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 MusicalMEAN GIRLSRIVERDANCE- 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, 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 2-4Get 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

The national tour of the Broadway musical HAMILTON will return to the Fabulous Fox Theatre as part of the 2024-2025 Broadway season, as announced Jan. 11 in celebration of Alexander Hamilton’s birthday by producer Jeffrey Seller and the Fabulous Fox Theatre.

The best way to guarantee tickets to HAMILTON is to purchase a season subscription for the Fabulous Fox Theatre’s 2024-2025 Broadway season. Season ticket holders who renew their subscription for the 2024-2025 season will get priority access to purchase tickets for the return engagement of HAMILTON before tickets become available to the general public. The 2024-2025 Broadway season will be announced at a later date.

HAMILTON will be playing the Fabulous Fox Theatre for two weeks only August 28 – September 8, 2024. Information on how to purchase groups and single tickets will be announced at a later time. 

A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.

Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

HAMILTON features 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 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, and casting by Telsey + Company, Bethany Knox, CSA.

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. 

For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.

By C.B. Adams

When my children were young, back in the days of VHS, I endured countless hours of Disney’s Aladdin playing as the main feature (“Sit, Daddy, and watch with me!”) and as background noise while I performed my parental duties (Dad! Quit vacuuming! We’re trying to waaatch!).

Even then, the segments featuring Robin Williams as the Genie held up to numerous viewings in the same way I can still watch and rewatch clips of him on the Tonight Show or elsewhere without experiencing the law of diminishing return. Like many of his other performances, Williams’s Genie was a tour de force that imprinted that film with a force so majeure that I turned off the Hoover – and only his voice was onscreen.

I didn’t then, nor do not now, much care for the story that knits together Aladdin’s other characters. The Aladdin/Jasmine love story, the bland villainy of Jafar and the father-doesn’t-know-best efforts of the Sultan closely hew to so many other caricaturistic Disney characters that I’m left feeling more than a little meh. The mileage of youngsters will, of course, differ, vary and supersede my own.

But, still, there’s something about that that Genie. It’s all about the Genie. And thus, my evaluation of the success of the stage adaptation hinges on who plays the Genie – and how. In the case of the second touring production (of the 2011 Broadway musical) that flew across the Fox Theatre stage for about as long as a good magic carpet ride (December 12-17), Marcus M. Martin delivers an outsized, turn-it-to-11 performance that deserves its place in some sort of Genie Hall of Fame.

Martin’s performance left me thinking, “Robin Williams, who?” He was antic and frantic, equal parts Falstaff and Madea, with the moves of Fat Albert crossed with a dancer from Les Ballets Trockadero de Monte Carlo. Martin has been given most of the best quips and quotes in the show – delivered with the same transgressive brio of Jim Carrey in The Mask: “Somebody stop me!”

Martin could probably work his magic naked on a bare stage, but, of course, that wouldn’t happen with a family-friendly Disney property. So, his performance (and that of all the other characters) was made so much the better and more dazzling thanks to the direction and choreography of Casey Nicholaw and costume designs by Gregg Barnes.

This lavish production had a colorful, “spare no expense” sheen throughout, especially the set design by Bob Crowley and projections by Daniel Brodie. A particular standout was the properly monikered Cave of Wonders with so many (and so many clever types of) treasures that would put Smaug’s Lair to shame – all blazingly illuminated by Natasha Katz’s lighting design.

“Aladdin” includes all of the songs of the original film as well as new songs — all beautifully orchestrated by Danny Troob. I was curious to see how the film’s iconic “A Whole New World,” the love ballad between Aladdin (played by an engaging Aaron Choi) and Jasmine (played by an equally engaging Senzel Ahmady), would be presented. In the film, this magic carpet ride high above the city was relatively easy to achieve. The laws of physics don’t apply in animation.

The staged version did not disappoint. Though perhaps not as impressive as the helicopter scene in Miss Saigon, this production uses a dark night sky and a meandering, dimly lit mechanical “carpet” upon which the two lovers sing their duet. It was as subtle and beautiful as the Cave of Wonders was brash and brilliant.

Choi and Senzel had a believable chemistry together, as did Aladdin’s gang admirably portrayed by Jake Letts as Babkak, Nathan Levy as Omar and Colt Prattes as Kassim.

Disney’s Aladdin ran December 12-17 at the Fox Theatre, 500 North Grand Boulevard.

Disney Theatrical Productions under the direction of Thomas Schumacher presents Aladdin, the North American tour, music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book and additional lyrics by Chad Beguelin, starring: Adi Roy (Aladdin), Marcus M. Martin (Genie), Senzel Ahmady (Jasmine), Jake Letts (Babkak), Colt Prattes (Kassim), Ben Chavez (Omar), Anand Nagraj (Jafar), Aaron Choi (Iago) and Sorab Wadia (Sultan) directed and choreographed by Casey Nicholaw

By CB Adams

The holiday zeitgeist feels different this year. Maybe it’s because we need some relief from the unrelenting news cycles filled with war, strife and discord. Or maybe we’re still emerging – chrysalis-like – from the lingering fog of the COVID pandemic. Or maybe it’s due to that fabulously fun new Christmas album that Cher just dropped.

No matter the reason, the feeling in the air is that “…we need a little music, need a little laughter / need a little singing ringing through the rafter / and we need a little snappy, happy ever after,” to quote Jerry Herman’s “We Need A Little Christmas.” Delivering more than “a little” Christmas is Cirque Du Soleil’s supersized, supercharged and super-athletic “’Twas the Night Before…,” running at the Fabulous Fox through December 10.

“Twas the Night Before…,” which debuted several years ago, is the first holiday show – make that spectacle – by Cirque du Soleil. It’s loosely based on Clement Clarke Moore’s chestnut, “A Visit from Saint Nicholas.” The show follows the poem’s storyline using Cirque’s creative interpretation of circus arts – aerobatics, gymnastics, tumbling, juggling, diabolo yo-yos, clown bike and the like. Of course, Cirque being Cirque (under the direction of senior artistic director, James Hadley), the show envelopes the performers with over-the-top staging that includes a stunning amount of tinsel, props and fake snow that creates an immersive, richly saturated experience.

The show’s recorded soundtrack is equally creative and pulse-pounding without being overwhelming. According to Jean-Phi Goncalves, the show’s musical composer, “My goal in creating this music was to introduce a little holiday surprise in every track. By taking the essence of these Christmas classics…and adding a modern twist with electronics, big drums and fat basses, we were able to reveal them in a completely new light. I like to think that the reconstructed pieces speak to Christmas music lovers as well as those who have yet to embrace the genre.”

The percussive soundtrack achieves all that – and more. It’s a major contributor to the propulsive nature of “Twas the Night Before…” The show is one the “fastest” ways to spent 90 minutes as it presents Cirque’s story about a jaded young girl who rediscovers the magic of the holidays.

The spectacular staging, lighting design (some of quite high-tech), shimmering costumes and music all serve the acrobatic athleticism of the performers.

Adorability-wise, the reindeer are the hands-down winners. In golden jockey costumes with satiny underbellies, they have their names emblazoned on their backs. Diving through hoops at increasing heights, they’re comical and impressive — and it’s charming somehow that Prancer (Jinge Wang), never the starriest member of Santa’s team, is the best of all.

“A Visit From St. Nicholas,”  introduced the world to Santa’s reindeers. You know, Dasher, Dancer, Prancer and the rest of the team? “Twas the Night Before…” transforms the reindeers into comic characters with jockey-inspired golden costumes and mannerisms like jockeys. Their big number, which involves diving through ever-higher hoops, occurs near the climax of the show.

There are no weak acts in this show, whether it’s the opening aerial pas de deux with two male performers, the tumbling antics of a bunch of mice or a mash up of ballet and contortion within a hotel cart. There’s even a roller disco act that is so good that it’s easy to forget to question what it has to do with the story.

“’Twas the Night Before…” is advertised as something for the whole family. Usually when I see that phrase, it means that it dumbs-down things to a child’s level. Not so with this show. Everyone, from the kiddos to their elders, can become enchanted by the performance. It’s diverting in all the best ways and delivers a big little Christmas, “right this very minute.”

“’Twas the Night Before…” at The Fabulous Fox runs through Dec.10. For tickets and information go to The Fabulous Fox website.

Feeling lucky,St. Louis theatergoers? WICKED has announced a lottery ticket policy in St. Louis playing at the Fabulous Fox Theatre from April 12 – May 7. The Fabulous Fox will be partnering with the digital ticket lottery platform Lucky Seat. Participants will have a chance to win $25 tickets for the run at the Fabulous Fox. A limited number of tickets will be available.

Participants must have a Lucky Seat account to participate in the lottery. The lottery is now open and will close at 10:30 a.m. on Friday, April 14 for tickets to performances April 18-23. Subsequent digital lotteries will begin at 11:00 a.m. each Friday and close the following Friday at 10:30 a.m. for the upcoming week’s performances. Winners will have a limited window to purchase and claim their tickets.

Tickets are subject to availability. Limit of two tickets per patron. In some cases, tickets may be partial view and, while every effort will be made to seat multiple seats together, there is a chance that seats may be split up. Tickets can be picked up at the Box Office at the Fabulous Fox with a photo ID starting two hours before the performance time.

Performances of WICKED at the Fabulous Fox run April 12 – May 7. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m., Sunday afternoons at 1 p.m. and Sunday evenings at 6:30 p.m. There will also be a matinee performance on Thursday, April 13 at 1:00 p.m.

ABOUT WICKED

The Broadway blockbuster WICKED surpassed Cats on Tuesday, April 11th to become the 4th longest-running production in Broadway history. This fall, WICKED is celebrating its 20th Anniversary on Broadway.

Winner of over 100 international awards including the Grammy Award® and three Tony Awards®, WICKED has been performed in over 100 cities in 16 countries around the world (U.S., Canada, United Kingdom, Ireland, Japan, Germany, Holland, Australia, New Zealand, Singapore, South Korea, The Philippines, Mexico, Brazil, Switzerland and China) and has thus far been translated into six languages: Japanese, German, Dutch, Spanish, Korean and Portuguese. WICKED has been seen by over 60 million people worldwide and has amassed over $5 billion in global sales.

In addition to the Broadway production, WICKED in North Americahas enjoyed unprecedented record-breaking sit-down engagements in Chicago, where it ran for nearly four years; Los Angeles, where it ran for two years; and San Francisco, where it ran for nearly two years, as well as two North American Tours.

The Broadway sensation WICKED looks at what happened in the Land of Oz…but from a different angle.  Long before Dorothy arrives, there is another young woman, born with emerald-green skin, who is smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.”

With a thrilling score that includes the hits “Defying Gravity,” “Popular” and “For Good,” WICKED has been hailed by The New York Times as “the defining musical of the decade,” and by Time Magazine as “a magical Broadway musical with brains, heart, and courage.”  NBC Nightly News calls the hit musical “the most successful Broadway show ever.” 

Based on the novel by Gregory Maguire, WICKED has music and lyrics by Stephen Schwartz, and a book by Winnie Holzman.  The production is directed by Tony Award winner Joe Mantello with musical staging by Tony Award winner Wayne Cilento.  WICKED is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt and David Stone.

For more information about WICKED, please visit www.WickedTheMusical.com.

Follow WICKED on Twitter: @WICKED_Musical, Instagram: @wicked_musical, TikTok: @wicked_musical, and Facebook.

By CB Adams

Even if you forgot most of the 1960 novel that you read in way back in middle school and most of what you loved about the 1962 film (Gregory Peck! Mary Badham! Robert Duvall!), the Aaron Sorkin-scripted staged production of “To Kill A Mockingbird” at the Fox Theatre will powerfully remind you of why this beautifully wrought story remains essential to America’s self-narrative.

And, spoiler alert, this excellent touring production, headlined by Richard Thomas, may forever elevate your expectations of what theater can – and should – achieve. It will be hard to accept anything less – or less relevant.

“Mockingbird,” like its classmate “Catcher In the Rye,” is one of those stories that runs the risk of having its potency diminished by required reading in our formative years. Both could be relegated to the “been there, read that” shelf. The beloved film adaptation of “Mockingbird” further exacerbates this risk with a “been there, saw that” ubiquity.

In the spirit of transparency, I’m a bit of an Aaron Sorkin fanboy who appreciates his talky style of dialogue. I also count myself in the minority of folks who continue to mourn the cancellation of his HBO show “Newsroom” and who believes that the soliloquy-ish  “America is not the greatest country in the world anymore” scene, delivered by Jeff Daniels, is some of the best dialogue in the history of television. 

Sorkin’s “Mockingbird” is impressive for its ability to remain true to the heart of Harper Lee’s slowly unwinding examination of racism and injustice while resequencing and re-pacing the story to appeal to current sensibilities. It may have a small-town setting but it confronts an all-towns topic.

“Mockingbird,” given its status as an American classic, doesn’t need saving, but it certainly benefits from a modern stage treatment. Sorkin introduces the trial of Tom Robinson, the African-American man accused of the rape of a white woman, Mayella Ewell, at the start of the play, rather than build up to it as Lee does halfway through her novel. This places the play’s central conflict and theme front and center. The trial scenes are briskly and effectively toggled with scenes set mostly on the porch of Atticus Finch, the small-town lawyer defending Robinson. Tying these two strands together is a triumvirate of chatty-cathy narrators: Scout, Jem and Dill.

Sorkin’s rejiggering would go for naught if it weren’t supported by the excellent, tight direction of Tony Award-winner Bartlett Sher, evocative set design by Miriam Buether and, of course, the performances of the entire cast, top to bottom. Thomas as Atticus Finch brings his own type of ubiquity earned from his early-career success as John Boy on “The Waltons” television series. He’s shown considerable range and depth as an actor since then. I’ve especially like him more recently as Walter Gaskell in the film “Wonder Boys” and Nathan Davis in the Netflix series “Ozark.” Thomas delivers a nuanced Atticus whose story runs parallel to – but doesn’t usurp – that of Tom Robinson, played by Yaegel T. Welch with an impressive coiled anger shackled by powerlessness, imposed deference and unfair accusation.

Melanie Moore as Scout, Justin Mark as Jem and Steven Lee Johnson as Dill delivered their adults-as-children characters with effective interplay of voice-over narration, wild-rumpus physicality and tomfoolery. This ensemble within an ensemble is evenly balanced is they each experience the transition from youthful innocence to a more mature, darker moral awareness.

As Calpurnia, Jacqueline Williams confidently portrays the Finch family’s wise African-American housekeeper who assuredly balances her role as surrogate mother to Jem and Scout and a certain Jiminy Cricket to Atticus. It’s hard to like the character of Mayella, but Ariana Gayle Stucki’s performance of the sexually and emotionally abused young woman was more than easy to admire. Stucki fully inhabited and revealed Mayella through a clinched (at times near-contorted) body, bitter tears and puffy red face.

The production deserves a couple of quibbles. One is the Southern accent that I know and loathe from countless movies and television shows. Although not off-putting, it’s nonetheless disappointing that the characters’ diction wasn’t more specific to Alabama instead of the generic, non-specific Southern patois.

Another is the unexplained “fire curtain” that covered the stage between acts. Again, not off-putting, but it raised more questions than it answered because it could refer to the fire in the novel (not in this play). It could also refer to the heat of the subject matter. It might even be making some sort of statement about the protective capabilities of live theater.

To call this production of “To Kill A Mockingbird” a must-see might not be strong enough as a recommendation. Like The Black Repertory’s recent production of “Death of a Salesman,” another deeply familiar American story, this interpretation of “Mockingbird” renews and invigorates a story that deserves retelling. It also more than deserves our continued attention and support.

Performances of “To Kill A Mockingbird” at the Fabulous Fox run February 28 – March 12. . Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com    

Mary Badham, who played Scout in the 1962 film, plays Mrs. Dubose in the national tour

Photos by Julieta Cervantes

By Lynn Venhaus

Local Spotlight: Ian Coulter-Buford, formerly of Belleville, Ill., and now on the national tour of “Hadestown” currently at the Fox Theatre in St. Louis through Oct. 23, is the dance captain, understudy for Hermes and a swing in the show.

Here’s a Fabulous Fox video in which he shares a few moves from the Tony-winning Best Musical.

https://fb.watch/geMlCIb1zK/

For more information on Ian, who has an MFA in theatre from Illinois Wesleyan University, visit his website: https://www.iancoulterbuford.com/

Announcements: Matinee Added!

Stray Dog Theatre has added a Saturday matinee for its last week of its critically acclaimed “A Little Night Music.”

Four other performances remain of the Sondheim classic, Oct. 19-22, 8 p.m. Wednesday, Thursday, Friday, and Saturday at the Tower Grove Abbey.

For tickets or more information, visit: www.straydogtheatre.org

Phil Rosenthal

TV: Somebody Feed Phil

Host Phil Rosenthal opens the sixth season of the Emmy-nominated food/travel series “Somebody Feed Phil” on Netflix. The new episodes take Phil to Philadelphia, Nashville and Austin in the U.S., and Croatia and Santiago across the universe.

A special tribute to his late parents, Helen and Max, is featured as well. The pair inspired their fair share of “Everybody Loves Raymond” moments, which Rosenthal created and was the executive producer from 1996 to 2005 (he also wrote 23 episodes).

Book: Phil Again

“Somebody Feel Phil: The Book” is available in bookstores and online today. It includes recipes, production photos and stories from the first four season.

Rosenthal will be at the St. Louis Jewish Book Festival at 7:30 p.m. on Saturday, Nov. 5 with a presentation called – Somebody Feed Phil the Book: Untold Stories, Behind-the-Scenes Photos and Favorite Recipes: A Cookbook

The ultimate collection of must-have recipes, stories, and behind-the-scenes photos from the beloved Netflix show Somebody Feed Phil.

“Wherever I travel, be it a different state, country, or continent, I always call Phil when I need to know where and what to eat. He’s the food guru of the world.” —Ray Romano

From the JBF: Phil Rosenthal, host of the beloved Netflix series Somebody Feed Phil, really loves food and learning about global cultures, and he makes sure to bring that passion to every episode of the show. Whether he’s traveling stateside to foodie-favorite cities such as San Francisco or New Orleans or around the world to locations like Ho Chi Minh City, Tel Aviv, Rio de Janeiro, Mexico City, or Marrakesh, Rosenthal includes a healthy dose of humor to every episode—and now to this book.”

For tickets or more information and the complete schedule, visit: https://jccstl.com/festival-events-schedule/

Trailer: “Creed III” Released Today!

Follow-up to “Creed” in 2015 and “Creed II” in 2018, star and director Michael B. Jordan introduced the trailer to the third installment yesterday to critics (more on that later), and it came out today.

It will be released in theaters and IMAX on March 3, 2023.

Synopsis: After dominating the boxing world, Adonis Creed (Michael B. Jordan) has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face-off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian – a fighter who has nothing to lose.

The screenplay is by Keenan Coogler and Zach Baylin, with story by them and originator Ryan Coogler.

Besides Jordan and Majors, cast includes Tessa Thompson, Wood Harris, Florian Munteanu, Mila Davis-Kent, and Phylicia Rashad.

Premium Video on Demand: “The Good House”

Sigourney Weaver and Kevin Kline reunite for the third time in this adult romantic drama, based on the novel by Ann Leary. Weaver is Hildy Good, a realtor in a small New England town, and she rekindles a romance with Frank Getchell (Kline), But she needs to take care of a buried past, for her drinking is getting out of control again. It’s a portrait of a proud woman who wouldn’t think of asking for help, but whose life won’t change until she does.

Premium Video on Demand is $19.99.

On Nov. 22, the movie will be available video on demand for $5.99, and rental as DVD. It’s available for purchase as a Blu-ray + Digital combo or DVD.

Notes: The pair were in “Dave” (1993) and “The Ice Storm” (1997). Kline, 74, from St. Louis, has won an Oscar for “A Fish Called Wanda” in 1989. For his work on Broadway, he has won three Tony Awards — for two musicals, “The Pirates of Penzance” in 1981 and “On the Twentieth Century” in 1978, and the comedy “Present Laughter” in 2017.

Blackberry Telecaster

Drink: Purple Power

It’s Domestic Violence Awareness Month, and the Fountain on Locust is hoping to see St. Louis turn purple in support!

Order the Blackberry Telecaster or Le Fleur at the Fountain from today through Sunday, Oct. 18 – 23, and half the profits will go to help local St. Louis non-profit ALIVE provide shelter, healing and hope to domestic violence survivors in need.

For more info, visit ww.fountainonlocust.com

Word: The origin of the cocktail

On this day in 1776:  In a bar decorated with bird tail in Elmsford, New York, a customer requests a glassful of “those cock tails” from bartender Betsy Flanagan.


Playlist: Chuck Berry

It’s Chuck Berry’s birthday – he was born Oct. 18, 1926, in St. Louis and died on March 18, 2017.

As part of his 60th birthday celebration, parts of the film, “Hail! Hail! Rock ‘n’ Roll” was recorded at the Fox Theatre on Oct. 16, 1986.

For a look back at that experience, the St. Louis Post-Dispatch has an article today:

https://www.stltoday.com/entertainment/music/looking-back-chuck-berrys-60th-birthday-party-at-the-fox-was-a-star-studded-party/collection_a9b04de7-6739-5b22-aa2d-35e216aa5a7c.html

Here’s Keith Richards joining Berry for “Nadine”:
https://youtu.be/5madtiLf7DI

By C.B. Adams
“It’s an old tale from way back when.”

So states Hermes, the narrator of “Hadestown” at the beginning of this award-winning musical. Hermes is played by native St. Louisan Nathan Lee Graham (an audience fave) who delivers a highly entertaining pastiche that’s Part Zazu, part Ben Vereen, part Joel Grey and part master of ceremony.

“Hadestown,” now playing at the Fox Theater, is indeed an old tale. It’s a dystopian folk opera reboot of a Greek myth, circa 800-900 BCE, by Anais Mitchell (music, book and lyrics), and it’s still potently relevant today, prescient even.

If the idea of attending a modernized Greek tragedy, replete with gods, Fates and Chorus doesn’t entice you, maybe the fact it won eight Tony Awards in 2019, the most awarded show of that season, including Best Musical, will. There’s strength and staying power to the old tales, and this touring company’s production of the travails of Orpheus and Eurydice provides a superlative experience, proving it’s a different kind of marvel universe.

And, no, you don’t need to bone up on your Greek mythology before attending. Hermes, in word and song, guides you through the story.

Hadestown Tour Houston 10-07-22 Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

This appraisal of the opening night’s performance at the tightly packed Fox on opening night joins the swelling ranks of this show’s ongoing rave reviews – both the original Broadway and this touring production. It would be easy to state that “Hadestown” checks all the boxes for an excellent show and leave it at that. But if you’re on the bubble about attending, perhaps some additional convincing is in order.

For starters, the score with 31 songs and a reprise is mesmerizing. The songs, whose source was an award-winning 2010 concept album by Mitchell, are tightly paced and intricately braided into the narrative. They have a timelessness about them, blending blues, gospel, ragtime, jazz, folk, and even indie-pop influences. The songs have a definite old-timey vibe with contemporary touches, such as when Persephone uses the phrase “pay per view.” Everyone’s taste differs, but my top-three favorite songs were “Road to Hell,” “Wait for Me,” and “Way Down Hadestown.”

The sound mixing was well-balanced, and vocals were clear and understandable. This is noteworthy because, based on some other recent shows (not necessarily at the Fox), it’s amazing how important good sound is, especially when you’re straining to understand the vocals. Hannah Whitley as Eurydice was a bit too quiet during “Livin’ It Up On Top,” but rallied for the rest of the show with strong vocals and emotion.

Hadestown Tour Houston 10-07-22 Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

The set, designed by Rachel Hauck, was perfectly scaled for the Fox’s stage. The set cleverly serves as the entrance to the underworld (Hadestown) and the underworld itself. In the center of the two-story set is a lighted, doorway that opens its maw to swallow or belch forth the actors. The set’s umber- and sepia-tinged palette resonates with the show’s folky, jazz- and creole-influenced music with a blend of French Quarter, 1930s train station and Paris brasserie.

Great theater is all in the details, and one of the best small touches in “Hadestown” was the how various characters interacted with the steampunkish, double-headed microphone. Another terrific touch was flanking the set with members of the seven-piece band on either side (though the percussionist/drummer was offstage). Special note must be made of the performance of Emily Frederickson, who played trombone and glockenspiel (More glockenspiel!) and even danced in a number.

The set was further enhanced with Tony-winning lighting design from Bradley King that could be as subtle as it was garish, as when the lights blasted into the audience. Costume design by Michael Krass complemented and mirrored the tarnished atmosphere of Hadestown. The one exception was the silver-spangled vest of Hermes, which he proudly flashed at the opening of the show.

Unlike the devil in other traditions, Hades in both myth and this musical is not a one-dimensional antagonist. Hades has a backstory and earns a begrudging level of respect in his role as leader of the underworld. As voiced and sung by baritone Matthew Patrick Quinn, the stentorian Hades sounded as deep and dark as a coal mine and as ominous as an earthquake.

As played by Chibueze Ihuoma, Orpheus begins as a naïve, somewhat clueless musical prodigy. As his fate becomes intertwined with Eurydice’s, Ihuoma adeptly portrayed Orpheus’ transformation into a mythically tragic figure. Ihuoma has been with the touring company since 2021 and began as a member of the ensemble as a Worker before assuming the Orpheus role in June.

Hadestown Tour Houston 10-07-22 Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

This imagining of the Greek tale elevates the female characters. Eurydice here is independent, resilient and self-aware. As Eurydice, Hannah Whitley beautifully voices these characteristics and, like Ihuoma, effectively portrays her character’s inevitable, unstoppable fate.

The upstairs-downstairs character Persephone is onstage for most of the show, and understudy Shea Renne made the most of that opportunity. Whether she’s stomping around during her signature song, “Livin’ It Up On Top,” or idly sitting on the balcony with her husband, Hades, Renne brought vigor and misery in equal measures to her portrayal.

Also strong is the show’s ensemble of actors, dancers and singers in the Fates and Chorus. This ensemble is as vibrant and compelling as the rest of the cast. The Fates in particular were fun to watch as the interacted individually and as a unit with the other characters throughout the performance.  

One of the reasons why some stories endure while others don’t is their adaptability. An ancient Greek would certainly recognize the essence of the Orpheus-Eurydice tale retold in “Hadestown.” Modern audiences can certainly appreciate the Greek tragedy for its ability to affirm life even in the face of suffering. And, for those who miss this opportunity to see “Hadestown,” it would be…well, hell.

Performances of “Hadestown” at the Fabulous Fox run Oct. 11-23. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com

Hadestown Tour Houston 10-07-22 Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

By Lynn Venhaus

STAGE: Familiar face in “Hadestown”

It’s opening night for “Hadestown” at the Fabulous Fox! And a St. Louisan, Nathan Lee Graham, is now touring as Hermes, the role originated on Broadway by Tony winner Andre de Shields. The Tony-winning musical – eight awards including Best Musical in 2019 — will play here through Oct. 23.

Forbes Magazine described it as “an epic celebration of music, togetherness and hope.”

I’ll be there tonight, and will talk about the show on KTRS Radio The Big 550 Wednesday at 10:35 a.m. with Wendy Wiese and guest host Cordell Whitlock.

I had the opportunity to interview Graham, a Hazelwood Central and Webster University graduate (Sargent Conservatory), for the Webster-Kirkwood Times. Here is the link:

https://www.timesnewspapers.com/webster-kirkwoodtimes/hadestown-at-the-fox-to-feature-nathan-lee-graham/article_fe6b9586-4586-11ed-b91b-e3769c7fca23.html

Eliza Shlesinger

STREAMING: Funny Girl

“Iliza Shlesinger: Hot Forever” is her sixth Netflix stand-up special now available. The comedian, actress and television host won NBC’s “Last Comic Standing” – the first woman and youngest winner – on NBC in 2008. She’ll be competing in the first “Celebrity Jeopardy!” semifinal on Sunday, too.

Watch the trailer: https://youtu.be/pVYImnaQF-Y

Want more? Her specials are “War Paint” in 2013, “Freezing Hot” in 2015, “Confirmed Kills” in 2016, “Elder Millennial” in 2018, and “Unveiled” in 2019.

TV: Not Ready for Prime Time

On this day in 1975, the late-night comedy sketch and variety show “Saturday Night” premiered with George Carlin as the celebrity host from Studio 8H at the NBC Studios in New York City. There were two musical guests – Janis Ian and Billy Preston. The name would be changed to “Saturday Night Live,” and SNL became a late-night institution and captured the pop culture zeitgeist with catch phrases and iconic characters.

Now in its 48th season, there have been 932 episodes. Lorne Michaels is the current executive producer, having his first run from 1975 to 1980, then returned in 1985.

SNL has won 87 Emmy Awards from 252 Primetime Emmy nominations, the most received by any television program. In TV Guide’s 50 Greatest TV Shows of All-Time, it is ranked 10th.

Fun Fact: I have seen every episode since that first one, watching the show with my college roommates and then-boyfriend at my first apartment in Normal, Ill., senior year at Illinois State University. The show was such a hit, bars in town would have it on TVs, and if you were at a party, everyone would stop to watch it. Thanks to VHS tapes and DVRs, I’m able to keep up with the show, even if I did not watch it live.

FOOD: St Louis Taco Week!

Not just for Taco Tuesday but more! This week, Oct. 10-16, will showcase $5 taco specials at 35 participating restaurants.

Each restaurateur and chef will prepare their unique take with a taco special. Pick up a Taco Passport — participants will get stamped at participating locations throughout the week. Collect at least 4 stamps and be eligible for a very special grand prize drawing as well as smaller prizes.

For more info: https://stltacoweek.com/

PLAYLIST: In memory of Angela Lansbury

Today, one of the great actresses of stage and screen passed on at age 96. Mame, Gypsy, Sweeney Todd, The Beauty and the Beast, The Manchurian Candidate and Murder, She Wrote – and on and on. She had 5 Tony Awards, three Oscar nominations, and so many other awards and nominations.

Here is her obituary:

https://www.hollywoodreporter.com/tv/tv-news/angela-lansbury-dead-murder-she-wrote-1235239215/

Here is her Kennedy Center Honors tribute in 2000:
https://youtu.be/3gsMZx2eCXk

Here is one of her most iconic performances as Mrs. Potts in “The Beauty and The Beast”:

Word: “Deep Thoughts by Jack Handey” (SNL)

“When you go in for a job interview, I think a good thing to ask is if they ever press charges.”

By CB Adams

One of the key achievements of successful fast food chains is that no matter where you travel, an entrée tastes consistently the same. Although it may seem unfair to compare the latest tour of Disney’s The Lion King to a hamburger, it’s actually both a compliment and a testament to the quality of this theatrical adaptation of one of the franchise’s most successful animated features.

There’s no question that The Lion King the musical is equally successful on its own terms. In fact, compared to most jukebox musicals, it’s practically Shakespeare. As the house dimmed at The Fox Theatre for The Lion King’s current run (through June 19), it was clear within minutes that the show has lost neither its luster nor its appeal. First there was the cry of Rafiki, the show’s guide played by Gugwana Dlamini. From the audience’s response, it was clear that many in the audience had seen the show before. Later, even the laugh by one of the hyenas received enthusiastic, anticipatory cheers.

As Pride Rock rotates into place on an African savanna and an ark-worth’s of animals strolled the aisles of the theater and ascended the stage as “The Circle of Life” began to play. All of this plus the creatively stunning African masking and puppetry that audiences have come to know, love and expect.

The opening is one of the best of any musical – ever – and thus expectations were high. This Lion King still delivered. Like that hamburger, the audience knew what it was going to get – and it got it from the opening to the curtain call.

For many, the family-friendly songs of the show are this Lion’s heart. The show’s aural world adds more depth to the experience, thanks to Steve Canyon Kennedy’s sound design and James Dodgson’s musical direction.

The quality of this musical extends beyond any one element like the music, however. One could make the case that the artful visual storytelling may be its most potent part. It’s possible to cover one’s ears and just “watch” this musical with its beautiful set (Richard Hudson), lighting (Donald Holder), choreography (Garth Fagan) and costumes/masks/puppets (original director Julie Taymor and Michael Curry) and still feel satisfied. There aren’t many musicals that deliver more punch per square inch, or per square pound, of stage – no small feat.

The Lion King’s cast includes approximately 50 members. There wasn’t a weak performance on opening night. Many were audience favorites, such as Jurgen Hooper as Zazu and Nick Cordileone as Timon. Also noteworthy was the nuanced performance of Diamond Essence White as Simba’s mother, Sarabi, and Kayla Cyphers as Nala.

Opening night was a bit like attending The Rocky Horror Picture Show and a sing-along screening of The Sound of Music. The audience included a plentiful number of children, many of whom sang along to the most well-known songs – along with their adult companions. It was often a participatory experience – one that can be highly recommended. You know what you’re going to get.

The current national tour of “The Lion King”

Performances of  DISNEY’S THE LION KING at the Fabulous Fox run June 1 – June 19. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com