There are many reasons you might want to see the Black Rep’s current production of Ntozake Shange’s poem series “For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf” at the Missouri History Museum.
Of course, you get that deep, hard look into the lives of black women in the 1970s as seven characters wearing seven different colors leap, lament and laugh their way through Shange’s classic language.
From left: Van McElwee (Media Arts), Stan Chisholm (Visual Art), Richard Newman (Literature), Philip Boehm (Literature), Alice Bloch (Dance), Kathryn Bentley (Theater Arts), Deanna Jent (Theater Arts), Juan William Chavez (Visual Arts), Arny Nadler (Visual Arts)
Whether they were on stage, leaning into the kiln or creatively advocating for justice, it was a banner year for many local artists.
The Regional Arts Commission this year began an unprecedented awarding of money to St. Louis-area artists through its Artists Count program. Dozens of visual, performing and literary artists were given grants of between $500 and $3,000 for specific projects.
New Jewish Theatre opens their 17th season with Neil Simon’s The Good Doctor. More of a sketch comedy piece than a true play, the small vignettes of Anton Chekov’s short stories, represent slices of Russian life at the turn of the last century and are quilted together by a narrator, a writer who is auditioning some of his characters for us. David Wassilak plays the narrator and involves himself in several of the stories (either as the narrator character or as a specific character, it’s a bit unclear.)
I know everyone is probably making the same pun, but Stages St Louis’ closing show of their season, My Fair Lady is, without any doubts, absolutely “loverly.” The moment you enter the theater James Wolk’s set draws you in and sets you down in a London market street circa 1910. Costumes by Dorothy Marshall Englis are exquisite thorough-out, but the opening sets the tone so you are holding your breath to see what Eliza wears at her transformation.
I’m a big fan of opening nights and when it is the Repertory Theatre opening their 47th season with Cabaret, expectations are enormous. There is much to like in this lavish production. As is always true at the Rep, the technical aspects are gorgeous. Michael Schweikardt’s Kit Kat Club is more than just the stage upon which the story sets, it becomes, as he had hoped, another character in the play. Angela Wendt’s costumes, with the exception of the Kit Kat girls opening jazzercise outfits, are eccentric and opulent when appropriate, and tacky and tawdry when needed.
The Repertory Theatre of St. Louis opens tonight with a revival of the musical "Cabaret." First performed on Broadway in 1966, the musical is set in 1930s Berlin.
Because it captures the shift and change in power during pre-Nazi Germany, the show gives you more than entertainment. It also gives you something to think about, said Steve Wolff. He is the artistic director for the Repertory Theatre.
Last year, Ron Conner led Black Rep casts in four out of five productions, and from the first, became one of my favorite actors to watch. This year he leads the Black Rep away from its twenty-six year home at the Grandel Theater to the A.E. Hotchner Studio Theater on the campus of Washington University and opens the new season with a sizzling one man show, Emergency. (The Black Rep was recently unceremoniously dumped from their long-time home. Hotchner will not be a permanent space for them, but was the perfect space for this particular show.)