Entertainment

Ferguson and Beyond Examines a Decade of Social Upheaval Through Art

Published

1 month ago

March 28, 2024

Last Friday evening, scores of artists, academics and community members filed inside the intimate, narrow halls of Webster University’s Hunt Gallery for the unveiling of an art show centered on St. Louis’ tumultuous racial history. Ferguson and Beyond: Artistic Responses to a Decade of Social Upheaval, open now through April 26, is at once a glimpse back in time and a mirror of the present moment. As we approach the 10th anniversary of the Ferguson Uprising, the exhibition urges viewers to contemplate the fatal shooting of Michael Brown Jr. by police officer Darren Wilson and the outpouring of protests and social activism that ensued as a result, both locally and around the world. It asks critical questions: What progress has been made? What work is left to be done? The gallery is adorned with paintings, photography, sculptures, videos and poetry by artists of color whose deeply personal work is informed by their lived experience. Notable contributors include Damon Davis, Lillian Gardner, Cheeraz Gormon, William Morris, Jon Henry, Yvonne Osei and more. “Many of the artists were in the streets of Ferguson,” Terri Reilly, Webster professor and co-curator of the exhibition told attendees on Friday. “Their art asks us to reflect and then act.” Despite the gravity of the evening’s central topic, the atmosphere on opening night crackled with festive energy. Familiar faces exchanged warm embraces, a gentle chorus of “pardon me” punctuated the constant brushing of shoulders, and the soft clink of plastic cups filled with complimentary wine was something like a symphony. The energy shifted, however, as attendees gathered around the podium for the exhibition’s opening remarks. Every person in the room was eager to hear from two special guests: Michael Brown Jr.’s father, Michael Brown Sr., and stepmother Cal D. Brown. The Brown family speaks outWhen Cal D. Brown stepped up to the podium, a solemn reverence fell over the crowd. The already congested room squeezed tighter as folks vied for a better view. iPhones and cameras emerged to capture the moment, and I, too, edged closer to the front, tape recorder in hand. “Good evening,” Mrs. Brown said. The crowd echoed her greeting like a congregation at Sunday Mass. “August 1, 2014, Michael Brown, Jr. graduated from high school,” she continued. “He sat in a Chinese restaurant in Ferguson and he said, ‘The world will know my name. I’m going to shake the world. I may have to go away for a while, but I’m gonna come back and heal my city.’” We know the end of this story all too well. Eight days later, on August 9, 2014, the unarmed 18-year-old was shot and killed after an encounter with Officer Wilson in Ferguson. Mrs. Brown concluded, “When I stand in spaces like this, I’m reminded of the words that he said himself.” click to enlarge COURTESY WEBSTER UNIVERSITY Michael Brown Sr. spoke at the exhibit’s opening reception.

Amidst applause and heartfelt grunts of approval, Michael Brown Sr. took center stage. He spoke about the work he and his wife are doing at the Michael Brown Sr. Chosen For Change Organization, a nonprofit he founded to support grieving families impacted by gun violence and police terror. The Browns are part of a growing number of families who, after losing a loved one to state violence, have decided to turn their pain into purpose by taking on roles as advocates, running foundations in their loved one’s honor, and accompanying other impacted families in establishing communities of healing. But the pain of losing one’s child never truly goes away. “It’s hard to bounce back after losing your loved one,” Brown Sr. said. “I struggle every day missing Mike. It’s ten years now, and it still feels like the same year everything happened. Personally, I don’t think too much has changed, but we got a whole lot of work to do. I’m standing here telling you I’m gonna stand with the people who want to do the work.” Brown Sr.’s voice carried conviction born of experience. Though his sincerity was undeniable, it was clear he had delivered retellings of his family’s tragedy hundreds of times before. Perhaps that is what it has taken to get people to listen. The Brown family’s sentiments underscore the main message of Ferguson and Beyond: that there remains an urgent need for collective action to address the root causes of violence and inequality in our communities. But how is art going to help us get us there? How art helps us move through Ferguson and beyond“Through every period of societal turmoil, regardless of place, artists have played a pivotal role in reflecting and shaping public discourse through their work,” Reilly writes in “Ferguson and Beyond: A Collective Undertaking,” an essay accompanying the exhibition. “Their work ignites change, challenges societal norms, fosters a collective consciousness, and asks the viewer to reflect, question, and collectively act against injustice.” Reilly draws parallels between the artistic community’s response to the deaths of Michael Brown Jr. and George Floyd and the historic Black Arts Movement of the 1960s and 1970s. Both movements arose during a time when Black people around the world were engaged in struggles for liberation and equality and sought to promote Black determination and pride through cultural production. click to enlarge ANGELO VIDAL A series of photographs from the collection of the Missouri Historical Society and its African American History Initiative offer a glimpse at the events of August 2014.

Damon Davis’ All Hands on Deck, one of the works on display at the exhibition, is a prime example. Created during the 2014 protests, All Hands on Deck comprises photographs of black hands raised in the air, which Davis initially pasted onto boarded-up storefronts along West Florissant Avenue, where they shared space with other protest art. Images of the storefronts were broadcast around the world. Davis’ artwork transformed a signal of surrender (“hands up, don’t shoot”) into one of resistance and solidarity. “All Hands on Deck was my way of weaponizing art to create a counter-narrative centered on the unity and love I saw every time I went out to protest,” says Davis. “It sought to raise the morale of the protest community to continue the fight.” Davis and the rest of the artists showcased in Ferguson and Beyond form a collective coalition of people who demand change. “Hate wants us to stop. Injustice wants us to go home,” Reilly insists. “No. We must collectively act, and the work in this show is asking you to do that.” Ferguson and Beyond will be open at Webster University’s Cecille R. Hunt Gallery (8342 Big Bend Boulevard) through April 26 and is free to attend. The gallery is open Tuesdays and Thursdays, 10 a.m. tp 5 p.m., Wednesdays 9:30 to 11:30 a.m. and 2 to 5 p.m., and Fridays 2 to 5 p.m. For more info, visit webster.edu/art/hunt-gallery.php.

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Moulin Rouge! Brings the Spectacle of Bohemian Paris to St. Louis

Published

18 hours ago

May 10, 2024

Natural Bridge

In theater, the term jukebox musical is most often used to refer to a musical that features a singular songbook, usually popular tunes from an era, performer or group. Moulin Rouge! The Musical, at the Fabulous Fox Theatre, pushes the envelope on this idea with fantastically entertaining results. Based on the 2001 movie of the same name, the high-energy show features integrated musical mash-ups showcasing chart-topping pop songs as well as snippets of familiar blues and opera numbers.

Set around 1900, the show introduces audiences to Paris in its Bohemian heyday as Christian, an American poet and composer fresh off the boat, arrives eager to immerse himself in the artist’s life. He soon meets the painter Henri Toulouse-Lautrec and Santiago, an Argentinian dancer and choreographer, who welcome him and his songwriting prowess and invite him to the famed Moulin Rouge. Christian is immediately smitten with the club’s star, the beautiful and tragic Satine, who mistakes him for the Duke of Monroth and tries to seduce him in hopes he will invest in the financially strapped club. The Duke and the club’s proprietor walk in on the two but, with help from Toulouse-Lautrec and Santiago, Christian and Satine quickly improvise a musical pitch and secure the investment. A love triangle forms between Christian, Satine and the Duke, threatening the production and forcing Satine to make a heartbreaking choice.

Christian Douglas is immensely likeable and engaging as Christian, with a rich, pleasing voice and impressive range that harmonizes well with the other characters. He’s genuine and easy to root for with a touch of naivety that keeps hopes high. Gabrielle McClinton gracefully conveys Satine’s hidden fragility and longing while balancing her affection for Christian against her need to win over Andrew Brewer’s Duke of Monroth. Brewer is one of the most captivating villains I’ve seen in a while and uses charm and complimentary vocals to make a convincing case to win Satine before revealing a cruel, manipulative and transactional nature. Nick Rashad Burroughs and Danny Bergos are the embodiment of “truth, beauty, freedom and love,” the Bohemian creed, and a delightful addition to any scene, while Sarah Bowden is surprisingly sympathetic as Nini, and Robert Petkoff is fabulously over the top as the proprietor and emcee Harold Zidler.

As with the film, Moulin Rouge! The Musical is more about the songs, love and spectacle than the story, which borrows heavily from familiar period tales. Movie fans may miss the Bollywood influence, but that gap is filled with several new and highly entertaining numbers mixing in songs released in the last 20 years. Intricately interwoven songs, energetic choreography and a lavish set that seamlessly fits into the Fox keep audiences enraptured and do a better than expected job of making the large theater feel like an intimate club. Moulin Rouge! The Musical is an exceptionally well produced and enjoyable take on the jukebox musical genre.Written by John Logan, based on the 2001 movie written by Baz Luhrmann. Directed by Alex Timbers. Now playing at the Fox Theatre (527 North Grand Boulevard, fabulousfox.com) through Sunday, May 12. Tickets are $45 to $150. Showtimes vary.

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The Midnight Company’s Spirits to Enforce Offers Otherworldly Fun

Published

20 hours ago

May 10, 2024

Natural Bridge

After producing several successful theatrical cabarets this spring, the Midnight Company turns its attention to the stage with an impressive production of Mickle Maher’s Spirits to Enforce. The clever script deftly re-imagines the otherworldly spirits released at the end of The Tempest as modern day superheroes on an unusual mission. Smart casting, and a clear vision with choreographic staging by Lucy Cashion, keeps the audience laughing throughout the quick moving mixed worlds comedy.

Having defeating the notorious villain Dr. Cannibal, the superheroes of Fathom Town turn their attention to a new challenge — a production of William Shakespeare’s The Tempest. Naturally, the production requires money to succeed, and the play opens on the superheroes’ assumed everyday personas conducting a fundraising phone bank from their submarine headquarters deep in the bay. They aren’t bringing much in and decide that they will reveal their superhero identities to the donors for a contribution of $50 or more, all while continuing to rehearse and prepare for the big show. Despite not raising much money, opening night arrives and the house is full but their audience is the escaped Dr. Cannibal and his villainous cronies! Can the superheroes win over this critical audience and once again save the town?

The majority of the play is delivered over phone lines as the characters keep the citizens updated on the production’s progress while soliciting donations. This device is played for comic and sympathetic impact, and it’s surprisingly effective; anyone who’s participated in a fundraising drive will relate to the desperation and humor. With all characters often speaking at the same time about similar matters, the room is filled with a cacophony of rising and falling voices and movement, resulting in moments of discord and harmony. Cashion’s sharp direction, the expert cast’s perfectly synchronized performances and Merkle’s malleable script come together to create a modern theatrical symphony that’s chaos perfected.

The show is a true ensemble piece where each performer plays three characters: their everyday persona, their superhero and their character in The Tempest. With the exception of Will Bonfiglio’s maestro-like Ariel, the superheroes feature unique and quirky powers, from the easy to grasp abilities of Rachel Tibbetts’ Memory Lass, Alicen Moser’s The Page, Ash Arora’s The Ocean and Cassidy Flynn’s The Tune; to the logical but odd Spencer Lawton’s The Intoxicator, Joe Hanrahan’s The Untangler and Miranda Jagels Felix’s The Silhouette; to the more offbeat abilities of Celeste Gardner’s Fragrance Fellow, Kayla Bush’s The Bad Map, Ross Rubright’s The Pleaser and Joey Taylor’s leitmotif of The Snow Heavy Branch. Every performer has at least one standout moment, but the real joy is the way they work together to create a masterful and wholly satisfying comedy.

Spirits to Enforce is a captivating dive into a Shakespearean multiverse filled with inventive and unusual yet thoroughly compelling superheroes. Shakespeare purists may be a bit puzzled by the plays quirky, whimsical approach, but the mashup of literary and comic sensibilities really entertains. Written by Mickle Maher. Directed by Lucy Cashion. Presented by the Midnight Company at the Kranzberg Black Box (501 North Grand Boulevard) through May 18.

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Soulard, Bevo Mill Both Unveil Pride Celebration Plans

Published

3 days ago

May 8, 2024

Natural Bridge

St. Louis is full of pride. We’re not talking hometown pride, though that’s cool, too. We’re speaking Pride, capital P. St. Louis is unique in that it has a ton of different Pride celebrations that take place throughout the year across the city, not just the big corporate-sponsored one downtown. Two of those neighborhoods announced their Pride details today: Soulard and Bevo Mill.The third annual Soulard Pride Street Festival and Soulard Pride Golf Cart Parade will step off on June 1 at the corner of Russell Boulevard and Geyer Street, while the golf cart parade will go forth from Big Daddy’s (1000 Sidney Street). Presented by the Krewe of Vices and Virtues, the event also includes a street festival with stages full of entertainment, food and drink and vendor booths, a kids area and more. It is free to attend.“This event has grown immensely over the years, and we are so happy to announce that we have extended our footprint a full block this year, in addition to adding another stage and so many more vendors and performers,” said Levi Cullifer, the Soulard Pride committee co-chair, in a statement. “This event means so much for the LGBTQIA+ community. It’s a time for us all to come together and celebrate Pride month.To get involved, visit kreweofvicesvirtues.com/soulard-pride.Meanwhile, Bevo Mill has announced its first-ever Pride Unified: A Ball for All, which will take place on June 21 at the Little Bevo (4751 Morgan Ford Road). The event features our very own RFT columnist, Chris Andoe, our sister publication’s Out in STL Influential Awards, Jade Sinclair and the Belles of Bevo and entertainment aplenty, which means dancing, a costume contest and more.Tickets are a very reasonable $10 and are on sale now on Little Bevo’s website.“I’ve been dreaming of hosting an event like Pride Unified for years, and I’m so excited to see it come to fruition. Pride is the time to celebrate unconditional love and being free to be thee. What better way to spotlight some of the most influential members of the LGBTQIA+ community than with a gathering of celebration and togetherness,” said organizer Luann Denten in a statement. “I hope this event brings unity to the community and brings all of the Metro area Pride groups together as one.”
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