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   

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

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!

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:

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.

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 LacamoireHAMILTON 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.comwww.Facebook.com/HamiltonMusicalwww.Instagram.com/HamiltonMusical and www.Twitter.com/HamiltonMusical.

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

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

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.

By Lynn Venhaus

As concerns for public health grows as the Coronavirus spreads in the U.S., many arts and entertainment events have been cancelled in the metropolitan St. Louis area. Some will be rescheduled. While others, in smaller venues, continue.

St. Louis City banned events with crowds bigger than 1,000 Thursday and St. Louis County announced Friday it is preventing crowds bigger than 250, effective immediately, until further notice.

Slowing the spread of COVID-19 is the utmost importance in making these decisions. Governors of Missouri and Illinois have declared states of emergency, as had the U.S. President on Friday.

Nationally, Broadway went dark and its 31 theatres announced they would be closed through Easter, which is April 12.

Dramatists Play Service, which holds the rights to many shows, has announced refunds to companies who have to cancel and also information regarding possibly live-streaming shows. For further information, visit https://www.dramatists.com/text/covid19cancellationpolicy.asp

Here is a list of what’s the latest news from local companies and venues, with the most up-to-date information as possible. It is best to check with a group before heading out as news can change fast.

Most companies released statements about how they have stepped up cleaning efforts and encouraging those feeling sick to stay home. They have also offered refund information. Check their social media and websites for current information.

On Thursday, the Fox Theatre announced postponement of all performances and tours through March 31.

“The Bachelor Live on Stage, scheduled for Friday, March 13 and Charlie and the Chocolate Factory scheduled for March 17-29 will both be postponed.   Plans to reschedule are currently underway. Ticket holders should hold on to their tickets – they will be honored on the new dates,” statement said.

Decisions about other future shows will be made as they follow the evolving situation with the COVID-19 Virus and the City of St. Louis’ determination of the length of this prohibition, a spokesman said.

The Repertory Theatre of St. Louis, on the campus of Webster University, is opening “The Cake” in the Studio Theatre March 13, and Friday evening announced that they would suspend all performances beginning Monday, March 16. They are postponing the opening of “Dreaming Zenzile,” set to open March 20, with hopes of rescheduling this summer.

This is a reversal of their announcement Wednesday that all their performances would continue. Here is the new statement:

“Following the declaration of a state of emergency in St. Louis County surrounding the spread of coronavirus (COVID-19), The Repertory Theatre of St. Louis must place the safety of its patrons, staff and artists above all other considerations.

Based on the Centers for Disease Control and World Health Organization’s recommendations against large group gatherings, The Rep has decided to cancel all performances and events beginning Monday, March 16 through the end of the season. We plan to postpone our Mainstage world premiere of Dreaming Zenzile, with the goal of mounting it this summer.

“We do not take this decision lightly, knowing that the communal connections made at public arts events are some of the strongest tools against the fears and anxieties of this moment. As we ride out this turbulent time together, we remain resolutely committed to the power of storytelling to change lives and uplift our shared humanity. Thank you for your understanding and for being a part of our Rep family. We look forward to welcoming you home again this summer.

We will be reaching out to ticketholders shortly via email, phone and/or text with more details regarding ticket options. For additional updates, stay tuned to repstl.org and our Facebook and Twitter feeds,” the statement said.

The Playhouse at Westport continues “Flanagan’s Wake” performances as planned. However, the company that owns the venue released a statement explaining their efforts.

“Our efforts in cleaning the venue have been stepped up and we will be disinfecting each seat, handrail and surface within the theatre prior to opening doors for each performance. Our bartenders will be wearing gloves, which will be changed frequently through the evening.

“In addition, Cushman & Wakefield, the property management for Westport Plaza has increased their efforts to assist in providing a safe environment for those that visit the Plaza. All public surfaces, from elevator buttons to escalator rails, to door handles and bathrooms are all being heavily sanitized multiple times throughout each day.

We, along with, many of you, are closely following and monitoring all reports issued from the CDC as well as our local and state governmental agencies and will adjust any and all protocol accordingly. At this time, all shows are playing as scheduled,” explained Sue Silverstein, vice president / general manager, Playhouse @ Westport Plaza

The Moolah Shrine have announced plans to reschedule the annual circus March 19-22 at Family Arena. Here is their statement:

For more than 78 years, the Moolah® Shriners have provided family entertainment to St Charles and St Louis region. As always, our focus has been the safety and well-being of families. After consulting with government health professionals and the Family Arena, We have decided to take strong but necessary actions to protect the health and well-being of all who plan on attending our circus.

As Shriners, we are about compassion and love; we help heal the sick, care for those in need. Our plans, for now, are to reschedule our 78th Moolah Shrine Circus for later this year. Thank you for your support, and we look forward to seeing you all later this year.

For further information, please refer to Moolah.org on Monday, March 16,” they noted.

William Roth, founder and artistic director of St. Louis Actors’ Studio, said they would offer their black box theater, The Gaslight Theatre, to performers in need of space during this pandemic.

“Many performers and band members have lost their incomes. The 100- seat Gaslight Theatre, based on availability, is offering itself up to bands whose gigs have been canceled. This offer is, of course, based on availability and the daily health regulations posted by the CDC and the local governments. As long as it’s legal we are an available venue,” Roth said. He can be reached by email at william@stlas.org

THE SHOW MUST GO ON
“Clybourne Park” at Alpha Players at the Florissant Civic Center Theatre this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m.
The audience is limited to 200.

Note: “We are constantly disinfecting common surfaces as much as we can. We ask that high risk individuals (as defined by the CDC) or those that are exhibiting symptoms to refrain from entering the premises.”

“It’s Only a Play” at Looking Glass Playhouse in Lebanon, Ill. this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m.

Note: “As of 12 March 2020 we have no intention to cancel any performances for It’s Only a Play. If we do, every effort will be made to give a minimum notice of 24 hours.”

Also, cleaning efforts stepped up and ticket refunds available.

“Flanagan’s Wake” at The Playhouse at Westport continue performances as planned, extended through April 11, with a special St. Patrick’s Day performance Tuesday.

Note: “Please be aware of your own health. If you are sick, or even questioning you are sick, please stay home. We will be happy to exchange your tickets for another performance. The top priority at the Playhouse @ Westport is the safety and the well-being of our guests, casts and employees.”

“Love Sex and the IRS” at Theatre Guild of Webster Groves this Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at their theatre, Newport and Summit.

“On Golden Pond” at Kirkwood Theatre Guild this Friday and Saturday at 8 p.m. and Sunday at 2 p.m. at the Robert G. Reim Theatre, 111 S. Geyer Road.

“The Philadelphia Story” at Clayton Community Center cancelled their opening night, March 12, but continue performances March 13 and 14 and at 2 p.m. March 15 in the Washington University South Campus Theatre.

“Return to Forbidden Planet” at KTK Productions in the St. John the Baptist gymnasium, 4200 Delor, this weekend and next (Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m.)


“Head Over Heels” at New Line Productions at The Marcelle Theatre this Friday and Saturday at 8 p.m., sold out, and continuing Thursday through Saturday until March 28.

Note: “We hope to run as scheduled through March 28, but we’ll continue to monitor the news and re-assess as the situation evolves. If anyone has purchased tickets but is not feeling well, please stay home, rest up, and contact MetroTix for a refund. The usual “no refund” rule will not apply.”

POSTPONED
“The Bachelor Live on Stage” tour at The Fox Theatre March 13. Plans to be rescheduled.

“Charlie and the Chocolate Factory” tour at The Fox Theatre March 17 – 29. To be rescheduled.

10th Annual St. Louis Teen Talent Competition April 4 at The Fox Theatre. To be rescheduled.

CANCELLED
The Black Rep “Spell #7” at the A.E. Hotchner Studio Theatre. They had extended the run through this weekend, but cancelled it in light of the COVID-19 developments.

The Hettenhausen Center for the Arts at McKendree University
All events and performances (internal, hosted or rented) scheduled through June 1.
This includes:
Shakespeare Festival St. Louis “Cymbeline” (March 16), Young People’s Concert (March 19), TAO DRUM (March 24), The ReMINDers (April 6), and speaker, Ishmael Beah (April 15).

Patrons are offered the possibility of applying their tickets to a future event at the Hett, donating the ticket value to the University or contacting them for a full refund, less any original mailing fees.

Please contact the box office, during operating hours, to discuss your ticket disposition. The box office is open Monday – Friday from noon to 4 p.m.

College Performances Cancelled

“Cabaret” at Lindenwood University – St. Charles. Representatives will contact ticket holders on refunds.

“A Doll’s House” at Missouri Baptist University. Will transition to streaming. More information to follow.

By Lynn Venhaus

Simple yet profound, “The Band’s Visit” is a disarming, charming experience.

It may take a little bit to win you over, but it certainly does – with an invigorating elegance and its big heart, a great example of effective less-is-more on stage.

Based on a 2007 film, “The Band’s Visit” is not your average flashy big-budget spectacle, and that’s one reason it’s so refreshing and relatable. The story is about ordinary people, their hopes and desires to belong. They just happen to be considered “enemies” because of where they live – Arabs and Jews – but are they really that different?

Through a bus station-cultural language miscommunication, a traveling Egyptian Police Band winds up stranded in a small town in the Negev desert — Bet Hatikva instead of Petah Tikvah. They are supposed to perform at an Arab cultural center, but another bus is not available until the next day, so, residents take them in overnight. They share shelter, meals, music and conversation over the course of one day.

The winner of 10 Tony Awards – and nominated for 11 – in 2018, this musical, now playing at The Fox Theatre in St. Louis until March 8, conveys what made the off-Broadway show and its move to Broadway such sensations. It is one of only four musicals in Broadway history to ever win “The Big Six” – musical, director, composer, book, actor and actress – at The Tonys.

The staging is innovative, and turntables are used effectively, especially during a roller-rink date scene. Humor is key too, as in the park having one bench.

Besides endearing performances from its first-rate cast, the music and lyrics by David Yazbek are unforgettable. The dynamic, poetic world-music score, with jazz influences, features an assortment of memorable songs – starting with the humorous “Waiting” and “Middle of Nowhere,” and wrapping up with the haunting “Answer Me.”

Make sure you stay after the curtain call for the band’s upbeat finale, their ‘concert’ performance.

The cast recording won a Grammy Award for Best Musical Theater Album in 2019, and they won a Daytime Emmy Award for a performance of “Answer Me” on The Today Show.

The Fox Theatre is one of the 32-city stops on the first national tour, which began June 25, 2019. “The Band’s Visit” played off-Broadway for a little more than a year, beginning Dec. 8, 2016, and moved to Broadway Oct. 7, 2017. After 589 performances and 36 previews, it closed April 7, 2018.

Combined with book writer Itamar Moses’s witty script, “The Band’s Visit” emphasizes connection between people and different cultures – if we all listen to each other.

While the townsfolk desperately want to find meaning in their lives, we are moved by those universal themes of longing, loss and loneliness that everyone relates to – and how music is the thread that unites us all.

And what simple kind-hearted gestures and compassion can mean in times of need. This humanistic approach is how it captivates the audience. After all, people who need people are the luckiest people in the world, Barbra Streisand once sang to Omar Sharif in “Funny Girl,” — and a song is named after the Egyptian-born 1960s movie star here.

The ensemble features 14 people, and the tight-knit company is adept at conveying bonding and breaking barriers. Janet Dacal is terrific as a lively Dina, a lonely café owner whose tough and feisty demeanor masks a heart of gold. She befriends the band’s conductor, Tewfiq Zakaria, played by Sasson Gabay, who replaced Tony winner Tony Shalhoub on Broadway and originated the role in the 2007 movie.

As he becomes more comfortable, he shares a personal tragedy with her. Their relationship throughout the show is a high point.

Also noteworthy are Joe Joseph as the likable trumpet player Haled, who loves American jazz musician Chet Baker; Danny Burgos as the timid café worker Papi, who Haled helps out on a date; and Pomme Koch as the other café worker Itzik, who brings clarinet player Simon home to dine with his family and they deal with his crying baby.

Known only as the “Telephone Guy,” Mike Cefalo is funny in a quirky role, and then shows off a beautiful voice when he starts off “Answer Me.”

The highly skilled band musicians must be mentioned too, because they add such a vitality to the show: Adrian Ries, conductor/keyboard; Adam McDonald, associate conductor/keyboard; Tony Bird, violin; George Crotty, cello; Evan Francis, clarinet, saxophone, flute; Roger Kashou, darbouka/riq; Ronnie Malley, oud/guitar; Shai Wetzer, drums/Arabic percussion; and Alex Farha, musician swing.

In small and subtle moments, this pleasant interlude speaks volumes. And that poignancy in a tidy 90-minutes is a life-affirming way to exit the theater and enter a wary world.

The Fox Theatre presents “The Band’s Visit” Feb. 25 through March 8 at the Fabulous Fox, 527 N. Grand. For tickets, visit www.metrotix.com or call 618-534-1111. For more information, visit www.fabulousfox.com