Fox Announces Its 2024-2025 Broadway Series of Bold New Hits

Fox Announces Its 2024-2025 Broadway Series of Bold New Hits

The Fabulous Fox Theatre is ecstatic to announce its electrifying 2024-2025 Broadway season that will take audiences on a journey of timeless entertainment. The 2024-2025 Broadway Subscription will include the beloved, cinematic classic that’s now a smash-hit on Broadway, BACK TO THE FUTURE: THE MUSICAL, the untold true story A BEAUTIFUL NOISE: The Neil Diamond Musical,the newly-imagined PETER PAN, the highly anticipated return of SIX, the “corniest” hit SHUCKED, the spectacular Grammy Award® winning SOME LIKE IT HOT, the most Tony Award®-winning musical of the season KIMBERLY AKIMBO, and the sensational & JULIET. 

Off-Series specials include CHICAGO, Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical, MEAN GIRLS, RIVERDANCE- 30th Anniversary Tour and AIN’T TOO PROUD- The Life and Times of The Temptations. As previously announced, the return of HAMILTON will kick off the 2024-2025 Broadway Season August 28 – September 8. Subscribers will have priority access to purchase tickets to HAMILTON before the general public.

BACK TO THE FUTURE: The Musical | September 24 – October 6, 2024

Great Scott! BACK TO THE FUTURE, the beloved, cinematic classic is now a Broadway musical with its destination set for St. Louis in 2024. Winner of the 2022 Olivier Award for Best New Musical, four WhatsOnStage Awards, including Best New Musical, and the BroadwayWorld Award for Best New Musical, Back to the Future: The Musical is adapted for the stage by the iconic film’s creators Bob Gale (Back to the Future trilogy) and Robert Zemeckis (Forrest Gump) and directed by Tony Award®-winner John Rando with original music by multi-Grammy® winners Alan Silvestri (Avengers: Endgame) and Glen Ballard (Michael Jackson’s “Man in the Mirror”), alongside hit songs from the movie including “The Power of Love,” “Johnny B. Goode,” “Earth Angel,” and “Back in Time.” When Marty McFly finds himself transported back to 1955 in a time machine built by the eccentric scientist Doc Brown, he accidentally changes the course of history. Now he’s in a race against time to fix the present, escape the past, and send himself… back to the future. When BACK TO THE FUTURE hits 88mph, it’ll change musical theatre history forever.


A BEAUTIFUL NOISE: The Neil Diamond Musical | October 29 – November 10, 2024

Created in collaboration with Neil Diamond himself, A BEAUTIFUL NOISE is the uplifting true story of how a kid from Brooklyn became a chart-busting, show-stopping American rock icon. With 120 million albums sold, a catalogue of classics like “America,” “Forever in Blue Jeans,” and “Sweet Caroline,” an induction into the Songwriters and Rock and Roll Halls of Fame, a Grammy® Lifetime Achievement Award, and sold-out concerts around the world that made him bigger than Elvis, Neil Diamond’s story was made to shine on Broadway-and head out on the road across America. Like Jersey Boys and Beautiful: The Carole King Musical before it, A BEAUTIFUL NOISE- The Neil Diamond Musical is an inspiring, exhilarating, energy-filled musical memoir, that tells the untold true story of how America’s greatest hit maker became a star, set to the songs that defined his career.

PETER PAN | November 13-24, 2024

This high-flying musical has been thrilling audiences of all ages for close to 70 years and is now being brought

back to life in a new adaptation by celebrated playwright Larissa FastHorse, with direction by Emmy® Award winner Lonny Price and choreography by Lorin Latarro. The adventure begins when PETER PAN and his mischievous sidekick, Tinker Bell, visit the bedroom of the Darling children late one night. With a sprinkle of fairy dust and a few happy thoughts, the children are taken on a magical journey they will never forget. This extraordinary musical full of excitement and adventure features iconic and timeless songs including “I’m Flying,” “I Gotta Crow,” “I Won’t Grow Up” and “Neverland.” PETER PAN embraces the child in us all so go on a journey from the second star to the right and straight on ‘til morning–your entire family will be Hooked!

SIX I January 21 – February 2, 2025

From Tudor Queens to Pop Icons, the SIX wives of Henry VIII take the microphone to remix five hundred years of historical heartbreak into a Euphoric Celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over! SIX won 23 awards in the 2021/2022 Broadway season, including the Tony Award® for Best Original Score (Music and Lyrics) and the Outer Critics Circle Award for Best

Musical. The New York Times says SIX“TOTALLY RULES!” (Critic’s Pick) and The Washington Post hails SIX as “Exactly the kind of energizing, inspirational illumination this town aches for!”

SHUCKED | February 11-23, 2025

SHUCKED is the Tony Award®–winning musical comedy The Wall Street Journal calls “flat out hilarious!” And nobody knows funny like economists. Featuring a book by Tony Award winner Robert Horn (Tootsie), a score by the Grammy® Award–winning songwriting team of Brandy Clark and Shane McAnally (Kacey Musgraves’ “Follow Your Arrow”), and directed by Tony Award winner Jack O’Brien (Hairspray), this corn-fed, corn-bred American musical is sure to satisfy your appetite for great musical theater.

SOME LIKE IT HOT | February 26 – March 9, 2025

Winner of 4 Tony Awards®, including Best Choreography and Best Costumes, and the Grammy Award® for Best Musical Theater Album, SOME LIKE IT HOT is “A Super-Sized, All-Out Song-And-Dance Spectacular!” – The New York Times. Set in Chicago when Prohibition has everyone thirsty for a little excitement, SOME LIKE IT HOT is the “glorious, big, high-kicking” (Associated Press) story of two musicians forced to flee the Windy City after witnessing a mob hit. With gangsters hot on their heels, they catch a cross-country train for the life-chasing, life-changing trip of a lifetime. And what a trip it is! With its irresistible combination of heart and laughs, song and dance, SOME LIKE IT HOT won more theater awards than any show this season, and was named Best Musical by the Drama Desk, The Drama League, and the Outer Critics Circle. No wonder Deadline calls it “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”

KIMBERLY AKIMBO | March 25 – April 6, 2025

A new musical about growing up and growing old (in no particular order), KIMBERLY AKIMBO is the winner of 5 Tony Award® including BEST MUSICAL.  It features Tony Award®-winning book and lyrics by David Lindsay-Abaire (Shrek), a Tony Award®-winning score by Jeanine Tesori (Fun Home), choreography by Danny Mefford (Dear Evan Hansen) and direction by Tony-nominated director Jessica Stone. Kimberly is about to turn 16 and recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim is forced to navigate family dysfunction, a rare genetic condition, her first crush … and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.

& JULIET | May 20 – June 1, 2025

Created by the Emmy®-winning writer from “Schitt’s Creek,” this hilarious new musical flips the script on the greatest love story ever told. & JULIET asks: what would happen next if Juliet didn’t end it all over Romeo? Get  whisked away on a fabulous journey as she ditches her famous ending for a fresh beginning and a second chance at life and love—her way. Juliet’s new story bursts to life through a playlist of pop anthems as iconic as her name, including “Since U Been Gone‚” “Roar,” “Baby One More Time,” “Larger Than Life‚” “That’s The Way It Is,“ and “Can’t Stop the Feeling!”—all from the genius songwriter/producer behind more #1 hits than any other artist this century. Break free of the balcony scene and get into this romantic comedy that proves there’s life after Romeo. The only thing tragic would be missing it.

Series Specials

Including HAMILTON, six Broadway shows will be offered as specials to 2024–2025 season ticket holders for priority seating before their public on-sale dates. The longest-running American musical in Broadway history, CHICAGO, will razzle-dazzle St. Louis audiences November 29 – December 1. In Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical, the classic holiday tale comes to life on stage at the Fox December 27-29. You know you’ll want to sit with us when Tina Fey’s hilarious hit musical MEAN GIRLS returns for a limited engagement March 14-16. The 30thAnniversary production of RIVERDANCE will return May 2-4. Get ready to dance in your seats with the signature dance moves and silky-smooth harmonies of the legendary quintet in AIN’T TOO PROUD- The Life and Times of The Temptations May 9-11.

A seven show package is also available to subscribers that will exclude the show SIX. New seven and eight-show season ticket packages will go on sale Friday, May 10. Current Broadway season ticket holders will receive their renewal information in the coming days. On-sale dates for individual shows will be announced later. For more information, please visit FabulousFox.com.

2024 – 2025 Broadway Series Shows and Specials:
(The Season Ticket Package shows are in bold)
HAMILTON * August 28 – September 8, 2024
BACK TO THE FUTURE * September 24 – October 6, 2024
A BEAUTIFUL NOISE: The Neil Diamond Musical * October 29 – November 10, 2024
PETER PAN * November 13-24, 2024
CHICAGO * November 29 – December 1, 2024
Dr. Seuss’ HOW THE GRINCH STOLE CHRISTMAS! The Musical * December 27-29, 2024
SIX * January 21 – February 2, 2025
SHUCKED * February 11-23, 2025
SOME LIKE IT HOT * February 26 – March 9, 2025
MEAN GIRLS * March 14-16, 2025
KIMBERLY AKIMBO * March 25 – April 6, 2025
RIVERDANCE * May 2-4, 2025
AIN’T TOO PROUD- The Life and Times of The Temptations * May 9-11, 2025
& JULIET * May 20 – June 1, 2025

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

‘Mrs. Doubtfire’ Is a Hellooooo of a Good Time on Tour at The Fox

By CB Adams

Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations. 

“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour. 

Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances. 

To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell. 

As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.  

“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement. 

Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.

As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way. 

“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family. 

The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders. 

This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”

Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com   

Fox Presents Supercharged 50th Anniversary ‘Jesus Christ Superstar’

Fox Presents Supercharged 50th Anniversary ‘Jesus Christ Superstar’

By CB Adams

There’s a button on my podcast player that allows me to listen at normal speed or an accelerated 1 ½ speed. The purpose of that button ostensibly is to allow me to ingest more content in less time. But there’s a difference between the ability to ingest content and the desire to digest it. That’s the conundrum presented by Jesus Christ Superstar at the Fabulous Fox Theater through May 21.

This 50th-anniversay Superstar seeks to reboot the popular musical-by-way-of bestselling album into a production that is louder, faster and flashier. Make that, tick-tick-boomier. But there’s a sizable aspiration-to-reality gap with this show that’s often hyperactive, frenetic and screechy.

In the past half century, Superstar has attracted its ardent adherents and super-fan believers in the works of Emmy, Grammy, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber. I, too, have a soft spot for Superstar as I remember the thrill the original double vinyl album and feeling the transgressive power of a rockstar treatment of the last days of Jesus. The movie was a disappointment for me, failing to replicate on the big screen the feeling I had for the performances blaring through my friend’s big speakers.

Based perhaps on my own nostalgic remembrance of listening to the original album, this production feels rushed, akin to filling a ’68 VW Beetle with jet fuel. It’s fast and furious and constantly in danger of burning itself out. It left me feeling as though director Timothy Sheader’s goal was see if he could pack a two-hour show into approximately 90 minutes without intermission. If you like your Superstar staged like a stadium concert with actors using handheld microphones like hyperventilating rock stars, then this production will not disappoint you.

Elvie Ellis as Judas. Photo by Evan Zimmerman

This show’s use of microphones and stands (some incorporated into the staffs of Caiaphas and his entourage) would make Jim Morrison, Steven Tyler, David Lee Roth and Prince envious. In a later scene, the corded microphone stands in for the suicide of Judas, and the color of the cords of Jesus’ adversaries change from black to red.

For much of the show, that approach has its successes transitioning from song to song, scene to scene. If you know the score by heart, the songs, scenes and characters are tightly and creatively interwoven and delivered with little opportunity for boredom – or the head space to contemplate the way they resonate with the source material. From the “Overture” through to “The Temple,” this production succinctly sets up the story to follow. But the momentum and accelerated delivery of those songs overruns the beautiful moment and sentiments presented in “I Don’t Know How to Love Him,” a song that deserves a pause and respite from the pedal-to-the-metal, just-push-play pacing.

The set, designed by Tom Scutt, is dominated by an industrial metal crucifix angled across the stage, is well-suited to the quick transitions of the lead characters, the ensemble and back-up soul singers. However, almost all of the action takes place on the crucifix and stage right. This makes for lopsided viewing.

The onstage band is stacked stage left on two levels. Choreographer Drew McOnie makes ingenious use of the set but adds to the production’s overall freneticism. Mostly, the music video moves complement the songs, but they can occasionally seem plastic, unemotional and even downright silly.

Faith Jones as Mary Magdalene. Photo by Evan Zimmerman

Among this show’s weaknesses, the cast is not among them. Regardless of the weaknesses in some of the choreography and direction, this cast tries. God knows they try as they sang and danced and acted to make the most of the material.

From the leads to the ensemble and soul singers, this show delivers impressive vocal power, even if the lyrics are sometimes lost in all the rockstar caterwauling . There are no stand-outs among the cast because each member is so well-matched to the material and the other singers. Jack Hopewell as Jesus is a bantam in stature and a giant in voice, whereas Nicholas Hambruch is Falstaffian in stature and Meatloaf-ed in voice. Elvie Ellis delivers a powerfully nuanced Judas. The moment when he accepts the bribe money to betray Jesus and pulls his silvered hands from a chest is one of the show’s best details. Faith Jones, as the only female lead, excels as Mary.

Erich W. Schleck provides Superstar’s only humous moment during a glam-rock interpretation of “Herod’s Song.” This is an oddly singular moment in Superstar. Schleck milks the moment for all its worth, and may be the most memorable of all the performances. Bowie would be proud.

Like the story of the Titanic, we all know how Jesus Christ Superstar ends. Before this production concludes with a crucified Jesus and Judas sitting ambiguously together on the crucifix, there are two less nuanced, and therefore less effective moments. One is the use of bursts of glitter during the lashing of Jesus – all 39 of them. The other is the use of a nail gun (that looked more like a cordless drill) as Jesus is put to the cross. In this production’s neediness to be modern, this was needless overkill – shades of Final Destination 3, Casino Royale and Lethal Weapon 2.

These moments exemplified the best and not-the-best parts of this production. They left me not knowing how to love this Superstar.

North American Tour cast of “Jesus Christ Superstar.” Photo by Evan Zimmerman

Performances of “Jesus Christ Superstar” at the Fabulous Fox run May 9 through 21. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com   

‘Six’ Offers Snappy Take on the Not-So-Merry Wives of Tudor

‘Six’ Offers Snappy Take on the Not-So-Merry Wives of Tudor

By CB Adams

“The past is never dead,” observed the novelist William Faulkner. “It’s not even past.” That sentiment was certainly on extravagant view at the Fox Theatre during the opening of “Six” the musical, running through Feb. 5.

“Six” is a music-forward revue – a glammy, poppy, hip-hoppy, “Schoolhouse Rock” treatment of King Henry VIII’s gaggle of significant others. Think of it as a “First Wives Club” with a killer soundtrack, sick beats, explosive light show, and a bevy of Queen Beys who put a ring, a stiletto and a defiant stomp on their heretofore musty-dusty place in the past. Or think of it as reimagined Tudor history for the TikTokkers.

If you’re expecting an historical costume drama, “Six” may surprise you because it’s heavy on the costumes and light, to the point of nonexistence, of the drama. But, oh those Tudor-inspired costumes. With all their studs, spikes, sequins, fishnets, bangles, baubles and bedazzlings, the black-pleathered costumes are enough to distract you from the history and entice you to just enjoy the swish, swagger and swirl of the performers.

This puts a new spin on the term historical “figures.” As bedecked, any of the queen-wives would have been Henry’s one and only – thanks to costume design by Gabriella Slade.

Historians, most of them of the male persuasion, have not been kind to the stories and legacies of Henry’s wives and lovers – rendering them with more histrionics than history.  That’s one of the main injustices that writers Toby Marlow and Lucy Moss apparently hoped to rectify during this musical’s snappy 80 minutes.

Marlow and Moss, who have written for Australian drag queen, singer and television personality Courtney Act, reclaim the fates of Henry’s wives into a shiny, knives-out revenge fantasy. They relish poking fun at Henry’s rotundity, his miniscule man-parts and his peccadillos big and small.

Under the direction of Moss and Jamie Armitage, “Six” puts all its jewels (actors, band, Eurovision-inspired set with more flashes than a Princess Di press conference) on stage, all at once and for the duration of the musical. What you see is what you get – from the get go – crowned by a more-is-more aesthetic.

The premise of “Six” is simple and simply stated at the outset. In a sort of “RuPaul’s Drag Race” by way of “Zoolander”-style walk-off, the queens compete to see who was dealt the worst hand by history and Henry to “be the one to lead the band.” Each queen gets a song and a dance and a chance to garner the most support (applause, applause) from the audience. This pageant-like format is really just an audience-engagement device and succeeds as such – the audience opening night came primed to hoot, holler and clap after each queen’s signature song.

In between are chorus numbers by The Queens in toto. When performing as The Queens, Cecilia Snow (Catherine of Aragon), Zan Berube (Anne Boleyn), Amina Faye (Jane Seymour), Terica Marie (Anna of Cleves), Aline Mayagoitia (Katherine Howard) and Sydney Farra (Catherine Parr), are impressive in voice and coordinated dances. Of the show’s nine songs, the ones owned by The Queens – “Ex-Wives,” “Haus of Holbein” and “Six” – are the best in the show, perhaps because of the combination of tight harmonization and the flash-dance choreography that takes full advantage of the confined stage.

The six solo songs wear their song-diva influences proudly and deliver catchy, if repetitive, lyrics bolstered by sonic-boom baselines. Snow’s “No Way” is an anti-divorce anthem, Faye’s “Heart of Stone” is an edgy torch song, and Mayagoitia’s “All You Wanna Do” is fruity piece of bubble gum pop.

The other “character” on stage is the all-female band called The Ladies in Waiting – Katie Coleman (conductor/keyboard), Sterlyn Termine (bass),  Liz Faure (Guitars) and Caroline Moore (drums), as well as Paul Gatehouse (sound design). The band is bespoke for this musical theater’s young fanbase and ferociously spews forth the spunky score’s zesty, sometimes winkingly naughty fun – all with the tight fury of a Prince guitar solo.  

Enhancing the concert-like experience of “Six” is the lighting design by Tim Deiling. According to LiveDesign website, “Beyoncé’s narrative pop concerts, where she tells you parts of her story, is what inspired the authors of “Six,” said Deiling. “Each of our six Queens are actually influenced heavily from contemporary pop divas (Aragon = Beyoncé, Boleyn = Katy Perry, Seymour = Adele, Cleves = Rihanna, and Parr = Alicia Keys) and I needed to differentiate between each Queen, so we drew on reference material from each of them.” In Deiling’s stated goals, the lighting design checks all those boxes, although it sometimes with all the flashing lights it might have been prudent to provide seizure warning.

In the first scene in “Six,” the Queens are lined up and Mayagoitia as Katherine Howard states, “…we’ve got a serious score to settle.” And like a spoonful of sugar helping the medicine go down, they spend the next rollicking hour and half making their cases. “Six” is as brightly appealing as a Twinkie and about as nutritious (historically speaking), but it is a fulfilling bon-bon of pure escapism. Take that, Henry!

Performances of “Six” at the Fabulous Fox run January 24-February 5. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com

Six Photos by Joan Marcus

Popster Picks for Monday, Oct. 31

Popster Picks for Monday, Oct. 31

By Lynn Venhaus

Local Spotlight: Haunted Restaurant

Yes, Papa Vito’s restaurant in downtown Belleville is in a haunted historic building. It has a colorful history, but more importantly, the ghosts remain active. I was just there Saturday evening at a birthday party, and we heard from employees who have had encounters.

Here’s the backstory published in the Belleville News-Democrat today:

https://www.bnd.com/living/article267998297.html?utm_source=pushly&intcid=pushly_2462030

Streaming: Halloween movies for tonight (and anytime you want something spooky)

This is a good comprehensive list of what’s available on the streaming services – classics and new horror films:
https://www.tvguide.com/news/best-halloween-movies-to-watch-2022-hbo-max-netflix-hulu-disney-plus/?ftag=NLS-04-10aaa1a&mid=14045866&cid=2365088847

Theater: Shining Local Star

What a delightful young woman! I was thrilled to be able to write about Berklea Going for last week’s Webster-Kirkwood Times. The Nerinx Hall graduate and Muny veteran of 19 summers is in the national tour of “Frozen” and will be at the Fox as soon as her run in “42nd Street” at the Goodspeed Opera House is over this weekend. Here is my feature on this talented St. Louis native

Here is my feature in Friday’s print edition of the Webster-Kirkwood Times:

https://www.timesnewspapers.com/webster-kirkwoodtimes/i-want-to-take-it-all-in/article_8bf8c7a4-5601-11ed-b8f2-db9cc1105a7c.html

Food: The McRib Farewell Tour

Yes, the McRib is available at participating McDonald’s starting today – but it’s a limited time, and yes, the final countdown.

https://www.mcdonalds.com/us/en-us/product/mcrib.html

Playlist: Who You Gonna Call?

Ray Parker Jr. performed his classic “Ghostbusters” song on “The Talk” today.

Word: “It’s as much fun to scare as to be scared.” – Vincent Price

May you have a safe and fun Halloween!

Popster Picks for Weekend Oct 15-16

Popster Picks for Weekend Oct 15-16

By Lynn Venhaus

Music: Yacht Rock Classics

“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.

Good seats still available. For tickets: https://www.ticketmaster.com/event/06005C76EA2B9722

Movie: “Into the Woods” Sing-along

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:

‘Hadestown’ Tour at the Fox Is A Marvel From A Different Universe

I talked about it on KTRS Wednesday morning.

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.

Five things we learned, according to Variety:

https://variety.com/2022/streaming/news/i-love-you-you-hate-me-barney-docuseries-peacock-spoilers-1235397274/


Word: #MeToo

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.

Fox Announces Lottery For $10 ‘Hamilton’ Tickets April 12 – May 15

Fox Announces Lottery For $10 ‘Hamilton’ Tickets April 12 – May 15

Producer Jeffrey Seller and the Fabulous Fox Theatre announce a digital lottery for HAMILTON tickets willbegin in conjunction with the show’s first performance on April 12 in St. Louis at the Fabulous Fox Theatre. A limited number of tickets will be available for every performance for $10 each. The lottery will first open at 10:00 AM Friday, April 1 and will close at 12:00 PM Thursday, April 7 for tickets to performances April 12–17. Subsequent digital lotteries will begin on each Friday and close the following Thursday for the upcoming week’s performances.

HOW TO ENTER

·         Use the official app for HAMILTON, now available for all iOS and Android devices in the Apple App Store and the Google Play Store (http://hamiltonmusical.com/app).

·         The lottery will open at 10:00 AM every Friday and will close for entry at 12:00 PM the next Thursday prior to the following week’s performances.

·         Winner and non-winner notifications will be sent between 1:00 PM and 4:00 PM every Thursday for the upcoming week’s performances via email and mobile push notification.  Winners will have two hours to claim and pay for their ticket(s). 

·         No purchase or payment necessary to enter or participate.

·         Each winning entrant may purchase up to two (2) tickets. 

·         Only one entry per person. Repeat entries and disposable email addresses will be discarded.

·         Lottery tickets may be picked up at will call beginning 2 hours prior to the performance with a valid photo ID.

·         Lottery tickets void if resold.

·         All times listed are in the local time zone. 

ADDITIONAL RULES

Patrons must be 18 years or older and have a valid, non-expired photo ID that matches the name used to enter. Tickets are non-transferable. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice.

Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final – no refunds or exchanges.  Lottery may be revoked or modified at any time without notice. A purchase will not improve the chances of winning.

Tickets for HAMILTON are currently on sale.  Patrons are advised to check the official HAMILTON channels and MetroTix for late release seats which may become available at short notice.

HAMILTON is the story of America then, told by America now.  Featuring​ a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. 

With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony​®​, Grammy​®​, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

The HAMILTON creative team previously collaborated on the Tony Award ® Winning Best Musical IN THE HEIGHTS.

HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by The Telsey Office, Bethany Knox, CSA, and General Management by Baseline Theatrical. 

The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.  The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.

For information on HAMILTON, visit www.HamiltonMusical.com, www.Facebook.com/HamiltonMusical, www.Instagram.com/HamiltonMusical and www.Twitter.com/HamiltonMusical.

All for love and ‘zazz,’ ‘The Prom’ Triumphs at the Fox Theatre

All for love and ‘zazz,’ ‘The Prom’ Triumphs at the Fox Theatre

By Lynn Venhaus
Let’s hear it for love and ‘Zazz’!

An original musical comedy that remains a breath of fresh air, “The Prom” pops with color and pizzazz. Because it is a big-hearted splashy production, the show now on national tour is a perfect tonic in dark times and well-timed during a cold, dreary winter.

The Fox Theatre’s patrons eager to laugh and feel the connection that only live theater can provide may come away singing the catchy lyric “Life’s no dress rehearsal” from the show’s exuberant song, “Tonight Belongs to You,” while humming others from the tuneful and upbeat score by Tony-nominated writing partners Chad Beguelin and Matthew Sklar.

Beguelin, the lyricist and co-book writer from Centralia, Ill., grew up seeing shows at The Fox. He and Sklar are known for musical adaptations of “The Wedding Singer” and “Elf,” and he provided new lyrics for composer Alan Menken for “Aladdin,” which had a pre-Broadway tryout at The Muny in 2012.

Beguelin co-wrote the book with Bob Martin, whose credits include “The Drowsy Chaperone.” Based on Jack Viertel’s concept from a true story in the Itawamba County School District in Mississippi, where a high school decided to cancel its prom rather than allow a senior student to bring her girlfriend as her date in 2010.

The case, which involved the ACLU and a decision on violating the First Amendment, wound up in court. The girl was allowed to attend the prom, but local parents organized a separate prom for the rest of the students. Celebrities rallied to help sponsor a special prom without a homophobic backlash. Being a self-centered celebrity magnet gets a few dings here, but the goal is all positive.

Through its cheerful humor that’s drawn from both narcissistic Broadway performers who live in a showbiz bubble and the charms and drawbacks of small-town Midwest living, the play promotes tolerance, inclusivity and understanding.

After its premiere at a regional Atlanta theater in 2016, a Broadway run in 2018-2019 received seven Tony nominations, the Drama Desk Award for Best Musical and rave reviews.

Privileged to see it on Broadway in May 2019, I was excited for others to discover its charm and celebrate its spirit. But the original planned tour shut down during the pandemic’s first wave.

With great anticipation, it was set to bow Jan. 25 in St. Louis, home to several backers, including one of the three leading producers, Jack Lane, executive director of Stages St. Louis, and multiple co-producers.

Despite its peppy moves and colorful characters, the company couldn’t escape from the 2022 reality of a highly transmissible Omicron variant. During the stop in Baltimore that preceded St. Louis, the Jan. 21-23 shows were cancelled because too many cast members were affected by the coronavirus.

And despite the rocky start Friday after three-day delay, the fact that the cast, crew, and creatives could rally to put on a show at all, given the issues and obstacles to overcome, is a miraculous triumph.

The Fabulous Fox performances are now Jan. 28 through Feb. 6, with an extra performance scheduled then.

Safety protocols have always been a part of the tour, which began in late 2021. And for admission to the Fox Theatre, patrons are required to show a vaccination card in advance, or a negative COVID-19 test.

Because of cast illnesses, five people substituted for eight roles Friday, including the leading role of entitled prima donna Dee Dee Allen, with understudy Ashley Bruce replacing headliner Courtney Balan. Another main stage diva, Juilliard graduate Trent Oliver, was played by Jordan Alexander instead of Bud Weber.

Understudy Thad Turner Wilson replaced Shavey Brown as publicist Sheldon Saperstein and Christopher McCrewell slam-dunked it as Principal Hawkins, filling in for Sinclair Mitchell. Swing Jordan De Leon, a Stages St. Louis veteran, capably took on four roles, including Olivia Keating, Kevin, Motel Clerk and in the ensemble.

Bruce and Alexander eventually found their groove in the clueless Gang of Four, who flamboyantly land in Edgewater, Indiana, aka Podunk USA, to support the scorned Emma, who wanted to bring a single-sex date to the prom at her not-having-it high school.

After a somewhat flat first act, the cast recovered its rhythm and came roaring back in the second, and much stronger, act. The relief shown on the beaming performers’ faces during a rousing “It’s Time to Dance” finale, and the jubilant curtain call afterwards said it all. They did it! And deserve all the high-fives and praise for seizing the moment.

Casey Nicholaw’s crisp direction and snappy choreography keep things tight and bright.

The Prom, Music by Matthew Sklar, Book by Bob Martin and Chad Beguelin, Lyrics by Chad Beguelin, Directed and Choreographed by Casey Nicholaw cast: Kaden Kearney (Emma), Kalyn West (Alyssa Greene), Courtney Balan (Dee Dee Allen), Patrick Wetzel (Barry Glickman), Emily Borromeo (Angie Dickinson), Bud Weber (Trent Oliver), Sinclair Mitchell (Mr. Hawkins), Ashanti J’Aria (Mrs. Greene) and Shavey Brown (Sheldon Saperstein)

The triple-threat cast is solid, with national tour newbie (and non-binary) Kaden Kearney impressive as Emma, the lesbian student reluctantly at the center of the firestorm. With their strong pipes, they crushes “Just Breathe,” confidently takes on “Dance with You,” and emotionally delivers “You Happened.” Kearney’s most moving song is the acoustic solo, “Unruly Heart,” which they record for social media posting from her bedroom, explaining exactly how Emma feels.

The poised Ashanti J’Aria gives more dimension to PTA President Mrs. Greene instead of being a one-note villain, while Kalyn West, a veteran of the Broadway cast, shines as her daughter. West and Kearney have a nice chemistry that carries over to the musical numbers.

Each of the Broadway stars has an opportunity to shine, with lithe-limbed Emily Borromeo smooth as the game chorus girl Angie Dickinson, standing out in the signature “Zazz” song-and-dance with its iconic Fosse moves.

Patrick Wetzel comically embodies Barry Glickman, the very theatrical sidekick who basks in the spotlight 24/7, and his scenes with Emma take on a heart-tugging poignancy. His sweet “Barry Is Going to Prom” shows another side to the bombastic showman.

Alexander stands out in the vivacious “Love Thy Neighbor,” which points out hypocrisy to the judgy youngsters in a relevant way.

The showy out-of-towners are funny in “It’s Not About Me” and “The Acceptance Song,” as the humor in the lyrics cleverly blends with the story. Through hilarity, the show’s writers get their points across. – without being strident or pretentious.

The fun musical is a tidy two hours, with a 15-minute intermission. Once the rights are released to perform, it will translate well to regional and community theaters and schools.

While the musical is livelier and more endearing than the extravagant and glitzy Netflix film, produced and directed by Ryan Murphy (“Glee”), the fact that it reached more people through his involvement is a good thing.

Murphy wanted to support its message through a broader audience and signed on an A-list cast including Meryl Streep, Nicole Kidman, Kerry Washington, Andrew Rannells, James Corden, Keegan-Michael Key and Ariana Debose. The star-spangled movie musical came out in December 2020.

Like the characters Emma and Alyssa, Murphy, too, grew up in Indiana as a gay male struggling with his identity. Because its uplifting story encourages teenagers to be their authentic selves, the LGBTQ-supportive show has brought people together around the globe.

The stars aren’t that helpful – except they do get people to see Emma for who she is, and that’s a win-win victory. What’s not to love about a teachable moments that result in joy?

It might be time to dance!

For more information, visit www.fabulousfox.com. For tickets, visit: MetroTix.com

Matinee performance of “The Prom” in NYC 2019

Here are links to articles about the local connections to “The Prom” and an interview with a cast member.

Article with producer Jack Lanehttps://www.timesnewspapers.com/webster-kirkwoodtimes/its-pure-joy/article_6290955c-7a08-11ec-9236-b37ee0f21626.html

Here is our podcast with Ashanti J’Aria, who plays Mrs Greene in “The Prom”https://soundcloud.com/lynn-zipfel-venhaus/a-conversation-with-ashanti-jaria?si=ef9f75bc20cc4b638b6f411aaed38cea&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Local Producers Going to the Tonys
https://www.bnd.com/living/magazine/article230691424.html

Netflix Movie Has Local Ties
https://www.bnd.com/news/local/article247813845.html

Single Tickets to ‘Hamilton’ at the Fox Go On Sale Nov. 29

Single Tickets to ‘Hamilton’ at the Fox Go On Sale Nov. 29

Producer Jeffrey Seller and the Fabulous Fox Theatre announce today that single tickets for HAMILTONwill go on sale to the public on Monday, November 29 at 10:00 a.m. at MetroTix.com or by calling 314-534-1111. The Fox Box Office will be open from 10:00 a.m. – 2:00 p.m. on Monday, November 29, but is not open daily on a regular basis. Tickets will be available for all performances April 12 – May 15, 2022.   

There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $49 to $179 with a select number of premium seats available from $199 for all performances.  Once Hamilton opens, there will be a lottery for 40 $10 seats for all performances. Details will be announced closer to the engagement.

Jeffrey Seller notes, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the St. Louis engagement should be made through MetroTix.com.”

HAMILTON is the story of America then, told by America now.  Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. 

With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

The HAMILTON creative team previously collaborated on the Tony Award®-Winning Best Musical In the Heights.

HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by The Telsey Office, Bethany Knox, CSA, and General Management by Baseline Theatrical.

The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

The HAMILTON Original Broadway Cast Recording is available everywhere nationwide. The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.

For information on HAMILTON, visit:

●        HamiltonMusical.com

●        Facebook.com/HamiltonMusical

●        Instagram.com/HamiltonMusical

●        Twitter.com/HamiltonMusical

Fox Announces New Dates

Fox Announces New Dates

The Fabulous Fox Theatre is excited to announce the new dates for Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY will be December 22-27, 2020.

This magical family show is a perfect addition to the Fox holiday lineup when the theatre is resplendent with the spirit of the season. Roald Dahl’s CHARLIE AND THE CHOCOLATE FACTORY was originally scheduled to play at the Fabulous Fox March 17-29, 2020 but was postponed due to city of St. Louis COVID-19 mandate.

CATS is not available to return to the Fox within this 2019-2020 season, but we are working to secure it for a future season. St. Louis will have to wait a bit longer for “the memory to live again.” CATS was originally scheduled to play at the Fabulous Fox April 7-19, 2020 but was also postponed due to city of St. Louis COVID-19 mandate.Since both productions will be presented in a different season than originally scheduled, season ticket holders are currently being notified of their options.

Single ticket buyers will be emailed next week about automatic refunds beginning on Monday, April 13. Due to the number of cancellations, the refund process is expected to last 3-4 weeks. The Fox Box office is currently closed in compliance with the city of St. Louis COVID-19 mandate.