Here’s some things going on now, this week and news in pop culture land.
Movie: Family-friendly Halloween fare?
Here you go. “The Curse of Bridge Hallow” on Netflix.
Starring Marlon Wayans, Kelly Rowland and Priah Ferguson. Supporting roles feature reliable John Michael Higgins as the school principal and Rob Riggle as the neighbor/police officer.
OK, this is average at best but when you need something to pass the time with the kids – particularly something holiday-themed, you can do worse than this amiable comedy-adventure featuring some decent thrills, good production design and well-done visual effects. It’s rated TV-14 and is 1 hour, 29 minutes.
The Plot: A teenage girl accidentally releases an ancient and mischievous spirit on Halloween. It causes decorations to come alive and wreak havoc, so she must team up with the last person she’d want to, to save their town – her father.
Fun Fact: I had the pleasure to interview Marlon Wayans when he was promoting “A Haunted House 2” in 2014, and he was one of the most delightful experiences with a ‘celeb’ that I have had during my writing career. The Belleville News-Democrat article is no longer accessible online.
X cast from A24.
Scary Movie: X
Now available on Showtime or for rental on multiple platforms, Ti West’s “X” is one of the best new horror movies of 2022, according to PopLifeSTL.com reviewer Alex McPherson and my colleague Max Foizey of “Max on Movies” on KTRS Radio.
The film is about the production of an amateur porn movie on a remote farm, where the members of the cast and crew meet a grisly fate. It’s set in 1979 and recalls the slasher films from that era.
Mattel reports that the Tina Turner Barbie Doll that was released Thursday, is now sold out.
“Barbie celebrates the unprecedented music career and journey of Tina Turner. She is a Grammy-winning, chart-topping singer, and one of the best-selling recording artists of all time. This doll commemorates her smash hit “What’s Love Got to Do with It,” and the design is inspired by the iconic outfit Tina wore in the music video.”
Our Tina Turner doll wears a black mini dress paired with a denim jacket, sheer black tights, and black heels. Her signature hairstyle, drop earrings, and a microphone accessory complete her look.
She is the fifth artist to be inducted into the Barbie Signature Music Series, with this sixth overall doll in the collection. Designer is Bill Greening.
The doll normally retails for $55, but indirect websites are selling it for much more.
Starting today and for the next two weeks, 18 contestants return to the long-running game show in a “Second Chance” Tournament. Three semi-final games will lead to a two-day final each week. Both winners of the mini-tournaments will earn a spot in the Tournament of Champions that starts Oct. 31.
Food: Soccer & STL Made
Pork steaks, kebab wraps, burgers, hot dogs and more – including vegan and vegetarian options! City SC today announced five of the 25 restaurants that will serve signature food items at the soccer stadium: Balkan Treat Box in Webster Groves; Beast Craft BBQ Co. of Belleville (also operates Beast Butcher & Block in the Grove), Steve’s Hot Dogs, Brasserie by Niche and Pastaria Deli & Wine, two restaurants from Gerard Craft’s Niche Food Group.
Craft is the Chief Flavor Officer for City. The other restaurants to make up “City Flavor” will be announced later. Centene Stadium has 22,500 seats and will be the home of the Major League Soccer expansion franchise St Louis City SC, which starts play in 2023.
For more info, here is St Louis Magazine article: https://www.stlmag.com/dining/st-louis-city-sc-local-food-concessions-centene-stadium/
There are episodes 1 & 2 about the City Flavor efforts.
Today in St. Louis History:
The syndicated daytime tabloid talk show “The Sally Jessy Raphael Show,” with radio host Sally Jessy Raphael, debuts on KSDK on Oct. 17, 1983.
It would be filmed in St. Louis until summer of 1987, when it moved to New Haven, Conn., and later Manhattan, where it lasted until 2022.
Three years before Oprah, the show, later just called “Sally,” was one of the first audience-participation, issue-driven talk shows hosted by a female.
Playlist: Supergroup
The Traveling Wilburys release debut album “Volume 1”– featuring the single “Handle with Care”; and the band members include Roy Orbison, Bob Dylan, George Harrison, Jeff Lynne, and Tom Petty.
Word: Arthur Miller, who was born on this date in 1915
“We are what we always were in Salem, but now the little crazy children are jangling the keys of the kingdom, and common vengeance writes the law!”
John Proctor in “The Crucible”
Looking ahead:
On TUESDAY: Baseball Playoffs!
MLB postponed the fifth game of the ALDS because of rain Monday in the Bronx. The Cleveland Guardians will now face the New York Yankees on Tuesday, Oct. 18, at 3 p.m. CST on TBS.
This is the last piece of the puzzle, as the San Diego Padres, Philadelphia Phillies and Houston Astros have moved on to the league championship series.
‘Tis the Season:
Not-so-scary Halloween celebration “Boo at the Zoo” tickets on sale
Fun for the whole family, including fabulous decorations throughout the St. Louis Zoo – Skeleton Soiree, Monster Mash, Pirate Pointe, Haunted Harvest, Coachman’s Junction and a giant cauldron photo opportunity in Fragile Forest.
You can view the crawling and slithering animals at the Herpetarium and Insectarium. Enjoy some fall-themed treats at Zoo restaurants, including Halloween-dipped pretzel sticks, apple cider floats and adult ice cream cocktails for those 21 and older. For an additional fee, enjoy a ride on the Zooline Railroad.
Entertainment, including jugglers, magicians, stilt walkers and more will roam Zoo grounds each event night. On Fridays, Saturdays, and Sundays at 5:30 p.m., catch live stage shows from local entertainers.
Tickets for Boo at the Zoo are now on sale for Oct. 21-23, 24-27 and 28-30
Free for children under age 2.
Your ticket includes admission into Emerson Dinoroarus, Mary Ann Lee Conservation Carousel, Stingrays at Caribbean Cove presented by SSM Health and “Chaos in Wonderland” at the 4D Theater.
For tickets and more information, visit stlzoo.org/boo.
Thank you to our sponsors: SSM Health Cardinal Glennon Children’s Hospital, Wells Fargo, Mid America Chevy Dealers, Caleres, Prairie Farms Dairy.
Halloween Costume Policy
– Family-friendly Halloween costumes are encouraged.
– No scary costumes are permitted.
– Costume appropriateness is up to the discretion of the Zoo.
“You say either and I say either. You say neither and I say neither. Either, either. Neither, neither. Let’s call the whole thing off.” – George and Ira Gershwin
When the Gershwin brothers wrote “Let’s Call the Whole Thing Off” for the 1937 film “Shall We Dance” starring Fred Astaire and Ginger Rogers, gender roles were primarily traditional, as were societal ideals.
The witty ditty is used in The Repertory Theatre of St. Louis’ current show “Private Lives,” exemplifying opposites in Noel Coward’s urbane comedy of manners.
It’s sure indicative of how we can look at things with separate viewpoints. Such is my response to “Private Lives,” which is now playing through Oct. 23 at the Berges Theatre at COCA. The production has been well-received, according to reaction from the audience, my colleagues, and in talking with some theatergoers.
You say silly, I say insufferable.
Once upon a time, this 1930 ‘romantic’ comedy was the height of sophistication and snappy repartee. However, 92 years later, the biting wit has not aged well, despite Coward’s nimble wordplay twisting the battle of the sexes into loggerheads.
The premise of this highly regarded classic is that uppity Amanda Prynne (Amelia Pedlow) and imperious Elyot Chase (Stanton Nash) are enjoying a romantic honeymoon with new spouses, Victor Prynne (Carman Lacivita) and Sibyl Chase (Kerry Warren)– and they just happen to be staying at the same posh hotel on the northern coast of France.
When the divorced duo come face-to-face on adjoining balconies — for the first time in five years — sparks fly. They run off by the end of the first act, but just as passions collide, so do tempers. These two self-important twits remember why they fell in love – and why they split up in the second act.
Does it resonate as a send-up of the British upper-class or has it become a tiresome example of a combustible relationship where two people bicker incessantly? Do people dismiss the violent overtones because it’s a comedy?
“I struck him too. Once I broke four gramophone records over his head. It was very satisfying,” Amanda says to her new husband.
Because the former Mr. and Mrs. Chase bring out the worst in each other, trying to find the best of each other is a chore, not the fizzy fun it purports. (The Rep marketed it as ” fun, laughs, and a fresh take”). I had a tepid and triggering reaction, found it tedious at best and domestic abuse at worst.
In 2022, this work appears to me to be one of the most egregious examples of toxic relationships and white privilege upon examination through a 21st century lens. The melodramatic soap opera quality of this story got very old very fast.
The argument could be made – that was then, this isn’t now. But oh, have you been reading the news?
I don’t find verbal, emotional, or physical abuse of any sort amusing – even if it’s written by a famous closeted gay British snob who had a way with words. It is not OK on any stage, anywhere, and at any time. Period.
Sibyl and Victor go at it while Amanda and Elyot look on, after their fights started it all. Jon Gitchoff photo.
Let’s just refrain from giving any past-its-prime material attention if it involves unacceptable behavior that would not fly today (unless it’s a cautionary tale).
Sure, it remains one of Coward’s most celebrated successes and has been revived several times, but what is the reason for doing this show now or ever after?
Many people laughed – loud guffaws — on opening night Oct. 7 as the angry couple hurled food and broke things while slapping each other around. Fight choreographer Nathan Keepers had much work to do.
I was in a minority of those not chuckling. We were a smattering. In my lifetime, I’ll never understand why audience members were laughing at physical confrontations and destruction of property not their own. OK, people still laugh at The Three Stooges punching and poking each other, and there are Roadrunner and Wile E Coyote cartoons as points of reference.
Anyone thinking that the more acceptable we make of couples battering each other, the harder it is for abuse victims to come forward? Ever see the real physical aftermath or consequences? I doubt if anyone who grew up in an abusive household or is a survivor/victim of domestic abuse would find anything about this show ‘funny ha-ha’.
OK, the luxe set, designed by Lex Liang, was lovely to look at with its stylized Art Deco interiors, though. And expertly lit by lighting designer Colin Bills. The production elements excel in recreating the era’s affluence, including Kathleen Geldard’s glamorous costumes.
Yes, the production is slick and the performers skillful, but are two narcissists hell-bent on getting their way, no matter what cost, fun to watch? A darker truth is apparent on stage, no matter how many quips are delivered.
Amanda: I was brought up to believe it was beyond the pale for a man to strike a woman.
Elyot: A very poor tradition. Certain women should be struck regularly, like gongs.
Now, there were some gasps on that exchange.
Perhaps chemistry figures in to accepting that this once red-hot pair continue to emit white heat when together. Obviously, they can’t live together, for they start acting like ill-tempered children.
And they know it.
Amanda: I think very few people are completely normal really, deep down in their private lives. It all depends on a combination of circumstances. If all the various cosmic thingummys fuse at the same moment, and the right spark is struck, there’s no knowing what one mightn’t do. That was the trouble with Elyot and me, we were like two violent acids bubbling about in a nasty little matrimonial bottle.
In the program, dramaturg Arianne Johnson Quinn, the inaugural Noel Coward fellow in the Billy Rose Theater division at the New York Public Library for the Performing Arts, quotes Coward scholar: “Beneath the sophisticated repartee are two accidental assassins – destined to be destructive of each other and of anyone who comes emotionally close to them (The Letters of Noel Coward, 217).”
Quinn then wrote: “For Coward, affairs of the heart are glamorous excursions into human nature, and the inevitable comedy that follows stems from his ability to create living, breathing characters rather than dramatic archetypes. At the same time, modern audiences cannot escape the undercurrent of domestic abuse that runs as a throughline in the play.”
No, we can’t escape it – especially when they discuss their previous rows:
Elyot: The worst one was in Cannes when your curling irons burnt a hole in my new dressing-gown. [He laughs.]
Amanda: It burnt my comb too, and all the towels in the bathroom.
Elyot: That was a rouser, wasn’t it?
Amanda: That was the first time you ever hit me.
Elyot: I didn’t hit you very hard.
Amanda: The manager came in and found us rolling on the floor, biting and scratching like panthers. Oh dear, oh dear…[She laughs helplessly.]
Certain insensitive stereotypes, words, phrases, and behaviors have fallen out of favor in the name of diversity and inclusion, yet these golden-age chestnuts portray men keeping women in line like they’re property. And seem so cavalier about abuse.
Amanda: You are an unmitigated cad and a bully!
Elyot: And you are an ill-mannered and bad-tempered slattern!
Amanda: Slattern indeed!
Elyot: Yes, slattern and fishwife!
(Fishwife, according to the Macmillan Dictionary, is a slur for “a woman who speaks loudly in a rude voice.”)
Amanda bucks conformity, but her ‘feisty’ nature isn’t an excuse. When she’s confronted by her husband, finally, in her Paris flat, after a huge fight with Elyot, this is an exchange:
Taking a second look at very sexist books in creaky musicals, critics have decried “blackface,” “brownface,” “redface” and “yellowface.” Shouldn’t behaving badly on stage get an adverse reaction too?
You say funny, I say not. You say flippant, I say superficial exercise involving rich gasbags without much substance. You say erudite, I say entitled, pouty, shallow females and self-absorbed condescending males.
The new mates are obsessed with knowing how they rate compared to the wretched former wife or husband – this seems to be interminable interaction.
Coward wrote the play so that he and his actress friend, Gertrude Lawrence, could portray the characters, and he modeled the self-centered Amanda on his histrionic diva pal. Supposedly, their tumultuous friendship was not unlike the roles.
Amanda is an unlikable sharp-tongued, prone to exaggeration and temperamental shrew. She’s a spoiled insipid woman who behaves badly in the name of love. Pedlow’s affected – and hard to decipher sometimes – speech gets in the way. Dialect Coach Jill Walmsley Zager’s work was incomplete.
Stanton Nash, so delightful in St. Louis Shakespeare Festival’s “Much Ado About Nothing” this past summer, has crisp comic timing and lets the fast-paced insults fly. But his character is a pompous ass.
As the jilted partners, Lacivita was debonair and a bit starchy as Victor, a colorless role, and Warren, unfortunately, is shrill in the stereotypical Sibyl role, an attractive but rather uninteresting and somewhat bubbleheaded bride prone to shrieking. As ‘the other two,’ they are stuck in very cookie-cutter parts.
Yvonne Woods has a brief role as Amanda’s French maid Louise, tasked with cleaning up the messes.
The focus, naturally, is on Amanda and Elyot, for they burn bright no matter what the temperature of the room. These would be unlikeable characters in any decade.
Sure, the characters are in a higher income bracket than some who live with domestic violence, but it’s still unhealthy, no matter how cultured the speech pattern or what class ranking they are. (Nicole Brown Simpson, anyone?)
I am reminded of F. Scott Fitzgerald’s description of Tom and Daisy Buchanan in “The Great Gatsby”:
“They were careless people, Tom and Daisy – they smashed up things and creatures and then retreated back into their money or their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made.”
Fitzgerald viewed them as a tragedy, Coward considers his vain high society characters a comedy.
Kerry Warren and Carman Lacivita. Photo by Jon Gitchoff
If this was a modern play, the entitlement and mistreatment would have everyone outraged, but here, we should accept it because it has the warm glow of nostalgia and it is written by a theater legend?
The Rep producers and director Meredith McDonough obviously think this madcap romp is entertaining, like the good old screwball comedies that run on Turner Classic Movies these days. (For the record, I wanted to be Rosalind Russell in “His Girl Friday.”)
McDonough described the show as a “loving treatise on love” — and then directed it like an irritating high-class shouting match ramped up in volume. Hana S. Sharif, the Augustin Family artistic director, called it a “great escape.”
The tone-deafness is mind-boggling. In what language, country, time or universe is this second act fight funny after Amanda puts on a record that Elyot doesn’t want to listen to?
Elyot: Turn it off.
Amanda: I won’t. [Elyot rushes at the gramophone. Amanda tries to ward him off. They struggle silently for a moment, then the needle screeches across the record] There now, you’ve ruined the record.
[She takes it off and scrutinizes it.]
Elyot: Good job, too.
Amanda: Disagreeable pig.
Elyot [suddenly stricken with remorse]: Amanda darling, Sollocks.
Amanda [furiously]: Sollocks yourself.
[She breaks the record over his head.]
Elyot [staggering]: You spiteful little beast.
[He slaps her face. She screams loudly and hurls herself sobbing with rage on to the sofa, with her face buried in the cushions.]
Amanda: [wailing]: Oh, oh, oh-
Elyot: I’m sorry, I didn’t mean it — I’m sorry, darling, I swear I didn’t mean it.
Amanda: Go away, go away, I hate you.
[Elyot kneels on the sofa and tries to pull her round to look at him.]
Elyot: Amanda — listen — listen —
Amanda [turning suddenly, and fetching him a welt across the face]:
Listen indeed; I’m sick and tired of listening to you, you damned sadistic bully.
Elyot with great grandeur]: Thank you. [He stalks towards the door, in stately silence.
Amanda throws a cushion at him, which misses him and knocks down a lamp and a vase on the side table.
Elyot laughs falsely] A pretty display I must say.
Amanda [wildly]: Stop laughing like that.
Elyot [continuing]: Very amusing indeed.
Amanda [losing control]: Stop–stop–stop– [She rushes at him, he grabs her hands and they sway about the room, until he manages to twist her round by the arms so that she faces him, closely, quivering with fury]—I hate you–do you hear? You’re conceited, and overbearing, and utterly impossible!
Elyot [shouting her down]: You’re a vile-tempered, loose-living; wicked little beast, and I never want to see you again so long as I live.
[He flings her away from him, she staggers, and falls against a chair. They stand gasping at one another in silence for a moment.]
Amanda [very quietly]: This is the end, do you understand? The end, finally and forever.
[She goes to the door, which opens on to the landing, and wrenches it open. He rushes after her and clutches her wrist.]
Elyot: You’re not going like this.
Amanda: Oh, yes I am.
Elyot: You’re not.
Amanda: I am; let go of me–[He pulls her away from the door, and once more they struggle. This time a standard lamp crashes to the ground. Amanda, breathlessly, as they fight] You’re a cruel fiend, and I hate and loathe you; thank God I’ve realized in time what you’re really like; marry you again, never, never, never… I’d rather die in torment
Elyot: [at the same time]; Shut up; shut up. I wouldn’t marry you again if you came crawling to me on your bended knees, you’re a mean, evil- minded, little vampire — I hope to God I never set eyes on you again as long as I live.
[At this point in the proceedings they trip over a Victor and Sybil enter quietly, through the open door, and stand staring at them in horror. Finally Amanda breaks free and half gets up, Elyot grabs her leg, and she falls against a table, knocking it completely over.]
[She rushes back at Elyot who is just rising to his feet, and gives him a stinging blow, which knocks him over again. She rushes blindly off Left, and slams the door, at the same moment that he jumps up and rushes off Right, also slamming the door.
Victor and Sibyl advance apprehensively into the room, and sink on to the sofa]
In the third act, Sibyl and Victor begin mirroring the battling ex’s.
The Rep has very mixed messages in their line-ups.
Certainly, “Private Lives” is devoid of any teachable moment or enlightenment – or even making a connection.
I say potato, you say ‘po-tah-to.’ You say classic, I say painful. You say lighten up, I say, let’s talk. Know more, support services, be the change: 1 in 4 women and 1 in 7 men are affected, and 1 in 15 children witness domestic abuse.
Photo by Jon Gitchoff
The Repertory Theatre of St. Louis presents “Private Lives” Sept. 30–October 23, in the Catherine B. Berges Theatre at COCA (Creative Center of the Arts), 6880 Washington Avenue, St. Louis, 63130. For tickets or more information, visit: www.repstl.org.
To support local services, check out: Safe Connections, 2165 Hampton Ave., St. Louis, 63139; email [email protected], call 314-646-7500, visit https://safeconnections.org/. They have a 24-hour crisis helpline: 314-531-2003
Violence Prevention Center of Southwestern Illinois, 618-236-2531, visit: https://www.vpcswi.org/. They have a 24-hour crisis helpline: 618-235-0892
“Baby Come Back,” “Still the One,” “You Are the Woman,” “I’d Really Love to See You Tonight,” “Every Time I Think of You,” “Magnet and Steel,” and more hits will be coming on Saturday night.
The Family Arena hosts an evening of Yacht Rock Classics as the Sail On tour docks on Saturday, Oct. 15, starting at 7 p.m.
So what is Yacht Rock exactly? Mostly soft-rock music popular from the mid-70s to the mid-80s.
The line-up includes Firefall, The Babys, Orleans, John Ford Coley (England Dan has passed), Walter Egan, and Peter Beckett from Player share the stage.
The 2014 film adaptation of Stephen Sondheim’s classic “Into the Woods” gets a sing-along version, now streaming on Disney+.
The Rob Marshall-directed musical starred Meryl Streep, James Corden, Emily Blunt, Chris Pine, Anna Kendrick and more in the fairy tale fantasy featuring Cinderella, Little Red Riding Hood, Rapunzel, and Jack – each one on a quest to fulfill wishes.
Personal Note: I saw the acclaimed Broadway revival that’s been extended twice, now through Jan. 8 at the St. James. Such glorious voices and enchanting adaptation. The 2022 OBC soundtrack is out now, so search for it. The cast was on the Today Show on Oct. 6. Here they are:
If you’d like to see a local production of “Into the Woods,” the Washington University Performing Arts Department is presenting the Sondheim musical starting Friday, Oct. 21 through Oct. 23 and then Oct. 28-30, with performances at 8 p.m. Friday and Saturday and at 2 p.m. Sunday at the Edison Theatre on the Washington University campus. For more information, pad.wustl.edu.
Local Stage: Greek Mythology + 31 Songs
Planning to see “Hadestown” at the Fox?
Here is the review by Chas Adams, one of our wonderful website writers:
Carl the Intern and I talked about it on the podcast today/
TV: “I Love You, You Hate Me”
This 3-part docuseries on Peacock Premium explores the rise and eventually violent response to Barney the Dinosaur.
As a mom of a preschooler who loved that purple dinosaur (and we stood in line at St Clair Square for several hours to see ‘him’), this is a fascinating dive into the ‘real’ story, using interviews and archival footage.
On this date in 2017, Actress Alyssa Milano tweeted “If you’ve been sexually harassed or assaulted write ‘me too.’” It prompted a flood of replies across Facebook, Instagram and Twitter.
More than a viral hashtag, #MeToo is a social movement against sexual abuse, sexual harassment, and rape culture, in which people publicize their experiences of sexual abuse or sexual harassment.
By CB Adams Suspension of disbelief is a term usually associated with works of fiction, film or theater. It’s a term that got its start way back in 1817 when Samuel Taylor Coleridge wrote of the “…suspension of disbelief for the moment, which constitutes poetic faith.”
It’s high time we apply this term to music. This was certainly applicable to the Saint Louis Symphony’s diptych program on Oct. 15-16 of Sergei Rachmaninoff’s Piano Concerto No. 2 and John Corigliano’s Symphony No. 1. When a conductor and orchestra can perform in a way that disappears themselves, that’s suspending the reality that people are only just rubbing strings and blowing into mouthpieces.
The program, guest conducted by Hannu Lintu, was worthy of Coleridge’s “poetic faith” with the shared maelstrom of themes that rose and fell in tandem – a perfect storm. The suspension of disbelief came after I forgot that there were musicians on stage and entered into my own reveries elicited by the drama of music itself. In service to this review, I had to keep reminding myself to stop my mind’s reverie and pay attention to who was doing what on stage.
Some of this is attributable to conductor Lintu, a regular guest artist with the SLSO since 2013. I was reminded of Lintu as I watched a sneak peek of the new film “Tár.” In it, a world-class conductor played by Cate Blanchett says, “If you want to dance the mask, you must service the composer. You’ve got to sublimate yourself…You must, in fact, stand in front of the public and God and obliterate yourself.” That might be a bit hyperbolic, but Lintu certainly serviced the strengths of a program that put Rachmaninoff and Corigliano – the old and the new – into lockstep.
Lintu was sometimes metronomic, sometimes feet-together obedient and sometimes commanding, but always he was the conduit for music to swell unimpeded over him and into the audience.
Also in service to the music was Gerstein, the featured pianist on Rachmaninoff’s No. 2. Gerstein delivered a taut, polished, restrained performance that avoided any exaggeration that the composition can encourage. Just think back to 1975 and Eric Carmen’s hit “All By Myself,” which liberally borrowed from No. 2’s Adagio sostenuto. Or the soundtracks to “Brief Encounter” and “Fifty Shades of Grey.” Gerstein’s performance was noteworthy for his ability to balance lyrical nuance and athletic discipline to a well-known and -loved composition.
A great performance is always a team effort, and the orchestra rippled through Rachmaninoff’s alternations of sweet melancholy and darkness. On par with Gerstein’s solos were performed by Matthew Roitstein (principal flute), Scott Andrews (principal clarinet) and Thomas Jöstlein (associate principal horn).
Creating a program that positions a beloved classic with a newer composition is to risk a “bait and switch” response. But when it works, it can work charms as did placing Rachmaninoff and Corigliano, the latter of which is a celebrated orchestral composer whose works have been performed by the best international ensembles. This was my introduction to Corigliano and I’m all the better for it. The genesis of Symphony No. 1 was Corigliano’s deeply personal response to the HIV/AIDS pandemic, but the music enabled me to surf the dramatic crests and delicate troughs of its waves.
Perhaps because of the SLSO’s fine performance that relied on the talents of approximately 110 onstage musicians , I can imagine only listening to No. 1 live. It’s hard to think of a recording and stereo system capable of presenting this composition in all its highly charged power and range, evident even in the title of the opening movement, “Apologue: Of Rage and Remembrance” and in Corigliano’s description of the second movement’s ending as a “brutal scream” and the Epilogue’s ending with a cello duet performing a slow diminuendo that shimmers with a single, fading note.
That cello duet, performed with grace and emotion by Danny Lee (principal cello) and Melissa Brooks (assistant principal cello), was a highlight of the entire performance, made stronger by ending the program of poetic faith and promise.
By C.B. Adams “It’s an old tale from way back when.”
So states Hermes, the narrator of “Hadestown” at the beginning of this award-winning musical. Hermes is played by native St. Louisan Nathan Lee Graham (an audience fave) who delivers a highly entertaining pastiche that’s Part Zazu, part Ben Vereen, part Joel Grey and part master of ceremony.
“Hadestown,” now playing at the Fox Theater, is indeed an old tale. It’s a dystopian folk opera reboot of a Greek myth, circa 800-900 BCE, by Anais Mitchell (music, book and lyrics), and it’s still potently relevant today, prescient even.
If the idea of attending a modernized Greek tragedy, replete with gods, Fates and Chorus doesn’t entice you, maybe the fact it won eight Tony Awards in 2019, the most awarded show of that season, including Best Musical, will. There’s strength and staying power to the old tales, and this touring company’s production of the travails of Orpheus and Eurydice provides a superlative experience, proving it’s a different kind of marvel universe.
And, no, you don’t need to bone up on your Greek mythology before attending. Hermes, in word and song, guides you through the story.
This appraisal of the opening night’s performance at the tightly packed Fox on opening night joins the swelling ranks of this show’s ongoing rave reviews – both the original Broadway and this touring production. It would be easy to state that “Hadestown” checks all the boxes for an excellent show and leave it at that. But if you’re on the bubble about attending, perhaps some additional convincing is in order.
For starters, the score with 31 songs and a reprise is mesmerizing. The songs, whose source was an award-winning 2010 concept album by Mitchell, are tightly paced and intricately braided into the narrative. They have a timelessness about them, blending blues, gospel, ragtime, jazz, folk, and even indie-pop influences. The songs have a definite old-timey vibe with contemporary touches, such as when Persephone uses the phrase “pay per view.” Everyone’s taste differs, but my top-three favorite songs were “Road to Hell,” “Wait for Me,” and “Way Down Hadestown.”
The sound mixing was well-balanced, and vocals were clear and understandable. This is noteworthy because, based on some other recent shows (not necessarily at the Fox), it’s amazing how important good sound is, especially when you’re straining to understand the vocals. Hannah Whitley as Eurydice was a bit too quiet during “Livin’ It Up On Top,” but rallied for the rest of the show with strong vocals and emotion.
The set, designed by Rachel Hauck, was perfectly scaled for the Fox’s stage. The set cleverly serves as the entrance to the underworld (Hadestown) and the underworld itself. In the center of the two-story set is a lighted, doorway that opens its maw to swallow or belch forth the actors. The set’s umber- and sepia-tinged palette resonates with the show’s folky, jazz- and creole-influenced music with a blend of French Quarter, 1930s train station and Paris brasserie.
Great theater is all in the details, and one of the best small touches in “Hadestown” was the how various characters interacted with the steampunkish, double-headed microphone. Another terrific touch was flanking the set with members of the seven-piece band on either side (though the percussionist/drummer was offstage). Special note must be made of the performance of Emily Frederickson, who played trombone and glockenspiel (More glockenspiel!) and even danced in a number.
The set was further enhanced with Tony-winning lighting design from Bradley King that could be as subtle as it was garish, as when the lights blasted into the audience. Costume design by Michael Krass complemented and mirrored the tarnished atmosphere of Hadestown. The one exception was the silver-spangled vest of Hermes, which he proudly flashed at the opening of the show.
Unlike the devil in other traditions, Hades in both myth and this musical is not a one-dimensional antagonist. Hades has a backstory and earns a begrudging level of respect in his role as leader of the underworld. As voiced and sung by baritone Matthew Patrick Quinn, the stentorian Hades sounded as deep and dark as a coal mine and as ominous as an earthquake.
As played by Chibueze Ihuoma, Orpheus begins as a naïve, somewhat clueless musical prodigy. As his fate becomes intertwined with Eurydice’s, Ihuoma adeptly portrayed Orpheus’ transformation into a mythically tragic figure. Ihuoma has been with the touring company since 2021 and began as a member of the ensemble as a Worker before assuming the Orpheus role in June.
This imagining of the Greek tale elevates the female characters. Eurydice here is independent, resilient and self-aware. As Eurydice, Hannah Whitley beautifully voices these characteristics and, like Ihuoma, effectively portrays her character’s inevitable, unstoppable fate.
The upstairs-downstairs character Persephone is onstage for most of the show, and understudy Shea Renne made the most of that opportunity. Whether she’s stomping around during her signature song, “Livin’ It Up On Top,” or idly sitting on the balcony with her husband, Hades, Renne brought vigor and misery in equal measures to her portrayal.
Also strong is the show’s ensemble of actors, dancers and singers in the Fates and Chorus. This ensemble is as vibrant and compelling as the rest of the cast. The Fates in particular were fun to watch as the interacted individually and as a unit with the other characters throughout the performance.
One of the reasons why some stories endure while others don’t is their adaptability. An ancient Greek would certainly recognize the essence of the Orpheus-Eurydice tale retold in “Hadestown.” Modern audiences can certainly appreciate the Greek tragedy for its ability to affirm life even in the face of suffering. And, for those who miss this opportunity to see “Hadestown,” it would be…well, hell.
Performances of “Hadestown” at the Fabulous Fox run Oct. 11-23. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
By Alex McPherson Brooding, raw, yet ultimately uneven, directors Saela Davis and Anna Rose Holmer’s “God’s Creatures” is dripping with dread-inducing atmosphere and acting talent, led by an excellent Emily Watson.
Set in a coastal Irish fishing town — drenched in fog, dreariness, antiquated ideals, and a heavy sprinkling of impending doom — the film opens with the drowning of a young man. In this community, nobody is taught how to swim, so the villagers aren’t tempted to risk death themselves to rescue someone, a fitting illustration of the stiff norms that have remained for generations.
Aileen (Watson) works as a supervisor at the seafood processing plant (run entirely by women, except for one male manager), preparing oysters and fish caught by men in the village. She lives with her stern husband Con (Declan Conlon) and near-catatonic father-in-law Paddy (Lalor Roddy), who will barely move a muscle only to suddenly slap Aileen in the face, implying a violent past.
Aileen dutifully goes through the motions — working long hours, quietly conversing with coworkers during smoke breaks, babysitting her daughter Erin’s (Toni O’Rourke) infant child, grabbing an evening drink at the pub — until the day her dearly beloved son, Brian (Paul Mescal), returns from a multi-year trip to Australia. Brian had left Aileen and company unexpectedly, not communicating with the family while overseas.
This left a gaping wound in Aileen’s heart, so his unexpected reappearance fills her with joy; Con and Erin are more ambivalent about Brian’s return. Brian is eager to resume working on his grandfather’s oyster farm, and Aileen has no qualms about stealing supplies from work to support him. In fact, Aileen is willing to sacrifice much to protect her child, even if he turns out to be a far different person than she imagines he is.
Soon enough, troubles arise. Brian is accused of sexual assault by a young woman and family friend named Sarah Murphy (Aisling Franciosi), who works at Aileen’s plant and once had a romantic relationship with Brian years ago. Aileen provides an alibi in court for Brian without a second thought, thus saving him from further investigation.
This decision, however, gradually eats away at Aileen’s psyche, as she sees Sarah’s subsequent ostracization from the townsfolk, and experiences a crisis of conscience. She’s torn between her maternal instincts and factual reality, slowly but surely recognizing the troubled traditions that control her community, manifesting in both subtle and blunt ways. The title “God’s Creatures” takes an ironic bent as Aileen comes to recognize the harmful dynamics at play, baked into the fabric of the land.
Suffice to say, “God’s Creatures” is quite a downer. A simmering menace persists from beginning to end — largely thanks to impeccable sound design and carefully calibrated performances — rendering this bleak drama practically a horror film. With a muted color palette and stark, wide vistas, Chayse Irvin’s cinematography is fittingly chilly. The score, by Danny Bensi and Saunder Jurriaans, is full of discordant strings and startling percussion, complementing the clamor of oyster shells and the swoosh of lapping waves.
Like a living, breathing monstrosity, the music builds upon itself as Aileen’s conflict intensifies, incorporating additional elements that, at one point, evoke the feeling of an unseen creature breathing heavily — an omnipresent threat that exerts control over anyone in its grip. Shane Crowley’s screenplay, while occasionally leaning into heavy-handedness, rarely feels out-of-place, its authenticity helped by thick Irish accents.
Watson is, as ever, absolutely mesmerizing as Aileen, communicating multitudes without uttering a word. Although the film withholds detail of her past and her close bond with Brian, Aileen remains a believably conflicted protagonist. Her initial relief and happiness with her son’s return turns to rash protectiveness, doubt, anger, and instability. Watson sells each aspect of her character’s evolution (or de-evolution), the camera focusing on her during prolonged closeups where we witness the guilt, grief, and fire burning just beneath her stoic facade.
Mescal’s charismatic screen presence suits the character of Brian, a shifty lad whose banality belies a violent, impulsive heart. Brian acts very differently when he’s being watched from when he’s alone, and Mescal expertly embodies that dichotomy, although the film leaves little doubt to Brian’s culpability. Franciosi almost steals the show, lending haunted gravitas to the role of Sarah, a woman alienated from the only place she’s called home.
Despite excellent fundamentals and ever-timely subject matter, though, Davis and Holmer’s film fails to explore its characters and the world they inhabit with the depth they merit. “God’s Creatures” prizes tone above all else, grounding us in a richly textured setting, yet neglecting to give its inhabitants the same care.
Indeed, Aileen’s grappling with morality does raise pertinent questions about love and loyalty versus truth and justice, but winds up wading through melodramatic waters. It’s a shame that, at arguably the height of her intensity, the film turns away from her, and undercuts both Watson’s performance and the contemplative storytelling that came before.
In addition, the film’s focus on Aileen’s struggles takes attention away from Sarah’s experiences and the isolation she feels. Aileen is often relegated to observing her from afar, eventually recognizing the role she plays in Sarah’s suffering. This approach, while giving Watson loads of time to showcase her skill as a performer, lessens the emotional heft of Sarah’s story.
Scenes where Aileen encounters Sarah tap into the insidious ways that casual misogyny and power imbalances manifest themselves, but only on the surface level. One searing monologue by Franciosi at the film’s conclusion alludes to a resilient, scarred, and complex character who deserves more than a few moments to get the spotlight. Davis and Holmer choose to merely acknowledge Sarah’s challenges rather than engage in insightful commentary, especially surrounding her treatment by others, and her own courage and strength despite it. By the time “God’s Creatures” finally centers her narrative, it proves to be too little, too late — deserving of a plot with wider focus, and one less centered on Aileen’s predictable (albeit undeniably well-acted) psychological turmoil.
Still, the formal elements of “God’s Creatures” shine, even when the drama takes jarring turns. This is an icy, chilly ordeal, which leaves a mark once the end credits roll regardless.
Emily Watson
“God’s Creatures” is a 2022 psychological drama co-directed by Saela Davis and Anna Rose Holmer, starring Emily Watson, Paul Mescal and Aisling Franciosi. It is rated R for language, and runs 1 hour, 40 minutes. It opened in select theatres in U.S. on Sept. 30 and is now available to rent through digital platforms. Alex’s Grade: B.
Based on a true story, “The Watcher” is seven episodes of a mystery-thriller about a couple who moves into their suburban dream home, only to discover a haunting figure is watching them. The cast includes Bobby Cannavale, Naomi Watts, Jennifer Coolidge, Terry Kinney (my ISU classmate), and Michael Nouri.
Stray Dog Theatre’s second weekend of “A Little Night Music” begins tonight at 8 p.m. at the Tower Grove Abbey, and continues Friday and Saturday. On Sunday,the only matineewill be presented at 2 p.m., and there will be a show on Wednesday at 8 p.m.
A bucolic setting for romantic entanglements is the premise, and this triple-threat cast has fun singing, dancing, and emoting in turn-of-the-20th-century Sweden.
Coming Soon: A holiday musical twist on ‘A Christmas Carol’
Are you ready for Christmas movies? Here’s the trailer for “Spirited,” a musical comedy starring Will Ferrell and Ryan Reynolds that will open in theaters on Nov. 11 and streaming on Apple TV+. It’s a new take on Dickens’ classic, but from the ghosts’ point of view. Original songs by Benji Pasek and Justin Paul.
Playlist: Rhymin’ Simon
It’s Paul Simon’s 81st birthday. He was born on Oct. 13, 1941, in Newark, NJ. He met his longtime music collaborator Art Garfunkel when they performed in a school production of ‘Alice in Wonderful” in sixth grade. They produced their first record in 1964.
Four years ago, on his 77th birthday, he appeared as the musical guest on “Saturday Night Live” for the ninth time (he hosted 4 times).
Here’s a three-minute compilation of some iconic moments on “Saturday Night Live,” including his performance of “The Boxer” on the first episode after 9-11.
Word: Ed Sullivan
On this date in 1974, the famous host died of esophageal cancer at age 73.
During his 23 years hosting “The Ed Sullivan Show,” the seminal Sunday night variety cavalcade, he said some very funny things to guests on the show and backstage. Here’s some of my favorites:
Here are some of my favorite things he ever said to music artists:
Ed Sullivan
“You boys look great, [but] you ought to smile a little more.” –speaking backstage with Jim Morrison and the band before The Doors performance
“I wanted to say to Elvis Presley and the country that this is a real decent, fine boy, and wherever you go, Elvis, we want to say we’ve never had a pleasanter experience on our show with a big name than we’ve had with you. So now let’s have a tremendous hand for a very nice person!” –complimenting Elvis Presley following his last performance.
“The little fella in front is incredible.” – Ed Sullivan talking about Michael Jackson following the first performance by The Jackson
“Before even discussing the possibility of a contract, I would like to learn from you, whether your young men have reformed in the matter of dress and shampoo.” Ed Sullivan’s response to a request by The Rolling Stones’ manager for a contract for a second appearance
Love has got everything to do with it. The costumes are gorgeous, the musicianship splendid and the legendary subjects all deserving of the spotlight in the reverent play with music, “St. Louis Woman.”
Local playwright Joe Hanrahan, Midnight Company’s founder and artistic director, has a deep knowledge and interest in local history as well as an affinity for and expertise in popular music.
In this enjoyable, affectionate showcase brimming with good beats and striking visuals, Hanrahan honors local legacies by presenting their impact on the world through an earnest young singer, Laka.
Laka is a relative newcomer on the local music scene, having performed her first cabaret at the Blue Strawberry in April 2020, and she does not have any experience regional theater.
This work is her stage debut – and it appears that her collaboration with Hanrahan took them both to their happy place. She is a likable performer, projecting perseverance and positivity, even if she is acting novice with more to learn.
Laka embodies their important traits of dedication and resolve as Hanrahan, also the director, unfolds snapshots of Josephine Baker, Tina Turner, Katherine Dunham, Maya Angelou, Fontella Bass, Ann Peebles, and Willie Mae Ford Smith.
The women are all artists with some connection to St. Louis, whether they were born here, grew up here or moved her during their adult years. You might not have heard of everyone but by the end of the show, they will all be memorable.
Hanrahan reveals interesting tidbits about their lives while Laka tells their story in looks, voice and career/life observances. Each woman could be celebrated in their own show, but this ties them intrinsically together, in small-batch narratives.
Hanrahan knows how to mine key details from his copious research to make the script flow. It’s well-constructed with moments big and small.
“They brought this city to the world with their music, dance and poetry,” he said.
The accompanying music, with cool cats Corey Patterson on keyboards and Gabe Bonfili on percussion, had a fun vibe. They excelled at keeping the tempo upbeat and the mood pleasant – nice, easy and kicked up a notch. Bruce Bramoweth’s contributions as a music consultant helped set the piece, too.
Enhancing the show immeasurably is Liz Henning’s stunning costume designs – she captured each period and personality perfectly. The red-sequined mini-cocktail dress Laka rocked as Tina was a wow!
An accomplished video designer, Michael Musgrave-Perkins has done exceptional work with archival footage and vintage documents to convey time periods for each woman, setting us in a ‘you are there’ format. The selections are first-rate and the presentation polished.
Ashley L. Tate has executed appropriate choreography, particularly the iconic Banana Dance by Josephine Baker, and Tina Turner’s vivacious gyrations.
Lighting Designer Tony Anselmo and Production Designer Kevin Bowman helped create the look that set the mood and the groove.
Straightforward and sincere, “St. Louis Woman” raises the voices of some remarkable women, leading lights once rolling on the river. It’s a remembrance to savor, a pride to share and world-class names forever linked to our city’s tapestry.
Laka. Photo by Joey Rumpell.
The Midnight Company presents “St. Louis Woman” Oct. 6-22, Thursdays through Saturdays at 8 p.m. and Sundays at 2 p.m. (Oct. 9 and 16) at the .Zack Theatre, 3224 Locust in the Grand Center Arts District. For more information, visit www. midnightcompany.com.
Enjoy a happy-hour, resource tables and activities beginning at 5:30 pm. There will be many organizations with community tabling, including Metro Trans Umbrella Group, PFLAG, Black Pride, Pride St. Louis, SQSH, and TransParent, and there will be performances by CHARIS and the Black Tulip Chorale. Light appetizers and drinks will be available for purchase until 7:00 pm, and the Missouri History Museum’s exhibits are open until 8:00 pm.
““Some of My Best Friends Are…”is a notable part of St. Louis LGBTQ+ history, is included in our Gateway to Pride digital exhibit and will certainly be incorporated into our major special exhibit on LGBTQ+ history opening in 2024,” said Sharon Smith, Curator of Civic and Personal Identity for the Missouri Historical Society, which operates the Missouri History Museum. “The Missouri History Museum is delighted to host this special program reuniting much of the original cast and crew of this theatrical work which was the first of its kind in Missouri.”
Hailed groundbreaking in 1989 as the first piece of LGBTQ+ theatre ever done in Missouri, SOMBFA sold out every performance at the St Marcus Theatre in St Louis and was voted Best Play of the Year by the Riverfront Times Readers Poll.
A collaboration between composer and lyricist Tom Clear and playwright, director and producer Joan Lipkin, and subtitled: A Musical Revue for People of All Preferences, SOMFBA chronicled the saga of Frank and Sheila, a heterosexual couple trying to make their way through a bigoted gay world. It also featured other sketches and lauded musical numbers.
“A lot of us were young rural Missourians – from towns like Willard, Poplar Bluff, Cooter, and Potosi – living in Cape Girardeau in the fall of 1989 when we heard about a hip new gay musical revue called “Some of My Best Friends Are…”,” said Rodney Wilson, retired Mehlville High School history teacher, longtime advocate for LGBTQ+ students and teachers, and founder of LGBTQ+ History Month USA. “I wasn’t out to many in October 1989 and our two hour caravan to Joan Lipkin’s splendid (and now historic) “Some of My Best Friends Are…”was my first experience with live queer culture. I’ll never forget how comfortable and safe I felt to be in a theater of mostly LGBTQ folks watching a stage of stories – funny, provocative, and poignant – about people like me.”
The reunion will bring together most of the original cast including Kate Durbin, Bill Ebbesmeyer, Terry Meddows, Steve Milloy, Mary Schnitzler, Christy Simmons and Jonas Moses. Many have described their time with the show as foundational for their professional careers and personal lives.
Music director Larry Pressgrove is coming in from New York to direct the reunion which Joan Lipkin will emcee.
““Some of My Best Friends Are…” figures significantly in my career,” said Pressgrove. “Prior to SOMBFA, I had been working as music director and arranger at St. Louis’ Metro Theatre Company. This was my first test to see if the process I had developed would work on a bigger project.”
“In addition, I had only been out of the closet a few years,” said Pressgrove. “This would be my first time working on openly gay material that directly spoke about my life. I borrowed some of Joan’s confidence and dove into the project. It was life changing for me. It really increased my pride in myself as a gay man and showed me that Gay people needed to have our stories told. SOMBFA remains one of the favorite projects of my career because it was so connected to me personally and meant so much to the people who saw it.”
Since his work with SOMBFA, Pressgrove has served as a music director, conductor and orchestrator on Broadway, Off-Broadway, and national tours. He has composed, arranged, and worked as a vocal coach and educator in numerous award-winning productions and programs.
The original production of “Some of My Best Friends Are…” was also the site of political and community organizing and is credited with helping to overturn Missouri’s Sexual Misconduct Law.
The museum event will offer audience members the chance to ask questions and share their own memories.
“For many of us, “Friends” remains one of our pivotal cultural and personal experiences, despite going on to do a lot of other interesting and productive work,” said Lipkin. “We are grateful to the museum and thrilled to come together in this free offering as a gift to the community and a reminder of what is possible in challenging times.”
This event is made possible in part by funding from the Regional Arts Commission of St. Louis, AARP and the Missouri History Museum.
It’s opening night for “Hadestown” at the Fabulous Fox! And a St. Louisan, Nathan Lee Graham, is now touring as Hermes, the role originated on Broadway by Tony winner Andre de Shields. The Tony-winning musical – eight awards including Best Musical in 2019 — will play here through Oct. 23.
Forbes Magazine described it as “an epic celebration of music, togetherness and hope.”
I’ll be there tonight, and will talk about the show on KTRS Radio The Big 550 Wednesday at 10:35 a.m. with Wendy Wiese and guest host Cordell Whitlock.
I had the opportunity to interview Graham, a Hazelwood Central and Webster University graduate (Sargent Conservatory), for the Webster-Kirkwood Times. Here is the link:
“Iliza Shlesinger: Hot Forever” is her sixth Netflix stand-up special now available. The comedian, actress and television host won NBC’s “Last Comic Standing” – the first woman and youngest winner – on NBC in 2008. She’ll be competing in the first “Celebrity Jeopardy!” semifinal on Sunday, too.
Watch the trailer: https://youtu.be/pVYImnaQF-Y
Want more? Her specials are “War Paint” in 2013, “Freezing Hot” in 2015, “Confirmed Kills” in 2016, “Elder Millennial” in 2018, and “Unveiled” in 2019.
TV: Not Ready for Prime Time
On this day in 1975, the late-night comedy sketch and variety show “Saturday Night” premiered with George Carlin as the celebrity host from Studio 8H at the NBC Studios in New York City. There were two musical guests – Janis Ian and Billy Preston. The name would be changed to “Saturday Night Live,” and SNL became a late-night institution and captured the pop culture zeitgeist with catch phrases and iconic characters.
Now in its 48th season, there have been 932 episodes. Lorne Michaels is the current executive producer, having his first run from 1975 to 1980, then returned in 1985.
SNL has won 87 Emmy Awards from 252 Primetime Emmy nominations, the most received by any television program. In TV Guide’s 50 Greatest TV Shows of All-Time, it is ranked 10th.
Fun Fact: I have seen every episode since that first one, watching the show with my college roommates and then-boyfriend at my first apartment in Normal, Ill., senior year at Illinois State University. The show was such a hit, bars in town would have it on TVs, and if you were at a party, everyone would stop to watch it. Thanks to VHS tapes and DVRs, I’m able to keep up with the show, even if I did not watch it live.
FOOD: St Louis Taco Week!
Not just for Taco Tuesday but more! This week, Oct. 10-16, will showcase $5 taco specials at 35 participating restaurants.
Each restaurateur and chef will prepare their unique take with a taco special. Pick up a Taco Passport — participants will get stamped at participating locations throughout the week. Collect at least 4 stamps and be eligible for a very special grand prize drawing as well as smaller prizes.
For more info: https://stltacoweek.com/
PLAYLIST: In memory of Angela Lansbury
Today, one of the great actresses of stage and screen passed on at age 96. Mame, Gypsy, Sweeney Todd, The Beauty and the Beast, The Manchurian Candidate and Murder, She Wrote – and on and on. She had 5 Tony Awards, three Oscar nominations, and so many other awards and nominations.
