You searched for:

  • [X]This Weekend
  • [X]Arts & Theater
Start over

Search Events…

Narrow Search

Arts & Theater This Weekend

37 total results

Now Playing Third Base for the St. Louis Cardinals...Bond, James Bond

Fri., Aug. 17, 7:30 p.m., Sun., Aug. 19, 4 p.m., Thu., Aug. 23, 9:30 p.m., Fri., Aug. 24, 7:30 p.m. and Sat., Aug. 25, 6 p.m.

The Midnight Company is well known for presenting unusual plays filled with unusual ideas, but its contribution to the St. Lou Fringe festival may be one of its most outré endeavors. Joe Hanrahan's Now Playing Third Base for the St. Louis Cardinals ... Bond, James Bond is about theater itself, as well as baseball in St. Louis. As the title hints, James Bond is involved, but so are the Beatles, and there's a plot to kill the president. Because this all takes place in St. Louis, race is also a big part of the play. It sounds ambitious, but that's Midnight Company. Now Playing Third Base is performed at 7:30 p.m. Saturday and 4 p.m. Sunday (August 18 and 19), and 9:30 p.m. Thursday, 7:30 p.m. Friday and 6 p.m. Saturday (August 23 to 25) at the Kranzberg Black Box Theatre (501 North Grand Boulevard; www.midnightcompany.com). Tickets are $15. $15

Buy Tickets
Kranzberg Arts Center (map)
501 N Grand Blvd
St. Louis - Grand Center
phone 314-533-0367
Now Playing Third Base for the St. Louis Cardinals...Bond, James Bond

Chinese Buddhist Art, 10th-15th Centuries

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 30

Very rarely does an art exhibition include the actual wall an artist worked on, but the Saint Louis Art Museum does so for Chinese Buddhist Art, 10th-15th Centuries. A six-foot-by-four-foot section of a temple wall that has a painting of the Bodhisattva Akalokiteśvara (Guanyin) on one side is the focal point of the exhibition, and an exceptionally rare object. The show also includes four hanging scrolls, and a never-before-displayed painted, wooden sculpture of a seated arhat, the Buddhist term for a person who has achieved enlightenment. Chinese Buddhist Art, 10th-15th Centuries is open Tuesday through Sunday (March 30 to August 30) in gallery 225 of the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org). Admission is free. free admission

Sunken Cities: Egypt's Lost World

Tuesdays-Sundays. Continues through Sept. 9

The ancient city of Thonis-Heracleion was Egypt's main Mediterranean port from 664 to 332 BC, or roughly 100 years longer than the country of America has existed. It was a thriving, international metropolis — and then a string of natural disasters wiped it off the map. Archeologist Franck Goddio and his team of underwater archeologists rediscoverd Thonis-Heracleion 1,000 years later, four miles off the coast of present-day Egypt. It was more than 30 feet below the surface of the sea, its colossal statues of gods, pharaohs and ritual animals resting in the ruins of a world long gone. Three of these massive statues comprise the heart of the new exhibition Sunken Cities: Egypt's Lost Worlds, which will be on display at the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org) Tuesday through Sunday (March 25 to September 9). Alongside the trio of statues are more than 200 ceremonial and commercial artifacts (bronze vessels, coins, jewelry) found both on the sea floor and on loan from museums in Cairo and Alexandria. Admission to the exhibit is $8 to $20, and free on Friday. $8-$20

Jeremy R. Brooks

Tuesdays-Saturdays, 10 a.m.-4 p.m. Continues through Aug. 31

Ceramicist Jeremy R. Brooks is currently based in Carbondale, Illinois, where he's teaching at Southern Illinois University. His own studies include an unusual type of clay with a rubber-like elasticity that sets up quickly. Working quickly, he extrudes paper-like slabs and long coils, which he can then use for knitting, weaving or crocheting. The resulting forms have a plasticity that seems nearly impossible. Knitted vessels made from delicate strands of clay, sinuous loops of loosely bunched clay-yarn, a rainbow skein of fibers wrapped around itself that approximates the whorls and shape of a brain — Brooks' work is both trompe l'oeil and trompe l'clay. A small exhibition of Brooks' ceramics go on display this weekend at the Duane Reed Gallery (4729 McPherson Avenue; www.duanereedgallery.com), along with Brian Smith's abstract paintings. The show opens with a free reception from 5 to 8 p.m. Friday, July 20, and remains on display 10 a.m. to 4 p.m.. Tuesday through Saturday through August 31. free admission

Duane Reed Gallery (map)
4729 McPherson Ave.
St. Louis - Central West End
phone 314-361-4100
Jeremy R. Brooks

Painted Pieces: Art Chess from Purling London

Mondays, Tuesdays, Saturdays, 10 a.m.-5 p.m., Sundays, 12-5 p.m. and Wednesdays-Fridays, 10 a.m.-9 p.m. Continues through Sept. 16

The standard chess set has been reimagined in multiple formats, using everything from Simpsons characters to loaded shot glasses. The new exhibition at the World Chess Hall of Fame sees regulation Staunton sets done up with a fresh coat of paint, which doesn't sound all that impressive. But when it's artists such as Caio Locke, Sophie Matisse and Thierry Noir wielding the brushes, the results are dazzling. Painted Pieces: Art Chess from Purling London features vibrant, hand-painted chess sets exploding with color and invention. Painted Pieces opens with a free reception from 5:30 to 7:30 p.m. Thursday, April 12, at the World Chess Hall of Fame (4652 Maryland Avenue; www.worldchesshof.org). The show remains up through September 16. free admission

Messages from Mercury

Through Aug. 31

Strongly influenced by the ideas of semiotics and sacred geometry, artist Benjamin Lowder creates works of deconstructed text that convey ideas about the hidden world that exists all around us. For his new show, Messages from Mercury, Lowder paints street signs, then breaks them apart and reassembles them so the familiar words become glyphs that bear a cautionary tale to our inner voices. Just as Mercury was the messenger from the gods in Roman theology, so Lowder's art carries a warning from the gods that we're on the wrong path. Benjamin Lowder: Messages from Mercury opens with a reception from 6 to 10 p.m. Friday, June 29, at the artist’s brand-new Cherokee Street Gallery (2617 Cherokee Street; www.cherokeestreetgallery.com). It remains up through the end of August. Also on display are new works by Jerald Ieans and Zack Smithey in conversation with one another. Admission is free. free admission

Flora Borealis

Through Aug. 26, 7 p.m., Thursdays-Saturdays, 6 p.m., Thursdays-Saturdays, 6 p.m. and Thursdays-Saturdays, 6 p.m. Continues through Oct. 20
,

Summers in St. Louis are no picnic, what with the brutal heat and oppressive humidity. At night conditions improve a bit, and that's the time to get outside and experience the city. The Missouri Botanical Garden (4344 Shaw Boulevard; www.mobot.org) takes full advantage of the nocturnal respite with Flora Borealis, a nighttime-only special exhibition. Thanks to the artistic and technical brilliance of AVI Systems Inc., a section of the garden is temporarily transformed into a new experience with active lights, moving images and sounds that alter and enhance the familiar landscape. Tickets for Flora Borealis are $10 to $25 and are sold for specific time slots each night (Thursday through Tuesday through August 26). While you're waiting for your scheduled time you can take advantage of MoBOT’s new tented biergarten, which features live entertainment on select nights. $10-$25

Amy Sherald

Wednesdays, Saturdays, Sundays, 10 a.m.-5 p.m. and Thursdays, Fridays, 10 a.m.-8 p.m. Continues through Aug. 19

If you think you aren't familiar with Amy Sherald's work, you're wrong. Sherald painted Michelle Obama's official portrait, and that image was broadcast around the world and back. Sherald's portraits are of everyday black people (Mrs. Obama excepted, of course) with serene expression standing against featureless monotone backgrounds, and done in the large-size format once reserved for royalty and the wealthy elite. By portraying her subjects realistically and in vibrant color, Sherald liberates the black image from the traditional narrative; there are no sociological clues that hint at the status of her people. They are their own context, their eyes taking in the viewer with majestic calm. Amy Sherald, an exhibition of the artist's paintings, opens with a free reception from 7 to 9 p.m. Friday, May 11, at the Contemporary Art Museum St. Louis (3750 Washington Boulevard); www.camstl.org). The exhibit remains up through August 19, and admission is free. free admission

Great Rivers Biennial

Wednesdays, Saturdays, Sundays, 10 a.m.-5 p.m. and Thursdays, Fridays, 10 a.m.-8 p.m. Continues through Aug. 19

As part of its mission to present work by modern artists, the Contemporary Art Museum supports local artists through the Great Rivers Biennial. A team of esteemed jurors from the art world work through more than 150 applications to select three artists who live in the metro area for a high-profile exhibition at the museum. Addoley Dzegede, Sarah Paulsen and Jacob Stanley are the recipients of the eighth installment, and all three should be well-known to gallery habitues. In Ballast, Dzegede uses patterned textiles, sculpture and video to explore the hidden and forgotten history that creates a sense of "unified" identity. Paulsen combines consumer campaigns, immigrant narratives and stop-motion animation in an installation of single-channel videos to create a multi-part story about the invisible framework that supports and reinforces racial oppression. Stanley's sculptures are constructed to explore the nature and passage of time. His piece Accretion is a quarter-inch thick steel sheet; visitors can each place one sheet on top of it. As time passes and the weight increases, the steel will bend. The Great Rivers Biennial opens with a free reception from 7 to 9 p.m. Friday, May 11, at Contemporary Art Museum St. Louis (3750 Washington Boulevard; www.camstl.org). The artists and jurors will hold a panel discussion at 11 a.m. Saturday, May 12. The show continues through Sunday, August 19, and admission is free. free admission

Faust: go down with all the re$t

Through Aug. 18, 7:30 p.m.

A coalition of five St. Louis theater companies join forces to present a celebration of the Faust legend this summer and autumn. The Faustival opens with ERA's experimental rock-opera Faust: go down with all the re$t, which is inspired by Goethe's rendition of the story. Faust is God's favorite human, but the Devil bets that he can draw him into sin. And so the Devil appears to Faust as a poodle and corrupts him with the promise of absolute power. ERA, with the help of local band Kid Scientist, presents its "capitalist tragedy" Faust: go down with all the re$t at 7:30 p.m. Wednesday, Friday and Saturday (August 8, 10 and 11), and then again at 7:30 p.m. Wednesday through Saturday (August 15 to 18) at Foam (3359 South Jefferson Avenue; www.eratheatre.org). Tickets are $10 and a two-drink minimum is recommended to get in the proper mindset. $10

Foam Coffee & Beer (map)
3359 Jefferson Ave.
St. Louis - South City
phone 314-772-2100
Faust: go down with all the re$t

King Charles III

Fridays, Saturdays, 8 p.m., Sundays, 2 p.m. and Thu., Aug. 23, 7:30 p.m. Continues through Aug. 26

The current prince of Wales is heir to the throne of England, still, at age 69. If he ever does become king, what sort of monarch would he be? Playwright Mike Bartlett imagines Charles' reign in his controversial play King Charles III. Told in Shakespearean blank verse, the play imagines a Charles who isn't afraid to take a more active leadership role than his mother — or really any modern English monarch. Faced with giving his assent to a law he doesn't approve of, Charles refuses to give his permission, which just isn't done. Suddenly the figurehead king is an active participant in the governing of England, and the people are outraged. Charles has his own problems as well — the ghost of his first wife haunts him in private moments. St. Louis Shakespeare opens its new season with the tendentious King Charles III. Performances are at 8 p.m. Friday and Saturday and 2 p.m. Sunday (August 17 to 26) at the Ivory Theatre (7620 Michigan Avenue; www.stlshakespeare.org). There is an additional performance at 7:30 p.m. Thursday, August 23. Tickets are $15 to $20. $15-$20

Ivory Theatre (map)
7620 Michigan Ave.
St. Louis - South City
phone 314-631-8330
King Charles III

No Exit

Wednesdays-Saturdays, 8 p.m. Continues through Sept. 1

Three people — Joseph Garcin, Estelle Rigault and Inès Serrano —are taken by the Valet to the same nondescript room. All three expect to be tortured, for that's what happens to damned souls. Instead they are left to their own devices, which mostly consists of justifying their damnation, complaining that they're not supposed to be here and arguing for the truth to be told. Jean-Paul Sartre's play No Exit is the quintessential existential drama, and in Alyssa Ward's new translation the characters must once again suffer as they see themselves through another person's eyes. Slightly Askew Theatre Ensemble presents No Exit at 8 p.m. Wednesday to Saturday (August 15 to September 1) at the Chapel (6238 Alexander Drive; www.slightlyoff.org). Tickets are $15 to $20. $15-$20

The Chapel (map)
6238 Alexander Dr
Clayton No Exit

The Robber Bridegroom

Thursdays-Saturdays, 8 p.m. Continues through Aug. 18

The Natchez Trace was a notoriously dangerous proto-highway in early American history. Stretching through the forests between Tennessee and Mississippi, the Trace was the perfect place for highwaymen to waylay travelers and traders. One of the best-known highwaymen was the Bandit of the Woods, who's out hunting for Clement Musgrove, the richest planter in Natchez. Instead the bandit encounters the beautiful Rosamund, Clement's only daughter. And it's a good thing he does; the far more unsavory bandit Little Harp is out looking for women to accost, even as Rosamund's stepmother has spitefully hired the village idiot, Goat, to find and kill her as well. Is it any wonder Rosamund falls for the dashing Bandit of the Woods? The Alfred Uhry and Robert Waldman musical The Robber Bridegroom is a Southern fairy tale based on the novel of the same name by Eudora Welty. Stray Dog Theatre closes its fifteenth season with the bluegrass-tinged musical. Performances are at 8 p.m. Thursday through Saturday (August 2 to 18) at the Tower Grove Abbey (2336 Tennessee Avenue; www.straydogtheatre.org). There are additional shows at 2 p.m. Sunday, August 12, and 8 p.m. Wednesday, August 15. Tickets are $25 to $30. $25-$30

Tower Grove Abbey (map)
2336 Tennessee Ave.
St. Louis - South Grand
phone 314-865-1995
The Robber Bridegroom

Lost in the Stars

Fridays, Saturdays, 8 p.m. Continues through Aug. 25

Shaun Patrick Tubbs has only been in St. Louis a few weeks, and already he's weary of hearing the same response when he talks about directing Union Avenue Opera's forthcoming production of the Kurt Weill and Maxwell Anderson musical Lost in the Stars, which is based on Cry, the Beloved Country, Alan Paton's novel of Apartheid-era South Africa.

"People keep saying to me this show is 'so relevant' to St. Louis. And I keep asking them, 'Isn't that a shame?'" Tubbs says. He offers a disingenuous smile, but he means it. "This is a show that's relevant to all of America, and it is a shame. But we keep getting better. I know that because I'm here directing this piece."

"This piece" is the story of a black father and son, Stephen and Absalom Kumalo, living in South Africa. Stephen is an Anglican priest, and he raised his son to be a moral person. But when Stephen goes to Johannesburg to find his son, he learns that Absalom has committed serious crimes. During a robbery, Absalom kills a white man and faces the death penalty. This shakes Stephen's faith and also brings him into close contact with the murder victim's grieving father.

Tubbs grew up in Cleveland, Ohio, and now travels the world directing and performing. He's a fellow of the Kurt Weill Foundation, which directed him to Union Avenue Opera. The company had contacted the foundation in search of a director with a strong background in Weill's work. That was Tubbs, even though he freely admits this particular show wasn't even on his radar.

"When the foundation reached out to me about directing this, I had to do my research because I wasn't familiar with it," he recalls.

Tubbs immersed himself in both the musical and the source novel. During the course of an hour-long interview, he never looks at his phone or casts about for an answer; he's focused completely on the matter at hand. His vision for Lost in the Stars is clearly defined and inspiring. Tubbs acknowledges that this a show written by two white men, for a white audience, in 1949. For him, that's a feature, not a bug.

"I don't want to point out all the things wrong with the show. I want to embrace them," Tubbs says. "It's too simple to say this is white-and-black story. The story is in the gray. Once you make them all come together, that's when you get in the gray, that's when things happen."

That togetherness is bound to Tubbs' frequent refrain, "It's a show about people. The stage will be littered with bodies."

For Tubbs, it comes down to what's been lost and the choices that have been made. Stephen drilled Absalom in the Ten Commandments and the word of God, but Absalom kills a man. How could he go so far astray?

"Absalom has learned how to be moral, but he hasn't been taught how to live in the real world with that code," Tubbs explains. "His village has been over-milled and over-plowed, and so there's nothing left for the next generation. The future is in Johannesburg, but the city is full of rules and restrictions for a black man. The future isn't for them."

Yet just as Shaun Tubbs is here directing Lost in the Stars in 2018 St. Louis — something that was impossible in 1949 America — Tubbs still sees the opera as being about hope.

He is crystal-clear on what he hopes audiences take away from the show. "I want people to leave with a question in their mind; I don't want them to leave with an answer. I want people to question what they're doing in this. I don't want to lose hope for the future, but I want us to think what can we learn to give the next generation a future?"

Lost in the Stars is presented by Union Avenue Opera at 8 p.m. Friday and Saturday (August 17 to 25) at the Union Avenue Christian Church (733 North Union Boulevard; www.unionavenueopera.org). Tickets are $30 to $55.

$30-$55

The Light in the Piazza

Sundays, 7 p.m. and Fridays, Saturdays, 8 p.m. Continues through Aug. 26

R-S Theatrics opens its eighth season with The Light in the Piazza. The Adam Guettel/Craig Lucas musical eschews the typical Broadway sound for a more romantic, classical-music approach and follows the ups and downs of a whirlwind Italian romance. Clara and her mother Margaret are visiting Florence, Italy, when Fabrizio notices Clara across the piazza. At first rebuffed by the protective Margaret, Fabrizio soon enough is falling in love with Clara, and his feelings are reciprocated. Margaret still harbors doubts, even after meeting the young man's delightful family. Why is she so concerned about letting her adult daughter fall in love and start a new life? The Light in the Piazza is performed at 8 p.m. Friday and Saturday and 7 p.m. Sunday (August 10 to 26) at the Marcelle (3310 Samuel Shepard Drive; www.r-stheatrics.com). Tickets are $20 to $25. $20-$25

Marcelle Theater (map)
3310 Samuel Shepard Dr
St. Louis - Grand Center
phone 314-533-0367
The Light in the Piazza
Showing 1-15 of 37 total results in this search.

Best Things to Do In St. Louis

Newsletters

Never miss a beat

Sign Up Now

Subscribe now to get the latest news delivered right to your inbox.


© 2018 Riverfront Times

Website powered by Foundation