Saint Louis Dance Theatre Opens Season with a Gift to the Community

Saint Louis Dance Theatre Opens Season with a Gift to the Community

(RE)Imagine 2024-2025 Launches with Free Tickets for St. Louis Youth, World Premieres, and a Dazzling Movers & Shakers Ball

Saint Louis Dance Theatre (STLDT) is thrilled to unveil its highly anticipated 2024-2025 season, (RE)Imagine, marking a bold new era for the company and a celebration of the vibrant spirit of St. Louis. As part of its commitment to accessibility and community engagement, STLDT is proud to launch a pilot community outreach program, in collaboration with the City of St. Louis and the Youth Development Collaborative, a Mayor Jones initiative, by offering complimentary tickets to the season opening (RE)Claim fall concert series to St. Louis City youth. Up to 100 tickets per eligible performance will be distributed to youth-serving programs.

“We must champion world-class art experiences for our youth. These encounters ignite creativity, fuel innovation, and ultimately build a brighter future for our city,” said Lakesha Robinson, Senior Advisor for Children, Youth, and Families for the city of St. Louis.

“Through this pilot program, we aim to inspire St. Louisans to believe that world-class dance is not only possible in our city but accessible to all,” said Erin Warner Prange, Executive Director of STLDT. “Through movement, we tell the diverse stories that shape us—no history lesson or training required. It’s a universal language that builds a more welcoming and vibrant St. Louis for everyone to call home and visit, no matter their experience with concert dance.”

The season kicks off with a spectacular opening weekend of unique performances each night, beginning with the (RE)Claim fall concert from October 24-27 at COCA’s Catherine B. Berges Theatre. The festivities peak at the glamorous Movers and Shakers Ball on Saturday, October 26th, a dazzling evening of dining, dancing, and celebration at 560 Music Center and COCA, including tickets to the evening performance as part of the Ball. The final performance of the weekend on October 27, culminates a triumphant weekend of dance.

(RE)Claim showcases a captivating blend of world premieres, company premieres, and iconic works that illuminate the human experience through movement. Acclaimed guest artist Jamar Roberts, known for his “uncommon force and originality” (Dance Magazine), contributes a world premiere alongside the world premiere, For Love’s Sake, by STLDT Artistic Director Kirven Douthit-Boyd.

The weekend program also features the company premiere of Robert Battle’s poignant duet Unfold, José Limón’s timeless solo Chaconne performed with live music by a St. Louis Symphony Orchestra soloist, and Come…The sun doesn’t wait by Omar Román De Jesús, showcasing the company’s versatility and dedication to preserving dance legacies while also supporting emerging voices. This diverse repertoire, featuring artists from varied backgrounds and generations, underscores STLDT’s ambition to become the most diverse and inclusive dance company in the Midwest.

The remainder of the (RE)Imagine season continues this celebration of inclusive artistry, featuring the Ellington/Strayhorn Nutcracker in December, the (RE)Build winter concert in February, the Tour de Dance progressive dining and dancing showcase in March, and the (RE)Fine spring concert in May.

“This season is a testament to the transformative power of dance, and our belief that when there is more representation in the room, more art is possible,” said Kirven Douthit-Boyd, Artistic Director. “Audiences will witness the brilliance that emerges when diverse voices and experiences converge on stage. We are committed to providing world-class dance to St. Louis by pushing boundaries, pursuing artistic excellence, and ensuring that more of our community feels represented and inspired by the stories we tell through movement.”

About Saint Louis Dance Theatre 

Saint Louis Dance Theatre is a premier professional dance company blazing new trails by interweaving the Gateway City’s storied legacy into boundary-pushing contemporary performances. Combining world-class artistry with a bold vision, Saint Louis Dance Theatre champions inclusivity, collaboration, and artistic excellence. This fusion of purpose and passion positions Saint Louis Dance Theatre as a beacon for the spirit of St. Louis in every performance.

With a grand vision of elevating St. Louis as a nationally recognized arts destination, Saint Louis Dance Theatre aims to deepen connections locally while showcasing the region’s pioneering creative force on a national scale. For more information, visit stldancetheatre.org.

Artistic Director Kirven Douthit-Boyd

(RE)Claim Fall Concert Details

  • Dates: October 24-27, 2024
  • Venue: COCA’s Catherine B. Berges Theatre, 6880 Washington Avenue St. Louis, MO 63131
  • Program A (Oct 24-25):
  • Movers & Shakers Ball Program (Oct 26):
    • For Love’s Sake by Kirven Douthit-Boyd (Excerpt)
    • Unfold by Robert Battle (Company Premiere)
    • World Premiere by Jamar Roberts
  • Program B (Oct 27):
    • Come…The sun doesn’t wait by Omar Román de Jesús
    • Unfold by Robert Battle
    • For Love’s Sake by Kirven Douthit-Boyd (World Premiere)
    • World Premiere by Jamar Roberts
  • Tickets: Available at https://www.stldancetheatre.org/reclaim-fall-concert

Pilot Community Outreach Program Details: 

  • Participating youth-serving programs can receive up to 25 complimentary tickets on a first-come first-served basis for the (Re)claim Fall Concert series performances:
    • Thursday, October 24th – 7:30 p.m.
    • Friday, October 25th – 7:30 p.m.
    • Sunday, October 27th – 2:00 p.m.
    • Sunday, October 27th – 7:30 p.m.
  • All performances will take place at COCA’s Catherine B. Berges Theatre, 6880 Washington Avenue St. Louis, MO 63131
  • Up to 100 tickets per evening will be available to youth-serving programs within the city of St. Louis.
  • To request tickets, please email youthprograms@stldancetheatre.org.
  • Tickets are valid only for the specific performance for which they are redeemed and cannot be exchanged or transferred.
  • Ticket availability is subject to capacity and cannot be guaranteed.

Movers and Shakers Ball Details:

  • Date: October 26, 2024
  • Locations: 560 Music Center & COCA
  • Time: 5:00 pm – 10:15 pm
  • Co-chairs:
    • Rhonda and Carlton Adams
    • Francesca DeStefane
  • Host Committee:
    • Shereen Fischer
    • Andrea Slavik
    • Denise Thimes
    • Tyeler Hood

Tickets and Information: https://www.stldancetheatre.org/movers-and-shakers-ball

The Black Rep and Pulitzer Arts Join Forces for Phoenix Rising Series

The Black Rep and Pulitzer Arts Join Forces for Phoenix Rising Series

Performance Series Featuring Two Weeks of Movement in Conversation with Landscape
Presented by the Whitaker Foundation June 15-25 at the Pulitzer

Two of St. Louis’ top cultural institutions, The Black Rep and The Pulitzer Arts Foundation are collaborating this summer to bring audiences Movement in Conversation with Landscape, as part of the The Black Rep’s Phoenix Rising Performance Series, presented by the Whitaker Foundation, June 16-25, 2023 at the Pulitzer. The Series includes unique dance performances, dance film screenings, and master classes. Full schedule and details below, with FREE admission to all.


June 16-18: Fri., 6-7 p.m.; Sat., 5-6 p.m.; Sun., 5-6 p.m.

12.15.2017– MFA dance student Heather Himes. James Byard/Washington University

Performances including:

The Seventh Floor Dance Collective – Founded by Heather Beal, this St. Louis based dance company is dedicated to the preservation and legacy of Dunham Technique. Performing inside in the Galleries. 

Brother(hood) Dance – An interdisciplinary duo that seeks to inform its audiences on the socio-political and environmental injustices from a global perspective, bringing clarity to the same-gender-loving African-American experience in the 21st century. Performing outside throughout Park Like.

Nana – A performance ritualist, youth educator, and loquacious lover, their artistry is the lens through which they conjure Black Queer Feminist research. Nana is the Artistic Director of Healing the Black Body. Performing outside at Spring Church. 

Thurs., June 22: 8-9:30 p.m. 

Screening of dance films:

With introductions and post-show conversation led by Kirven Douthit-Boyd, Artistic Director of Big Muddy Dance Co. Held outside in the courtyard between the Contemporary Art Museum and The Pulitzer. Space limited, FREE with registration required. Register at pultzerarts.org. Films include: 

The Weight of Sugar

Director: Jingqiu Guan; Choreographer: Bernard Brown 

Filmed on location at a renovated historic mill, the short film uses the lens of sugar to illuminate some of the lasting effects of colonialism on women of color. With support from a strong community, a young black woman guides us toward ascension, releasing the vestiges of oppression scattered. 

“a clearing” a part of the FLY | DROWN series

Co-Directors: Jennifer Harge and Devin Drake

This short chronicles a dance folktale honoring Black women’s movement towards flight. Set in a post-Great Migration home in Detroit, MI, it is an interwoven story of two characters, elder and nyeusi, and moves between the mundane, the majestic, fact, and fable. 

June 23-25: Fri., 6-7 p.m.; Sat., 5-6 p.m.; Sun., 5-6 p.m.

Performances including:

 Swamp Body Dance – Brittany Williams is an international dancer, choreographer, and organizer; a principal dancer with Olujimi Dance; the founder of Dancing for Justice and Obika Dance Projects. A womanist, a ride or die freedom fighter, and art-maker, Brittany creates work that is part reality, part fugitive. Performing outside in the Tree Grove.

Harge Dance Stories – Jennifer Harge is an interdisciplinary choreographer, performance artist, and educator based in Detroit whose work centers on Black and queer vernacular movement practices, codes, and rituals that manifest at the intersections of performance, installation, and community gathering. Performing outside at Spring Church. 

The Seventh Floor Dance Collective with Siobhan Monique  – Singer, songwriter, and educator based in Florida, Siobhan is also the founding artist of Ancestral Funk TM, Inc.  Held outside in the courtyard between the Contemporary Art Museum and The Pulitzer.

Sat., June 17 & Sat., June 24: MASTER CLASSES 

A full schedule of Master Classes will be offered. Space limited, FREE with registration; full class listing at www.theblackrep.org.

About The Black Rep

The Black Rep, a 46-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.org. 

The PHOENIX RISING SERIES honors The Black Rep’s original name on its founding in 1976 and is designed to create a platform for creative expression from an African American perspective in alternative spaces for new audiences, with support from the Whitaker Foundation. For a complete schedule of this summer’s SERIES visit www.theblackrep.org.

About The Pulitzer 

The Pulitzer Arts Foundation is an art museum dedicated to fostering meaningful experiences with art and architecture. Since its founding in 2001, the museum has presented art from around the world in its celebrated building by Tadao Ando and its surrounding neighborhood. Offering personal encounters with art, the Pulitzer brings art and people together to explore ideas and inspire new perspectives.

The Pulitzer campus is located in the Grand Center Arts District of St. Louis, Missouri, and includes the museum, the Spring Church, the Park-Like garden, and a tree grove. The museum is open Thursday through Sunday, 10am–5pm, with evening hours until 8pm on Friday. Admission is free. For more information, visit pulitzerarts.org.

The Rep Reprises Its Modern Take on Dickens’ ‘A Christmas Carol’

The Rep Reprises Its Modern Take on Dickens’ ‘A Christmas Carol’

By CB Adams

Remember that commercial from the late 80s with the tagline, “This is not your father’s Oldsmobile?” The Repertory Theatre of St Louis’s production of “A Christmas Carol” is kinda like that. This is not your father’s, or grandmother’s (or your crazy Aunt Millie’s) adaptation of this Dickensian tale of Ebenezer Scrooge’s war on Christmas. As you survey St. Louis’s rich assortment of holiday offerings (and there truly is a cornucopia that runneth over), this production entices with a shiny, progressive reboot of this Christmas chestnut.  

It’s a new spin on “A Christmas Carol” that’s perfect for those with short attention spans. This adaptation treats the story of Scrooge’s transformation as the plain evergreen upon which the shiny baubles of scenic design (Tim Mackabee), lighting and projections (Seth Reiser and Hana S. Kim), costumes (Dede Ayite), choreography (Kirven Douthit-Boyd) and hip hop choreography (Robert Crenshaw) are hung. Bringing youthful energy to the production are the Webster University conservatory cast, the Big Muddy Dance Company dancers, whose ghost dancers add much to certain key scenes, and a youth ensemble from the Center of Creative Arts.

By flattening the well-known story line whose lead character has been represented by everyone and everything from Alastair Sim and Michael Caine to Bill Murray and Mr. Magoo, this adaptation by Michael Wilson (the same as last year’s) embellishes the story of Scrooge’s transformation with new characters and scenes not in the Dickens novel.

Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

Upon each of the story’s key moments – Marley’s appearance, visits by the three Spirits, the Cratchit family’s penury, etc. – director Hana S. Sharif hangs contemporary dance numbers, special effects and humorous asides among all the dark, dank Victoriana. The dance is an especially effective component of this adaptation; the inconsistent use of modern colloquialisms – not so much.

The result is a Whitman’s Sampler of a production that tries too hard to provide a little something for every taste.  And like that holiday box, there’s all sorts of chocolates, including a rap-infused “O Come All Ye Faithful,” a Marley who flies up from beneath the stage like a spectral Peter Pan, a dance number that includes The Worm, and a Ghost of Christmas Yet to Come that’s part-Mad Max, part-Blade and part-Gimp from “Pulp Fiction.”

The latter makes his NFL-inspired entrance complete with hoverboard and ravers glasses. This ghost’s entrance is certainly impressive but calls too much attention to itself and pulls you out of the story. It also undercuts the emotional impact of Scrooge recognizing his tombstone – the climax of the story.

The same holds true for the final scene (not in Dickens’s original) with Scrooge hosting a party. This is a well-intentioned addition that hopes to highlight the new, improved Scrooge, but which borrows too much from the final scene in the “White Christmas” movie. It also weakens the intent of Dickens to use this story to examine the plight of the disadvantaged. As Scrooge promises the Ghost of Christmas Yet to Come, “I will honor Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach!”

Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

Sharif adds another complexity to this production  by double casting of most of the key roles. It was fun (and impressive) to see the way Laakan McHardy played both a doll seller and the Ghost of Christmas Past (the best of the portrayals of the spirits) and Paul Aguirre went from a refreshments vendor to a vampy, over-the-top Christmas Present. Michael James Reed also played double duty as Mrs. Dilber (Scrooge’s housekeeper with shades of “Mrs. Doubtfire”) and the spectral Jacob Marley – how’s that for range!

The roles of Scrooge and Bob Cratchit are played by Guiesseppe Jones and Armando McClain, respectively. McClain provides one of this production’s best and most consistent and balanced portrayals as the long-suffering Cratchit. Ultimately, “A Christmas Carol” hinges on the portrayal of Scrooge. Jones displays an impressive range, which he definitely needs in this adaptation that pivots (sometimes to distraction) from lightheartedly humorous to full-on King Lear-level theatricality. As impressive as Jones was in all his scenes, his performance was often too self-contained and lacked chemistry with the other actors.

Overall, this production is designed with lots of wow-factors to defy you to call it anything but bah-humbug. The success of this approach depends on how you like your Scrooge served up. If you’re seeking the more traditional, ye merry ole England version (I remember one from my youth that included real basset hounds on stage), this isn’t that. To its credit, this adaptation avoids the saccharin Timmy-fell-down-the-well savior sub-narrative of so many other productions. And, it brings a modern sensibility to this timeless, still all-too-relevant story.

The Repertory Theatre of St. Louis presents “A Christmas Carol” November 19–December 30 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. For tickets or more information, visit: www.repstl.org.

Photo Credit: T Charles Erickson © T Charles Erickson Photography tcharleserickson.photoshelter.com

The Rep Returns to Live Theatre with ‘Mlima’s Tale’

The Rep Returns to Live Theatre with ‘Mlima’s Tale’

The Repertory Theatre of St. Louis (The Rep) is excited to bring an extraordinary production with a cast and crew from around the globe to St. Louis in the organization’s return to live theatre with ‘Mlima’s Tale,’ a moving, lyrical journey through the dark world of the international ivory trade from two-time Pulitzer Prize-winning playwright Lynn Nottage. 

Performances of ‘Mlima’s Tale’ begin at COCA’s Berges Theatre onMay 28. The show runsMay 28 to July 11, times can be found here. Tickets begin at $20.50. 

‘Mlima’s Tale’ tells the story of a majestic and powerful African elephant murdered for his tusks. From beyond the veil of death, Mlima’s spirit follows the path of his tusks on a captivating and haunting journey through the dark world of the international ivory trade.

“As artists we are often tasked with examining our shared human experiences to help others imagine, dream and heal during a time of global crisis,” said Director Shariffa Ali. “Directing ‘Mlima’s Tale’ allowed me to dig deep into my own personal history, where as a child I would listen to the stories of my grandmother and the village elders of Nandi Hills, Kenya, planting the seed of storytelling in my soul. This cast and crew – from all over the world – has created a production that brings to life the bold majestic gestures and expressive faces of my motherland and beyond, as it so aptly exposes the social issues that come with the greed of human desire in our global economy.”

Mlima’s Tale cast includes Kambi Gathesha as Mlima, with Ezioma Asonye, Will Mann and Joe Ngo as the ensemble. The production will be directed by Shariffa Ali, Kirven Douthit-Boyd will serve as the choreographer, You-Shin Chen (scene design), Helen Huang (costume design), Jasmine Lesane (lighting design), Avi Amon (composer and sound design), Shannon B. Sturgis (stage management), R. Christopher Maxwell (assistant stage manager) and Madison Booth as the costume assistant; with Barbara Rubin and Julie Foh serving as dialect coaches.

“We are thrilled to bring Lynn Nottage’s haunting and riveting tale of globalism to our St. Louis audience,” said Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis. “Mlima’s Tale is an exquisite story about culture, art, beauty, economics, greed and the incredible cost of conspicuous consumption. Through Mlima’s majestic spirit’s journey tracing its tusks around the world, we come to discover the collective power and impact of our choices.

For audience and performer safety, theatre capacity will be kept at 25 percent, in line with  St. Louis County Department of Health’s COVID-19 guidelines. In addition, The Rep is adhering to its comprehensive plan to keep actors, production staff and patrons safe during the return to live theatre. ‘Mlima’s Tale’ is The Rep’s only performance from the 2020-2021 season due to the COVID-19 pandemic.

Tickets will be available to the general public on May 20 at repstl.org. Subscribers will have earlier access to seating and tickets. For more information, visit repstl.org.

The Black Rep Announces ‘Ain’t Misbehavin” Concert Version as Gala Production Oct. 12

The Black Rep Announces ‘Ain’t Misbehavin” Concert Version as Gala Production Oct. 12

The Black Rep will present a concert version of the
Broadway hit musical “Ain’t Misbehavin’” at the 560 Music Center on Saturday,
Oct, 12, for One Night Only.

“Ain’t Misbehavin’” is a musical revue with a book by
Murray Horwitz and Richard Maltby, Jr., and music by various composers and
lyricists as arranged and orchestrated by Luther Henderson. It is named after
the song by Fats Waller (with Harry Brooks and Andy Razaf), “Ain’t Misbehavin’”.

The musical is a tribute to the black musicians of the
1920s and 1930s who were part of the Harlem Renaissance, an era of growing
creativity, cultural awareness, and ethnic pride. It was a time when Manhattan
nightclubs like the Cotton Club and the Savoy Ballroom were the playgrounds of
high society and Lenox Avenue dives were filled with piano players banging out
the new beat known as swing.
An ensemble of performers present an evening of rowdy, raunchy, and humorous
songs that encapsulate the various moods of the era and reflect Waller’s view
of life as a journey meant for pleasure and play.

The Chicago Sun Times said: “Fun and off-the-charts
galvanic energy are the main orders of the day in this show… Talk about
“Spreadin’ the Rhythm Around.” Pure joy.”

The Huffington Post said: “This is a boozy, after hours
party, and we’re all invited.”

The cast of Ain’t Misbehavin’ in concert features cast
members from the Season 43 opening hit production of “Don’t Bother Me, I Can’t
Cope” led by Drummond Crenshaw, Amber Rose, Tyler White, Robert Crenshaw, and
Sieglinda Fox.

It is directed by Producing Director Ron Himes, with
musical direction by Charles Creath, choreography by Kirven Douthit-Boyd and
Heather Beal.

Proceeds from the 2019 Gala go to support The Black Rep’s
Community and Education programs such as: 
Summer Performing Arts (SPA), Teen Tech Program, The Professional Intern
Program and many others.

Other highlights of the evening will also feature a
presentation of the Frankie Muse Freeman Spirit Awards to Anne Marie Clark and
Wesley Bell as well as the Woodie King Jr. Lifetime Achievement Award to Dr.
Glory Van Scott and George Faison.

“Ain’t Misbehavin’” is sponsored in part by Centene
Corporation, Enterprise Rent-a-Car, Edward Jones, Webster University, McCormack
Baron Salazar Inc., Keith Williamson, Gisele Marcus, Tom and Barbara Feiner,
Loren and Marcia Grossman, Lionel Phillip, Hank Webber and Chris Jacobs.

For tickets or more information, contact the box office at
314-534-3807 or go online to theblackrep.org.

The Black Rep’s ‘Crowns’ Joyous Celebration of Culture, Traditions

The Black Rep’s ‘Crowns’ Joyous Celebration of Culture, Traditions

By Lynn Venhaus
Managing Editor
At its best, “Crowns” is a jubilant celebration of family, faith and traditions, and the Black Rep’s sharp ensemble radiates joy as they take us to church. It’s a gem of a show, gleaming with polish and pizzazz.
The small cast of seven raises their glorious voices in beautiful harmonies, delivering spirituals, gospel standards, church hymns and ballads, which are woven into a story thread that includes vignettes.
As the youngest Yolanda, Tyler White, opens with hip-hop, to set the scene for her life in Brooklyn and showing her youthful energy and independent spirit. She moves down South, to stay with her grandmother, Mother Shaw (Anita Jackson), after a family tragedy. She learns about her history, forges an identity and what it means to have these “church ladies” in her life.

By honoring women who have impacted their lives, we feel the reverence and love for these role models. They are having as much fun on stage as the audience.
With outstanding creative elements, the show pops with color – especially Designer Daryl Harris’ gorgeous costumes and an incredible array of hats that reflect time periods and fashion trends.
The women are decked out in well-tailored Sunday best that reflects their characters. In a dramatic entrance, a rainbow of similar dresses is lowered for the women to change into and tell us about their journey.
Scenic Designer Dunsi Dai’s innovative set includes a large straw hat as the centerpiece. Joe Clapper’s lighting design enhances that symbolic piece.
With considerable flair, director Linda Kennedy focused on what made this 2002 gospel musical by Regina Taylor strike a chord with audiences. It has become the most produced musical in the country.
If Taylor’s name rings a bell, she is an award-winning actress, best known as the housekeeper on “I’ll Fly Away,” NBC’s critically acclaimed drama that ran for two seasons from 1991 to 1993.
She was inspired not only by her role models and the music of their churches, but also a coffee-table book, “Crowns: Portraits of Black Women in Church,” by Craig Marberry and Michael Cunningham.
Musical Director Charles Creath expertly plays keyboards and Matthew Clark handles the percussion, a tight combo at the rear of the stage; they sound terrific. The score, with familiar gospel songs, is at times moving and other times fun.
The movements all have a purpose, too. An experienced Alvin Ailey dancer, choreographer Kirven Douthit-Boyd’s work is another bright spot, conveying the faith, hope and love of this group.
Eleanor Humphrey as Jeanette, Tyler White as Yolanda and Anita Jackson as Mother Shaw in “Crowns.” Photo by Phillip Hamer.Anita Jackson, with customary power and grace, commands the stage with her vocal prowess and leadership role.
Other likable presences include Leah Stewart as Mabel, Amber Rose as Velma, Maureen L. (Hughes) Williams as Wanda and Eleanor Humphrey as Jeanette. They work together well. Tyler White is a natural as Yolanda.
As the sole male in multiple roles, Myke Andrews’ winning personality is a plus, and he also has a strong voice.
The show is structured with vignettes that are told like at a church service – procession, morning service, wedding, funeral, baptism and recessional. It flows well, engaging us with their stories and songs.
The cast connects the message and history lessons with warmth and good cheer. They make these characters come alive – people you know or wish you knew.
The Black Rep’s production of “Crowns” runs Thursdays through Sundays Sept. 5 through Sept. 23 at Washington University’s Edison Theatre, 6445 Forsyth Blvd. For more information, call (314) 534-3807 or visit www.theblackrep.org.