” Ben Affleck is back to triple-threat greatness, shepherding this crowd-pleaser with smart moves and a keen sense of time and place. After all, his storytelling is on fine display in “Argo,” “The Town,” and “Gone Baby Gone,” too.
Ben Affleck as Nike co-founder and chairman Phil Knight
With considerable skill, he steeps what’s essentially a story of contract maneuvers and phone calls into a culture-defining era, from Knight zipping his purple Porsche with his personalized license plates into the Beaverton headquarters after a run, to Vaccaro buying his Wheaties in a Mary Lou Retton-Olympics box and a Sports Illustrated at the mini-mart.
The year is 1984, and the movie is drenched with a kicky ‘80s soundtrack of MTV classics that sets the mood, and quick news-and-photo montages encapsulates the Reagan years.
At the time, third-best Nike was known for its running shoes, and the upstart company viewed themselves as renegades, while entrenched Adidas and Converse were known for their basketball lines.
In 1984, Jordan left North Carolina after his junior year and was third in the NBA draft, going to the Chicago Bulls. His ability to leap and slam-dunk gave him the nickname “Air Jordan,” which Nike capitalized on as an innovator — and a lasting global brand. It’s a remarkable American ingenuity story.
As Sonny Vaccaro, Matt Damon is forceful and earnest about having a hunch about Jordan and following it through with bold aggressive moves. Sonny develops a special relationship with MJ’s Mom, Deloris Jordan (Viola Davis), that is instrumental in sealing the deal. Damon’s character is as appealing as he was in “Ford v Ferrari,” that likeable real-life guy committed to his convictions and smart enough to carry his plan through
In a small but pivotal role, Davis is masterful as the mom whose belief in her son changed celebrity endorsements and deals for athlete’s families.
Before making the film, Affleck said Michael Jordan had one request – that Davis play his mother. His father, James, is genially played by Davis’ real-life husband, Julius Tennon. Affleck focuses on the close relationship Michael had with his parents, and Davis and Tennon depict it beautifully.
Affleck also decided to have an actor play Michael only as a physical presence, preferring to use archival footage, and that works – creating more of a mythology around this larger-than-life mortal. Damian Young is credited but has no dialogue.
Relationships are key to this story’s success, and the long legendary friendship of Damon and Affleck elevates the story as well. Oscar winners for screenplay in “Good Will Hunting,” this is their 20th collaboration, and their first pairing since the underrated “The Last Duel” in 2021 is as dynamic as ever. Word is that they both contributed rewrites to Convery’s original screenplay, and they have an unmistakable rhythm/shorthand with each other.
With its folksy charm and crackling dialogue, “Air” delivers a well-acted and written story that appeals beyond the sports market. It’s a dream team of natural actors defining these colleagues so that we can celebrate their considerable achievements.
Matt Maher, Matt Damon, Jason Bateman
Chris Tucker is well-suited to play Howard White, one of the inspiring former college players on Nike’s roster who helped Air Jordan take flight. He developed relationships with young athletes, including Jordan. Marlon Wayans is seen briefly as Olympics basketball coach George Reveling, who coached Jordan the summer of 1984, and that powerful scene is an important foundation piece. Jordan did not want them left out of his story.
Chris Messina plays Jordan’s bulldog agent David Falk with fiery abrasive bluster.
Matt Maher, who works frequently with Ben and Casey Affleck, deftly portrays the genius shoe designer Peter Moore, who also designed the icon symbol of Jordan taking flight.
It’s a collaborative effort, indicative of a workplace drama-comedy, and gives the real-life people their due for their efforts. Even though we know what happened — but not the particulars per se — we still are enthralled by all the developments. The results-wrap-up is truly remarkable, how such a deal had tremendous ripple effects and outcomes.
It’s early yet, but “Air” is likely sturdy enough to be among the last movies standing at year’s end and will make my short list for Top Ten. Yes, it’s that meaningful, fun and enjoyable.
“Air” is a 2023 sports biopic drama directed by Ben Affleck that stars Affleck, Matt Damon, Jason Bateman, Chris Tucker, Chris Messina, Viola Davis, Julius Tennon, and Marlon Wayans. It is Rated R for language and run time is 1 hour, 52 minutes. Movie opened in theaters on April 5. Lynn’s Grade: A.
By Lynn Venhaus With his childlike wonder, boundless energy, warm smile, and ability to never know a stranger, Will Bonfiglio uses his talent for good in the uplifting one-person show, “Every Brilliant Thing,” now playing at the New Jewish Theatre.
Running one tidy hour, this humorous and touching personal reflection on life and loss can be interpreted many ways.
What started as a performance piece and installation art project around a decade ago grew into a Facebook group where people listed their own “brilliant things,” and productions have been mounted all over the U.S.
The one-act play was first produced in England, at the 2013 Ludlum Fringe Festival, and started out as a short story called “Sleevenotes” by Duncan McMillan. For the stage, he involved comedian Jonny Donahue, who was filmed for the 2016 HBO presentation.
Bonfiglio plays Sam, the adult son of a mother whose chronic depression altered his emotional development and life perspective.
What do you do when you are six years old, and your mother is in the hospital for attempting suicide? The lead character started a list of everything beautiful and wondrous about the world. He/she left it on their mother’s pillow. And thus, began life-long list-making giving us hope about what makes life worth living.
In this production, Bonfiglio engages by relating the challenges of life. Through the identifiable list, he finds light amid depression’s darkness.
Ice cream. 2. Water fights 3. Staying up past your bedtime and being allowed to watch TV. 4. The color yellow
The list is as broad as 11. Bed and 1006. Surprises, and as specific as 2390. People who can’t sing but either don’t know or don’t care, and 1654. Christopher Walken’s voice.
The list eventually grew to a million, with entries as clever as 123321. Palindromes, as funny as 7. People falling over, as adorable as 575. Piglets, as pleasurable as 9997. Being cooked for, and as nostalgic as 315. The smell of an old book.
That list turned into a lifeline during adolescence, college, marriage, and bumpy roads, eventually leading to peace and acceptance.
Bonfiglio plays Sam as vulnerable yet strong, resonating as someone who feels helpless when they can’t protect, control, or prevent family members from harm.
He has re-teamed with director Ellie Schwetye after working on “Fully Committed” in 2019, which earned him his third St. Louis Theater Circle Award for Leading Performer in a Comedy, Male or Nonbinary Role. He previously won for “Buyer and Cellar” and “Red Scare on Sunset,” both at Stray Dog Theatre.
They have both worked together in SATE (Slightly Askew Theatre Ensemble), where Schwetye is a producer, and ERA (Equally Represented Arts)., among other companies.
They are both expert collaborators. In this project, their ability to focus on joy through communal storytelling and create community reaffirms the power of theater.
Essential elements include audience interaction and participation, which makes the show unpredictable and improvisational. Bonfiglio tells a few people what to say and where to move in a charming way, while others just are called on to read a lead entry. (If you do not want to participate, no one will force you).
Schwetye keeps Bonfiglio on the move to all corners of the stage.
The technical elements are also superb, with Bess Moynihan’s outstanding lighting design and scenery work with the list items hanging in different hand-written notes making the message simple yet profound.
Schwetye is also an award-winning sound designer, and because of her expertise selecting music, that helps make the music influential to the people in the story.
This play is more than a litany of favorite things, but a journey through turning points in life, which makes it special.
One of its life-affirming aspects is to not wait for moments, but let them in and be open to them.
Bonfiglio never feels less than real. And his kindness projects an openness to the event, for the hardest things to talk about are things we should talk about – and this play allows us to, for catharsis can come out of crushing sadness. Sam has earned this accomplishment.
There is information about mental health in the program, and this team knows of its importance. This production touches our lives in an interesting way — complex, but manifests beauty.
It is that understanding that you feel. And I am grateful.
The New Jewish Theatre presents “Every Brilliant Thing” March 16 – April 2 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, Tickets are available by phone at 314-442-3283 or online at www.newjewishtheatre.org.
An action extravaganza delivering unforgettable set pieces while adding more layers to its damaged protagonist, director Chad Stahelski’s “John Wick: Chapter 4” is a masterclass in balletic bloodletting that rivals the likes of “The Raid: Redemption.”
Continuing the story from 2018’s “Parabellum,” “Chapter 4” sees our titular gun-fu master recovering after being “rescued” by the charismatic and street-smart Winston (Ian McShane), one of his comrades and manager of the iconic New York Continental hotel (a safe harbor for assassins, so long as they stay in line): that is, being shot in his bullet-proof suit by Winston, falling off a building, and tumbling to the ground with only an awning to lessen the impact. That’s life in the Wick universe, and believe me, there’s plenty more falls to be taken this go around.
With the help of The Bowery King (Laurence Fishburne, relishing his over-the-top dialogue), an underground crime boss and ally, John sets his sights on the all-powerful “High Table” — an international network of contract killers and pompous overlords dressing up savagery in finely tailored suits. They’re governed by strict rules based around golden coins, blood oaths, and age-old traditions — ignored by traditional authorities and the general populace, possessing connections so deep that anyone could be a contract killer. Indeed, this “impossible task” is John’s most challenging yet.
Keanu Reeves as John Wick, a.k.a The Baba Yaga. Courtesy of Lionsgate.
After John executes a key figure of the High Table, they enlist the help of the Marquis Vincent de Gramont (Bill Skarsgård) — a ruthless, egotistical yet insecure enforcer with a questionable French accent. He brings Caine (Donnie Yen), a blind assassin and former friend of John, reluctantly out of retirement to kill the titular ass-kicker once and for all, or else risk his daughter’s death. A haughty tracker named Mr. Nobody (Shamier Anderson), accompanied by a trusty German Shepherd, is also on the prowl, waiting until the bounty on John’s head is high enough, creating further wrinkles for John and the Marquis to iron out. Osaka Continental manager and master swordsman Shimazu Koji (Hiroyuki Sanada), his equally capable daughter Akira (Rina Sawayama), and the aptly named Killa (Scott Adkins), a darkly funny crime boss with golden front teeth, join the party in limited but memorable appearances — as does Lance Reddick as the concierge Charon, whose presence is felt deeply throughout. Reddick passed away earlier this month.
“Chapter 4” zeroes in on the fact that John leaves a path of destruction in his wake wherever he goes, as he begins to question whether the killing will ever cease, and if he’s doomed to forever exist in its shadow. His last-ditch push for liberation has progressed beyond mere revenge for a slain canine, becoming an all-out fight against his seemingly inescapable past — a battle that, in spite of his perseverance, stubborn unwillingness to give in, and sheer force of will, destroys more than it saves.
Notwithstanding this decidedly darker tone than previous installments, however, it’s also just a hell of a lot of fun — nearly three hours of practically unbelievable stunt work, heavily stylized worldbuilding, and cinematic bliss. Some story quibbles aside, every element comes together to solidify “Chapter 4” as not only the best of the series, but one of the genre’s greatest in recent memory.
And oh, what marvelous carnage it is. Even more so than previous “Wick” films, Stahelski consistently ups the ante from sequence to sequence — expertly pacing the mayhem so as to not overwhelm viewers and presenting new variables for John to navigate. As John shoots, stabs, kicks, punches, slices, runs over, and nun-chucks his geared-up opponents, Dan Lausten’s smooth, energetic cinematography follows the performers with precision, unafraid to creatively shake things up to jaw-dropping effect. Traveling to such locales as Osaka, Berlin, and Paris (the setting for a three-act, against-the-clock extravaganza of top-shelf badassery and mythic symbolism), “Chapter 4” never overstays its welcome.
John prepares to pummel a poor, unsuspecting goon. Courtesy of Lionsgate.
Scenes are bathed in vivid, neon hues: enhancing the lavish backdrops with evocative lighting that dances throughout each frame to complement combat so thrilling, and often laugh-out-loud funny (Caine has some hilarious tricks up his sleeve), that it’s an art form itself. Add to that a head-banging soundtrack from Tyler Bates and Joel J. Richard blending familiar themes with violently rhythmic bass, along with pitch-perfect needle drops, and “Chapter 4” is a stylistic treat.
Despite the extended runtime, “Chapter 4” gives viewers space to breathe, occasionally pumping the brakes to establish more pathos than other films in the series. The first hour or so, for example, largely turns the camera away from John himself — focusing on how the fallout from his vengeful actions have consequences for his friends and those unfortunate enough to be in the wrong place at the wrong time. Caine, too, is facing a moral crossroads — brought back into the fold to protect the person he cares about most, mirroring the struggle John faced with his deceased wife, Helen, brought authentically to life by Yen’s multifaceted performance. All of this combines to make “Chapter 4” a much more melancholic watch than expected — packing all the cheer-worthy mayhem viewers want and expect, while giving everything more weight, and, crucially, tangible stakes.
Reeves continues to dominate the role, though speaking less than in previous entries (which says a lot). It’s clear the acrobatics aren’t so easy for the aging actor to pull off anymore, but in a sense, this lends each punch thrown and received additional impact. Previous films have shown John getting beat up and persisting to come out on top, and “Chapter 4” is no exception — we see his increasing frustration and self-destructiveness as he determinedly demolishes his adversaries, perpetually gearing up for the next onslaught. There’s still plenty of cheesiness in his interactions, thankfully, which brings levity to even the plot’s grimmest stretches.
Alas, “Chapter 4” has some drawbacks. Shay Hatten and Michael Finch’s screenplay crackles with dark humor and is tastefully self-referential, not overloading on quips like a Marvel production. But a bit more subtlety could have benefited “Chapter 4,” particularly in how a certain big twist is telegraphed early on, and is repetitively force-fed to us until the end. An after-credits scene is similarly unnecessary, lessening the impact of narrative decisions made earlier.
This is still an incredible watch — essential for admirers of masterful filmmaking. Amid all the bone-crushing ultraviolence, “Chapter 4” has heart and soul, giving this iconic character another action spectacular for the ages.
Courtesy of Lionsgate.
John Wick: Chapter 4 is a 2023 action film directed by Chad Stahelski and starring Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Ian McShane, Lance Reddick, Shamier Anderson, Hiroyuki Sanada, Rina Sawayama, and Scott Adkins. It is rated R for pervasive strong violence and some language. The runtime is 2 hours, 49 minutes. It opened in theaters March 24. Alex’s Grade: A-
The Rep was nominated for 26 awards, The Muny and the St. Louis Actors’ Studio, with 18 nominations each, and The Black Rep and the New Jewish Theatre also earned double-digit nominations, 10 each.
The 2014 Circle recipients were announced when the awards are presented on March 17 at COCA.
Fifty-four shows staged by 20 different St. Louis professional theater companies received nominations from the Circle, an organization of theater critics in the area.
The St. Louis Theater Circle released its 2015 award nominees on Friday. The productions leading the nominations were Stages St. Louis’ production of “Anything Goes,” with nine nominations, and Stray Dog Theatre’s “The Mystery of Edwin Drood,” with seven nominations. The Repertory Theatre of St. Louis led all companies with 30 nominations.
In all, 21 companies were nominated in the fourth year of the awards, judged by 15 local theatre critics. All professional St. Louis productions are eligible; touring shows are not.
The awards will be announced at a gala ceremony on March 21 at the Skip Viragh Center for the Arts on the campus of Chaminade College Preparatory School. The awards will also be webcast online here.
On Friday, theater critics Judith Newmark, of the St. Louis Post-Dispatch, and Lynn Venhaus, of the Belleville News-Democrat, announced a partial list of nominees on “St. Louis on the Air” on Friday at noon.
Here’s the full list:
Outstanding Ensemble of a Comedy
Bad Jews, New Jewish Theatre
Mr. Burns: A Post-Electric Play, R-S Theatrics
The 39 Steps, Slightly Askew Theatre Ensemble
Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Wild Oats, St. Louis Shakespeare
Outstanding Supporting Actress in a Comedy:
Betsy Bowman, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Shinnerie Jackson, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
Erin Kelley, The Killing of Sister George, Max & Louie Productions
Shannon Nara, The Killing of Sister George, Max & Louie Productions
Jeanitta Perkins, The Further Adventures of Hedda Gabler, St. Louis Shakespeare
Outstanding Supporting Actor in a Comedy:
John Bratkowski, The World Begun, Shakespeare Festival St. Louis
Michael Brightman, Mr. Marmalade, West End Players Guild
Jeffrey C. Hawkins, Peter and the Starcatcher, Repertory Theatre of St. Louis
Pete Winfrey, Bad Jews, New Jewish Theatre
John Wolbers, Wild Oats, St. Louis Shakespeare
Outstanding Actress in a Comedy
Lavonne Byers, The Killing of Sister George, Max & Louie Productions
Kari Ely, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Suzanne Grodner, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
Linda Kennedy, The Gin Game, St. Louis Actors’ Studio
Em Piro, Bad Jews, New Jewish Theatre
Outstanding Actor in a Comedy:
John Feltch, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
Peter Mayer, The Gin Game, St. Louis Actors’ Studio
Antonio Rodriguez, Bad Jews, New Jewish Theatre
William Roth, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Jeremy Webb, Buyer and Cellar, Repertory Theatre of St. Louis
Outstanding Director of a Comedy:
John Contini, Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Michael Evan Haney, Vanya and Sonya and Masha and Spike, Repertory Theatre St. Louis
Sydnie Grosberg Ronga, Bad Jews, New Jewish Theatre
Jacqueline Thompson, The World Begun, Shakespeare Festival St. Louis
Kirsten Wylder, The 39 Steps, Slightly Askew Theatre Ensemble
“Who’s Afraid of Virginia Woolf?” St Louis Actors’ Studio
Outstanding Production of a Comedy
The Gin Game, St. Louis Actors’ Studio
The Killing of Sister George, Max & Louie Productions
The 39 Steps, Slightly Askew Theatre Ensemble
Who’s Afraid of Virginia Woolf?, St. Louis Actors’ Studio
Wild Oats, St. Louis Shakespeare
Outstanding Ensemble of a Drama
All the Way, Repertory Theatre of St. Louis
Antony and Cleopatra, Shakespeare Festival St. Louis
One Flea Spare, Slightly Askew Theatre Ensemble
Safe House, Repertory Theatre of St. Louis
The Winslow Boy, Repertory Theatre of St. Louis
Outstanding Supporting Actress in a Drama
Em Piro, Sight Unseen, New Jewish Theatre
Kelly Taffe, Safe House, Repertory Theatre of St. Louis
Jennifer Theby-Quinn, Afflicted: Daughters of Salem, Metro Theater Company
Cassia Thompson, Safe House, Repertory Theatre of St. Louis
Elizabeth Van Pelt, Rapture, Blister, Burn, West End Players Guild
Outstanding Supporting Actor in a Drama
Will Cobbs, Safe House, Repertory Theatre of St. Louis
John Flack, Sublime Intimacy, Max & Louie Productions
Andrew Kuhlman, One Flea Spare, Slightly Askew Theatre Ensemble
Michael James Reed, All the Way, Repertory Theatre of St. Louis
Chris Tipp, Dog Sees God: Confessions of a Teenage Blockhead, Stray Dog Theatre
Outstanding Actress in a Drama
Shirine Babb, Antony and Cleopatra, Shakespeare Festival St. Louis
Emily Baker, Sight Unseen, New Jewish Theatre
Danielle Carlacci, I and You, Repertory Theatre of St. Louis
Amy Loui, The Amish Project, Mustard Seed Theatre
Lisa Tejero, The Kiss, Upstream Theatre
Outstanding Actor in a Drama
J. Samuel Davis, BashirLazhar, Upstream Theater
Brian Dykstra, All the Way, Repertory Theatre of St. Louis
Daniel Morgan Shelley, Safe House, Repertory Theatre of St. Louis
Jerry Vogel, The Rime of the Ancient Mariner, Upstream Theater
Eric Dean White, The Kiss, Upstream Theater
Outstanding Director of a Drama
Deanna Jent, The Amish Project, Mustard Seed Theatre
Jane Page, I and You, Repertory Theatre of St. Louis
Ellie Schwetye, One Flea Spare, Slightly Askew Theatre Ensemble
Patrick Siler, The Rime of the Ancient Mariner, Upstream Theater
Steven Woolf, All the Way, Repertory Theatre of St. Louis
“All the Way,” The Repertory Theatre of St Louis
Outstanding Production of a Drama
All the Way, Repertory Theatre of St. Louis
I and You, Repertory Theatre of St. Louis
One Flea Spare, Slightly Askew Theatre Ensemble
The Rime of the Ancient Mariner, Upstream Theater
The Winslow Boy, Repertory Theatre of St. Louis
Outstanding Set Design – Play
Wilson Chin, Angel Street, Repertory Theatre of St. Louis
Scott C. Neale, Antony and Cleopatra, Shakespeare Festival St. Louis
Paul Shortt, Vanya and Sonya and Masha and Spike, Repertory Theatre of St. Louis
Peter and Margery Spack, Safe House, Repertory Theatre of St. Louis
Mark Wilson, An Invitation Out, Mustard Seed Theatre
Outstanding Costume Design – Play
Beth Ashby, An Invitation Out, Mustard Seed Theatre
Dorothy Marshall Englis, The Winslow Boy, Repertory Theatre of St. Louis
JC Krajicek, The Further Adventures of Hedda Gabler, St. Louis Shakespeare
Cyndi Lohrmann, The Killing of Sister George, Max & Louie Productions
David Toser, Angel Street, Repertory Theatre of St. Louis
Outstanding Lighting Design – Play
Joseph Clapper, The Rime of the Ancient Mariner, Upstream Theater
Patrick Huber, Sublime Intimacy, Max & Louie Productions
Bess Moynihan, One Flea Spare, Slightly Askew Theatre Ensemble
Peter E. Sargent, Angel Street, Repertory Theatre of St. Louis
Nathan Schroeder, Mr. Burns: A Post-Electric Play, R-S Theatrics
Outstanding Sound Design – Play
Paige Brubeck and Evan Suit, The Rime of the Ancient Mariner, Upstream Theater
Fitz Patton, All the Way, Repertory Theatre of St. Louis
Greg Mackender and Rusty Wandall, Antony and Cleopatra, Shakespeare Festival St. Louis
Rusty Wandall, Angel Street, Repertory Theatre of St. Louis
Rusty Wandall, I and You, Repertory Theatre of St. Louis
Outstanding Set Design – Musical
Shoko Kambara, The Barber of Seville, Opera Theatre of Saint Louis
Rob Lippert, Dogfight, Stray Dog Theatre
Rob Lippert, Heathers, New Line Theatre
Rob Lippert, The Mystery of Edwin Drood, Stray Dog Theatre
James Wolk, Anything Goes, Stages St. Louis
Outstanding Costume Design – Musical
Eileen Engel, The Mystery of Edwin Drood, Stray Dog Theatre
Andrea Lauer, Into the Woods, The Muny
Brad Musgrove, Anything Goes, Stages St. Louis
Sarah Porter, The Threepenny Opera, New Line Theatre
Alejo Vietti, Holiday Inn, The Muny
Outstanding Lighting Design – Musical
Christoper Akerlind, Emmeline, Opera Theatre of Saint Louis
Tyler Duenow, Dogfight, Stray Dog Theatre
John Lasiter, Oklahoma!, The Muny
Sean M. Savoie, Once on This Island, The Black Rep
Sean M. Savoie, Anything Goes, Stages St. Louis
Outstanding Music Director
Jeffrey Richard Carter, The Threepenny Opera, New Line Theatre
Charles Creath, Once on This Island, The Black Rep
Michael Horsley, Buddy: The Buddy Holly Story, The Muny
George Manahan, Emmeline, Opera Theatre of Saint Louis
Chris Petersen, Dogfight, Stray Dog Theatre
Outstanding Choreographer
Stephen Bourneuf, Anything Goes, Stages St. Louis
Denis Jones, Holiday Inn, The Muny
Dan Knechtges and Jessica Hartman, Hairspray, The Muny
Susan Stroman and Ginger Thatcher, Oklahoma!, The Muny
Keith Tyrone Williams, Once on This Island, The Black Rep
“Anything Goes,” Stages St Louis
Outstanding Ensemble in a Musical
Anything Goes, Stages St. Louis
Dogfight, Stray Dog Theatre
Into the Woods, The Muny
Heathers, New Line Theatre
The Mystery of Edwin Drood, Stages St. Louis
Outstanding Supporting Actress – Musical
Eileen Engel, The Mystery of Edwin Drood, Stray Dog Theatre
Heather Headley, Into the Woods, The Muny
Sydney Mancasola, La rondine, Opera Theatre of Saint Louis
Sarah Porter, The Threepenny Opera, New Line Theatre
Zoe Vonder Haar, The Full Monty, Stages St. Louis
Outstanding Supporting Actor – Musical
Dan Fenaughty, Anything Goes, Stages St. Louis
Joneal Joplin, The Fantasticks, Insight Theatre Company
Rob McClure, Beauty and the Beast, The Muny
Milton Craig Nealy, The Full Monty, Stages St. Louis
Sam Weber, Buddy: The Buddy Holly Story, The Muny
Oustanding Actress in a Musical
Julie Cardia, Anything Goes, Stages St. Louis
Shannon Cothran, Dogfight, Stray Dog Theatre
Erin Dilly, Into the Woods, The Muny
Joyce El-Khoury, Emmeline, Opera Theatre of St. Louis
Anna Skidis, Heathers, New Line Theatre
Outstanding Actor in a Musical Andy Christopher, Buddy: The Buddy Holly Story, The Muny
Ben Davis, Oklahoma!, The Muny
Evan Fornachon, Heathers, New Line Theatre
Gerry Love, The Mystery of Edwin Drood, Stray Dog Theatre
Jordan Shanahan, Rigoletto, Union Avenue Opera
Outstanding Director of a Musical
Justin Been, The Mystery of Edwin Drood, Stray Dog Theatre
Michael Hamilton, Anything Goes, Stages St. Louis
Scott Miller, The Threepenny Opera, New Line Theatre
Scott Miller and Mike Dowdy, Heathers, New Line Theatre
Rob Ruggiero, Oklahoma!, The Muny
Outstanding Production of a Musical
Anything Goes, Stages St. Louis
Dogfight, Stray Dog Theatre
Heathers, New Line Theatre
The Mystery of Edwin Drood, Stray Dog Theatre
The Threepenny Opera, New Line Theatre
Outstanding New Play
Nancy Bell, The World Begun, Shakespeare Festival St. Louis
Shualee Cook, An Invitation Out, Mustard Seed Theatre
Neil LaBute, Kandahar, St. Louis Actors’ Studio
Ken Page, Sublime Intimacy, Max & Louie Productions
Alec Wild, Off the Record, OnSite Theatre
What: St. Louis Theater Circle Awards
When: Monday, March 21, 2016
Red carpet, 6:30 p.m.
Gala, 7 p.m.
Where: Viragh Center for the Arts on the campus of Chaminade College Preparatory School, 425 South Lindbergh Blvd.
(St. Louis, MO) – The Fabulous Fox Theatre is thrilled to announce its spectacular 2023-2024 Broadway season featuring a mix of Broadway’s biggest hits and St. Louis favorites. Made up entirely of Fabulous Fox premieres, the 2023-2024 Broadway Subscription will include the Broadway smash-hit BEETLEJUICE, the electrifying TINA – The Tina Turner Musical, the heartfelt MRS. DOUBTFIRE, the dazzling musical comedy FUNNY GIRL, thegroundbreaking COMPANY, the spectacular MOULIN ROUGE! THE MUSICAL, and the most Tony Award®-winning musical of the season MJ. An eight show package is also available to subscribers with the addition of the magical ‘TWAS THE NIGHT BEFORE… by Cirque du Soleil®. Off-Series specials include the anticipated St. Louis returns of COME FROM AWAY, Disney’s ALADDIN, RUDOLPH THE RED-NOSED REINDEER: The Musical, MAMMA MIA! and the nine-time Tony Award®-winning Best Musical, THE BOOK OF MORMON, as well as the St. Louis premiere of JAGGED LITTLE PILL.
BEETLEJUICE | October 10-22, 2023
He earned his stripes on Broadway… now the ghost-with-the-most is coming to St. Louis. Based on Tim Burton’s dearly beloved film, this hilarious musical tells the story of Lydia Deetz, a strange and unusual teenager whose whole life changes when she meets a recently deceased couple and a demon with a thing for stripes. With an irreverent book, an astonishing set, and a score that’s out of this Netherworld, BEETLEJUICE is “Screamingly good fun!” (Variety). And under its uproarious surface (six feet under, to be exact), it’s a remarkably touching show about family, love, and making the most of every Day-O!
TINA – The Tina Turner Musical | November 14-26, 2023
There is only one. Her voice is undeniable. Her fire is unstoppable. Her triumph is unlike any other. An uplifting comeback story like no other, TINA – The Tina Turner Musical is the inspiring journey of a woman who broke barriers and became the Queen of Rock n’ Roll. Set to the pulse-pounding soundtrack of her most beloved hits, this electrifying sensation will send you soaring to the rafters. One of the world’s best-selling artists of all time, Tina Turner has won 12 Grammy Awards® and her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history. Featuring her much loved songs, TINA – The Tina Turner Musical is written by Pulitzer Prize-winning playwright Katori Hall and directed by the internationally acclaimed Phyllida Lloyd.
MRS. DOUBTFIRE | December 26, 2023 – January 7, 2024
Everyone’s favorite Scottish nanny is headed to St. Louis in an internationally acclaimed new hit musical critics call “wonderful, heart-warming, and laugh-out-loud funny” (Manchester Evening News) and “a feel-good, family-friendly comedy that delivers” (The HollywoodReporter). Based on the beloved film and directed by four-time Tony Award® winner Jerry Zaks, MRS. DOUBTFIRE tells the hysterical and heartfelt story of an out-of-work actor who will do anything for his kids. It’s “the lovable, big-hearted musical comedy we need right now,” raves the Chicago Tribune – one that proves we’re better together.
FUNNY GIRL | January 23 – February 4, 2024
Welcome to musical comedy heaven! Featuring one of the most iconic scores of all time by Jule Styne and Bob Merrill, an updated book from Harvey Fierstein based on the original classic by Isobel Lennart, tap choreography by Ayodele Casel, choreography by Ellenore Scott, and direction from Michael Mayer, this love letter to the theatre has the whole shebang! The sensational Broadway revival dazzles with celebrated classic songs, including “Don’t Rain On My Parade,” “I’m the Greatest Star,” and “People.” This bittersweet comedy is the story of the indomitable Fanny Brice, a girl from the Lower East Side who dreamed of a life on the stage. Everyone told her she’d never be a star, but then something funny happened—she became one of the most beloved performers in history, shining brighter than the brightest lights of Broadway.
COMPANY | February 27 – March 10, 2024
Winner of 5 Tony Awards® including Best Revival of a Musical, COMPANY “strikes like a lightning bolt. It’s brilliantly conceived and funny as hell” (Variety). Helmed by three-time Tony Award®-winning director Marianne Elliott (War Horse, The Curious Incident of the Dog in the Night-Time, Angels in America), this revelatory new production of Stephen Sondheim and George Furth’s groundbreaking musical comedy is boldly sophisticated, deeply insightful and downright hilarious. It’s Bobbie’s 35th birthday party, and all her friends keep asking, Why isn’t she married? Why can’t she find the right man and isn’t it time to settle down and start a family? As Bobbie searches for answers, she discovers why being single, being married, and being alive in the 21st-century could drive a person crazy. COMPANY features Sondheim’s award-winning songs You Could Drive a Person Crazy, The Ladies Who Lunch, Side by Side by Side and the iconic Being Alive. Let’s all drink to that!
MOULIN ROUGE! THE MUSICAL | April 30 – May 12, 2024
Pop the champagne, MOULIN ROUGE! THE MUSICAL is the winner of 10 Tony Awards® — including Best Musical! Enter a world of splendor and romance, of eye-popping excess, of glitz, grandeur, and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Welcome to MOULIN ROUGE! THE MUSICAL! Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical mash-up extravaganza. Directed by Tony Award® winner Alex Timbers, MOULIN ROUGE! THE MUSICAL is a theatrical celebration of Truth, Beauty, Freedom, and — above all — Love. With a book by Tony Award® winner John Logan; music supervision, orchestrations, and arrangements by Tony Award® winner Justin Levine; and choreography by Tony Award® winner Sonya Tayeh, MOULIN ROUGE!THE MUSICAL is more than a musical — it is a state of mind.
NEW YORK, NEW YORK – OCTOBER 31: (EXCLUSIVE COVERAGE) (L-R) Tavon Olds-Sample, Myles Frost and Christian Wilson during the one-time only special “Thriller” curtain call at the 2022 Halloween performance of the hit Michael Jackson musical “MJ” on Broadway at The Neil Simon Theater on October 31, 2022 in New York City. (Photo by Bruce Glikas/WireImage)
Photo credit: Bruce Glikas
social media credit is @bruglikas /@broadwaybruce_ @mjthemusical
MJ | May 28 – June 9, 2024
The music. The moves. The icon. Now, the unparalleled artistry of the greatest entertainer of all time comes to St. Louis as MJ, the multi-Tony Award®-winning new musical centered around the making of the 1992 Dangerous World Tour, begins a tour of its own. Created by Tony Award®-winning Director/Choreographer Christopher Wheeldon and two-time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Michael Jackson into legendary status. MJ is “startin’ somethin’” as it makes its St. Louis premiere at the Fabulous Fox Theatre in May of 2024.
‘TWAS THE NIGHT BEFORE… by Cirque du Soleil® I November 29-December 10, 2023
‘TWAS THE NIGHT BEFORE…is Cirque du Soleil’s first Christmas show, based on the classic poem “A Visit from Saint Nicolas” by Clement Clarke Moore. Memorable lines from this cherished classic inspired Cirque’s story about a jaded young girl who rediscovers the magic of Christmas. A festive flurry of love and cheer created especially for families, ‘TWAS THE NIGHTBEFORE…features thrilling acrobatics, lovable characters – and a soundtrack including Christmas favorites re-invented by Cirque du Soleil. The show was conceived and is directed by Cirque duSoleil Senior Artistic Director James Hadley, a 25-year veteran of circus productions and live theater.
Come From Away
Series Specials
Six additional Broadway shows will be offered as specials to 2023–2024 season ticket holders for priority seating before their public on-sale dates. The breathtaking musical COME FROM AWAY will bring back the remarkable true story of 7,000 stranded passengers and the small town in Newfoundland that welcomed them to the Fox stage November 3-5, 2023. Discover a whole new world of unforgettable magic, comedy and breathtaking spectacle at Disney’s ALADDIN December 12-17, 2023. The longest-running and highest-rated holiday television special, RUDOLPH THE RED-NOSED REINDEER: The Musical, will fly into St. Louis December 23, 2023 for three performances only. Based on Alanis Morissette’s world-changing music, JAGGED LITTLE PILL will rock the Fox stage January 18-21, 2024. Beautifully told through the timeless hits of ABBA, MAMMA MIA! will be a trip down the aisle you’ll never forget February 13-18, 2024. Back by popular demand, the nine-time Tony Award®-winning Best Musical THE BOOK OF MORMON will play the Fox April 9-14, 2024!
New seven and eight-show season ticket packages will go on sale Wednesday, June 21. Current Broadway season ticket holders will receive their renewal information in the coming weeks. On-sale dates for individual shows will be announced later. For more information, please visit FabulousFox.com or for production photos,
Jagged Little Pill
2023 – 2024 U.S. Bank Broadway Series Shows and Specials:
(The Season Ticket Package shows are in bold)
BEETLEJUICE * October 10-22, 2023
COME FROM AWAY * November 3-5, 2023
TINA – The Tina Turner Musical * November 14-26, 2023
‘TWAS THE NIGHT BEFORE… by Cirque du Soleil® * November 29-December 10, 2023
Disney’s ALADDIN * December 12-17, 2023
RUDOLPH THE RED-NOSED REINDEER: The Musical * December 23, 2023
MRS. DOUBTFIRE * December 26, 2023 – January 7, 2024
JAGGED LITTLE PILL * January 18-21, 2024
FUNNY GIRL * January 23 – February 4, 2024
MAMMA MIA! * February 13-18, 2024
COMPANY * February 27 – March 10, 2024
THE BOOK OF MORMON * April 9-14, 2024
MOULIN ROUGE! THE MUSICAL * April 30 – May 12, 2024 MJ * May 28 – June 9, 2024
