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Fri., June 21 and Sat., June 22

104 total results

The Marriage of Figaro

Sat., May 25, 8 p.m., Fri., May 31, 8 p.m., Thu., June 6, 8 p.m., Sat., June 8, 1 p.m., Wed., June 12, 8 p.m., Sun., June 16, 7 p.m., Wed., June 19, 1 p.m. and Sat., June 29, 8 p.m.

There's nothing more romantic than a late spring wedding, which is exactly why the maid Susana and the barber Figaro plan to get married on a lovely May evening. Their master, Count Almaviva, certainly plans to enjoy himself. The count has a scheme to bed Susana before the wedding, which many would consider poor form. But in Mozart's brilliant comic opera The Marriage of Figaro, the louche nobleman is a horny fool who will be neatly duped by the two lovers, each of whom has their own plan to leave him sitting on his hands. Opera Theatre St. Louis opens its new season with the crowd-pleasing show. The Marriage of Figaro opens at 8 p.m. Saturday, May 25, at the Loretto-Hilton Center (130 Edgar Road; www.opera-stl.org), and is then performed in repertory seven more times through June 19. Tickets are $25 to $192. $25-$192

Poetics of the Everyday: Amateur Photography 1890-1970

Fridays, 10 a.m.-9 p.m. and Tuesdays-Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 25

Portable cameras democratized photography. Once anybody could carry a camera with them, photography became a hobby as well as an art. Poetics of the Everyday: Amateur Photography 1890-1970, the new exhibition at the Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org), features 110 works by unknown moms and dads. They show children, landscapes, family gatherings and of course the family dog, with often unintentional effects such as the dreaded double exposure. Despite being made by strangers, the images of family vacations and candid shots have a familiarity that makes them universal. Poetics of the Everyday is on display in galleries 234 and 235 from Friday, April 26, to August 25. Admission is free. free admission

Rachel Whiteread

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

Rachel Whiteread emerged on the London art scene in the "cool Britannia" era of the late '80s and early '90s. The country was doing well financially and culturally, and people were ready to buy contemporary art made by contemporary British artists. Whiteread established herself as a leading light with her casts of everyday objects, which solidified the negative space in, under and/or around them in materials such as wax, plaster, concrete and resin. House, Whiteread's massive, freestanding concrete cast of the interior of an entire three-story Victorian house, earned her the prestigious Turner Prize in 1993, making her the first woman to win. Rachel Whiteread, the new exhibition at the Saint Louis Art Museum, is a retrospective of the artist's career that showcases 96 objects. They range from the small Untitled (Pink Torso), a voluptuous form of the inside of a hot water bottle cast in pink dental plaster, to the expansive Untitled (Twenty-Five Spaces), translucent resin casts of the underside of various chairs and stools arrayed on a game-board-like grid. The exhibit is on display Tuesday through Sunday (March 17 to June 9) at the Saint Louis Arts Museum (1 Fine Arts Drive; www.slam.org), and tickets are $6 to $12 (but free on Friday). $6-$12

Counterpublic

Fridays, Saturdays, 11 a.m.-5 p.m. and Wednesdays, Thursdays, 12-5 p.m. Continues through July 13

St. Louis is a city of neighborhoods. Everyone in St. Louis has said that at some point; if there is a truth universally acknowledged in this town, it's that our many neighborhoods are our strength and civic identity. And yet, how many people in your neighborhood eat the same food, share the same values and dream the same dreams?

For James McAnally, who with his wife Brea is the cofounder of the Luminary, the neighborhood theory may be true, but it's not a unifying principal.

"William Gass wrote that 'the Midwest is a dissonance of parts and people,'" says McAnally, referencing the late St. Louis-based writer.

That idea is the inspiration for the Luminary's ambitious new project, Counterpublic. The three-month long artistic exploration of the many dissonances that inhabit a shared geographic area incorporates public art, installations, discussions and performances. The McAnallys and curator Katherine Simóne Reynolds chose their own home turf for this experiment: Cherokee Street, with all the many cultures and people who inhabit it.

"It's a complicated project and something that hasn't been done yet," McAnally says with just a hint of understatement. "This idea of the 'counterpublic,' it speaks to the idea [that] there are people who don't feel included in this community. A counterpublic is analogous to subculture. It comes out of queer culture and feminist writing. The framing that's most helpful for Counterpublic is that it's a public art festival, or a platform that is meant to activate the neighborhood."

McAnally is quick to note that Cherokee isn't simply one neighborhood. The street crosses through four different ones on official city maps — Tower Grove East, Benton Park West, Marine Villa and Gravois Park — as well as two different aldermanic wards.

"Cherokee is the Latinx community, it's majority African American, it's eclectic and diverse," explains McAnally. "What do all of these groups have to say to each other? How can we keep the neighborhood together? Counterpublic is meant to activate the neighborhood — all of it, every group."

To do so successfully, the McAnallys began by talking to representatives of each division and explaining the plan and seeking partnerships.

"It was important to us early on to involve the business community, the Latinx community, all of these groups," McAnally says. "We have twenty permanent exhibitions throughout the project, from both local and national artists who come from the cultures found in Cherokee. We invited several Indigenous artists — we call it 'Cherokee' casually, but what does that really mean?"

Counterpublic encompasses many parts, people and ideas, all coming together to facilitate a free exchange of ideas. The plan is for Counterpublic to be a triennial festival that moves to a new neighborhood with each new iteration, but it's not at all an attempt to pigeonhole or homogenize any community. The dissonance is vital, and in the case of the inaugural production, deeply personal for the McAnallys.

"Counterpublic is a chance to ask ourselves, 'How do these many different voices come together, and how do we maintain an equitable development?'" James asks, not all rhetorically. "'How do we account for difference, and dissent? And how do we continue to live alongside each other while disagreeing?'"

Counterpublic opens Saturday, April 13, with tours, talks and performances from 1 to 6 p.m. at the Luminary (2701 Cherokee Street; www.theluminaryarts.org). An opening-night party takes place from 8 to 11 p.m., with complimentary food from neighborhood restaurants, artist-designed galletas by Rodolfo Marron III and Diana's Bakery and live video and DJ performances. New installations, processions, performances and public programs will continue through July 13. The full schedule is available at www.counterpublic.us. free admission

The Luminary (map)
2701 Cherokee St
St. Louis - South City
phone 314-773-1533
Counterpublic

How We See: Materiality and Color

Through June 29, 10 a.m.-4 p.m.

Humans can perceive a wide palette of colors, but we don't see as many hues as nature contains. The limitations of human vision are stretched in the Laumeier Sculpture Park's new exhibition How We See: Materiality and Color. Six artists who combine modern art practices with a keen observation of the natural world explore the possibilities of color manipulation and perception. Claire Ashley's specially commissioned, large-scale inflatable Ruddy Udder Dance is painted in neon colors. Volunteers will get inside it and perform a series of choreographed routines that allow you to see how its various shades change with movement and daylight. Ann Lindberg's graphite-and-colored-pencil piece as though air could turn to honey features a closely packed array of thin lines of pure pigment that become subtly darker toward the bottom. From a distance those tints blend and fade, and the piece appears to have a more uniform golden hue. How We See opens with a free reception at 11 a.m. Saturday, March 2, at Laumeier's Aronson Fine Arts Center (12580 Rott Road, Sunset Hill; www.laumeier.org). The exhibit continues through June 29, and admission is free. free admission

Muny Memories: 100 Years on Stage

Through June 2

The Muny is just about to open its landmark 100th season, and its neighbor, the Missouri History Museum (Lindell Boulevard and DeBalivere Avenue; www.mohistory.org), celebrates the occasion with an exhibit dedicated to the history of America's largest outdoor theater. Muny Memories: 100 Years on Stage features exhibits that explain the founding of the theater, display favorite memories from stars and staff, and give a look back stage to see how the dedicated technical crew creates and rigs all those sets and lights. You can also take a look at programs from the Muny's long, storied past. Muny Memories opens on Saturday, June 9, and remains on display daily through June 2, 2019. Admission is free. free admission

Missouri History Museum (map)
Lindell Blvd. & DeBaliviere Ave.
St. Louis - Forest Park
phone 314-746-4599
Muny Memories: 100 Years on Stage

Striking Power: Iconoclasm in Ancient Egypt

Fridays, 10 a.m.-8 p.m. and Thursdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 11

In his sonnet "Ozymandias," Percy Bysshe Shelley describes the legs of an epic statue in the desert wastelands, its ruined face lying "half sunk" in the sand. The inscription on the pedestal reads, "My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair!" The poem is a meditation on time wearing away the memory of even the mightiest, and a reminder that death means forgetfulness. In truth, it may have been Ozymandias' successor who destroyed the statue upon assuming the title of pharaoh. Statues and memorial inscriptions held ritual power for the Egyptians, and it behooved the new ruler to sweep away all remnant of his or her predecessor. In the Pulitzer Arts Foundation's (3716 Washington Boulevard; www.pulitzerarts.org) new exhibition, Striking Power: Iconoclasm in Ancient Egypt, the legacies of the pharaohs Hatshepsut and Akhenaten are examined through almost 40 historical objects that are both defaced and whole. Memory and visual culture are intertwined, and the destruction of the latter can easily erase the former. Striking Power opens with a free reception from 6 to 9 p.m. Friday, March 22. The work remains on display through August 11. free admission

Pulitzer Arts Foundation (map)
3716 Washington Blvd.
St. Louis - Grand Center
phone 314-754-1850
Striking Power: Iconoclasm in Ancient Egypt

Contemporary Art Museum St. Louis' Summer Exhibitions

Thursdays, Fridays, 10 a.m.-8 p.m. and Wednesdays, Saturdays, Sundays, 10 a.m.-5 p.m. Continues through Aug. 18

The Contemporary Art Museum St. Louis' summer exhibitions open at 7 p.m. Friday, May 17, and there are some heavy hitters involved. Lawrence Abu Hamdan is a finalist for this year's Turner Prize for his exhibition Earwitness Theatre (which CAM co-commissioned with several other institutions), which incorporates the artist's audio analysis of Saydnaya prison in Syria, site of numerous humanitarian abuses, a soundbooth and groups of objects Abu Hamdan uses as mnemonic devices to facilitate reenactments of crimes. Photographer Paul Mgapi Sepuya receives his first major museum survey thanks to CAM. Sepuya's images jumble and reorder the human body, while also revealing the mechanics of photography. Cameras are often a central figure in his work, while tripods, backdrops and lighting show up in his collages. Avoiding digital manipulation, Sepuya's work is about the importance of touch and contact, both between his subjects and his materials. Both shows remain on display at CAM (3750 Washington Boulevard; www.camstl.org) through August 18, and admission is free. free admission

I Now Pronounce

Sundays, 2 p.m., Saturdays, 8 p.m. and Wednesdays, Thursdays, 7:30 p.m. Continues through June 1

Nicole and Adam are finally taking the matrimonial plunge, but it seems like fate – and a friend or two – is against them. When a key member of the wedding party keels over dead, the ceremony is halted before completion. Adam's groomsman Dave uses this respite to convince Adam that monogamy and marriage is a trap that's not worth the trouble. Nicole's bridesmaid Michelle, who's going stag, figures this would be a good time to find a date before the end of the night, while the other bridesmaid tries to get this trainwreck back on schedule. Tasha Gordon-Solmon's I Now Pronounce is a good old-fashioned farce. New Jewish Theatre ends its current season with the comedy. Performances are at 7:30 p.m. Wednesday and Thursday, 8 p.m. Saturday and 2 p.m. Sunday (May 18 to June 1) in the Jewish Community Center's Wool Studio Theatre (2 Millstone Campus Drive, Creve Coeur; www.newjewishtheatre.org). Tickets are $42 to $45. $42-$45

Nina Simone: Four Women

Sundays, 3 p.m., Fridays, Saturdays, 8 p.m. and Thursdays, 7 p.m. Continues through June 2

In recent years, the mainstream media began reassessing the career and impact of musician Nina Simone, with documentaries exploring her personal life and rereleases of her works. Playwright Christina Ham knew there was more to Simone than her musicianship – after the bombing of the 16th Street Baptist Church and the assassination of Medgar Evers, Simone gave voice to the shared anger and outrage of the black community in her surprisingly jaunty song "Mississippi Goddamn." Ham's play Nina Simone: Four Women (inspired by Simone's namesake song about the plight of black women in a racist society) explores how the arts helped drive and inspire the civil rights moment, as well as the ways women were shunted to the side of that same movement. The Black Rep closes its season with Nina Simone: Four Women. Performances are at 7 p.m. Thursday, 8 p.m. Friday and Saturday and 3 p.m. Sunday (May 17 to June 2) at Washington University's Edison Theatre (6465 Forsyth Boulevard; www.theblackrep.org). Tickets are $15 to $45. $15-$45

Buy Tickets
Edison Theatre (map)
6445 Forsyth Blvd.
Clayton
phone 314-935-6543

Shakespeare Festival St. Louis: Love's Labours Lost

Starts May 29. Mondays, Wednesdays-Sundays, 8 p.m. Continues through June 23
,

A little corner of Forest Park becomes a Spanish kingdom this summer when Shakespeare Festival St. Louis presents Love's Labour's Lost. King Ferdinand of Navarre and his intimates Berowne, Dumaine and Longaville all jointly swear off the company of women for three years to better themselves through fasting and study. This oath immediately becomes a problem when the Princess of France and her ladies arrive in Navarre to negotiate for the return of some French property currently in Navarre's possession. The noblewomen are forced to set up camp outside the court to honor Ferdinand's pledge, but the sanctity of the vow is sorely tested when Ferdinand goes out to visit with the lovely princess. Secret letters are soon exchanged and disguises are worn so that love may follow its natural course. Love's Labour's Lost is performed under the trees of Shakespeare Glen (Fine Arts and Government drives; www.sfstl.com) at 8 p.m. Tuesday through Sunday (May 29 to June 23). Admission is free, and food and drink will be available on site so you can make a night of it. free admission

Shakespeare Glen (map)
Fine Arts Dr and Government Dr
St. Louis - Forest Park Shakespeare Festival St. Louis: Love's Labours Lost

Food Truck Fest

Fri., May 31, 5-8 p.m.
phone 314-615-4386
PMailbox@stlouisco.com
,

Follow the caravan of various mobile menus and join family and friends for dinner in your beautiful St. Louis County Parks. Food trucks are taking the County by storm and each operator offers a small signature menu that is uniquely different. For more information visit www.stlouisco/parks.com or call (314) 615-4386. No coolers allowed. Music by The Facts O' Life Edg-Clif Vineyard, Winery & Brewery Tentative Food Truck List: ANGIE Burger Buzz's Hawaiian Grill Doggie Mac's Food Essentially Fries MyBigFatGreekTruck New York Tom's Sarahs Cake Stop Steamroller Bagel and Deli Stlouisianaq Tikiz Treats Unleashed Wingnut Wok And Roll Free

https://www.facebook.com/events/429032880971061/

Golf the Galleries Opening Reception

Fri., May 31, 5-8 p.m.
phone 314-533-9900
marketing@thesheldon.org

This playable, artist-designed, nine-hole mini golf installation will again be situated in the beautiful Sheldon Art Galleries space, and is designed to be inclusive, family-friendly and accessible. The nine unique mini golf holes are designed by St. Louis area artists, architects and other creatives. The opening reception is viewing only. Free

https://www.thesheldon.org/current-exhibits.php
Buy Tickets
The Sheldon (map)
3648 Washington Blvd.
St. Louis - Grand Center
phone 314-533-9900

Rock Out Hunger

Fri., May 31, 6-9:30 p.m.
phone 314-942-8957
abrandon@stlfoodbank.org

Rock Out Hunger with the St. Louis Area Foodbank Dr. Zhivegas headlines annual music event to help feed local families facing food insecurity The St. Louis Area Foodbank invites you to the Chesterfield Amphitheater on Friday, May 31 for the third annual Rock Out Hunger concert. This year’s event features St. Louis’ premier party band, Dr. Zhivegas, along with local favorite FatPocket. Gates open at 6 p.m. and the music starts at 7 p.m. Tickets are only $10 each with all proceeds benefitting the St. Louis Area Foodbank’s work to feed people. Outside food and beverages are prohibited $10.00

http://STLFoodbank.org/roh
Buy Tickets
Chesterfield Amphitheater (map)
631 Veterans Place Drive
Chesterfield

Rock Out Hunger

Fri., May 31, 6 p.m.

w/ Dr. Zhivegas $10

Chesterfield Amphitheater (map)
631 Veterans Place Drive
Chesterfield
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