It’s been a week of Irish ghosts, a week of Irish loss and pain and guilt. It’s been a week of Irish tales that hover under an almost imperceptible mist of Catholic mysteries. It’s been a week of playwright Conor McPherson. First we saw a very fine production of “The Weir” by the new Cocktails and Curtain Calls company. And now Upstream Theatre, our most seriously adventurous small company, has opened McPherson’s “Shining City.”
It’s an utterly engaging evening of ghostly tales and drink. It’s full of that banter and intimacy and teasing good fellowship and gossip that we have no word for, but which the Irish call “craic.”
Gina Galati and her Winter Opera continue to bless St. Louis with exemplary productions! They’ve just opened “Così fan tutte,” and it’s a superb presentation of this popular Mozart work.
Want to escape to an imaginary world? Don't we all! Right now in St. Louis you have a choice of two such worlds to visit—each a derivative of a derivative of a beloved masterpiece of children's literature.
Old and new, borrowed and blue--all the elements are there in the St. Louis Symphony's evening of Brett Dean's "Lost Art of Letter Writing" and Brahms' "Symphony No. 1".
Saint Louis University has long been one of my favorite sources of quality theatre. Yesterday I went to their studio production of Jeffrey Hatcher’s play, “Scotland Road[i],” from 1993. It’s a curiously haunting mystery-cum-ghost story that in this production is very engaging indeed.
"They're creepy and they're kooky,
mysterious and spooky.
They're all together ooky,
the Addams Family."
The Irving Sisters appeared at the Kranzberg Saturday, September 5, and they gave us ninety minutes of bright delight. It was the cabaret debut of this most talented “girl group”—and it was awash in nostalgia.
Hawthorne Players has opened a fine production of the beloved “Carousel”, by Rodgers and Hammerstein.