Nothing proves that art is long and life is short quite like the list of music, theater, visual art, film events, and other performances being presented in St. Louis this spring and summer. Add up your free time, divide it by the number of events on the culture scene, and you’ll see. Luckily for you, we’ve put together a punch list—select even a couple of these performances each month, and you’ll have a full agenda.
Spring is the season of renewal, and though new faces—among them St. Louis Symphony Orchestra music director Stéphane Denève and Shakespeare Festival St. Louis executive producer Tom Ridgely—give us reason to rejoice in saying goodbye to the hibernation of winter, we must also bid farewell to the Rep’s longtime artistic director, Steven Woolf, but not without a big celebration first. This year’s list of concerts is full of megastars, including Garth Brooks, Ariana Grande, Carrie Underwood, and Shawn Mendes. Then there are the festivals. Whether you love Tennessee Williams or J.S. Bach, snaking your way through downtown Maplewood for Let Them Eat Art or eating your way through the Festival of Nations, there’s no shortage of great options. If art is long and life is short, we need to get moving.
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March
“How We See: The Materiality of Color” | March 2–June 30 | Laumeier Sculpture Park
The inspiration for “How We See” struck Laumeier curator Dana Turkovic as she was visiting Modern Art Oxford. There she saw “Love Is Enough: William Morris and Andy Warhol,” a juxtaposition of works by the great British textile designer and equally renowned American pop artist. “It was an unexpected pairing,” Turkovic says, but “the exhibition was beautifully curated” by Jeremy Deller. “The parallels Deller made between the two artists created a fresh dialogue of their respective practices. ‘How We See’ uses a similar curatorial device: Drawing on what is here, it makes what is old new again.” The exhibit includes sculpture by Claire Ashley, David Batchelor, Jedediah Caesar, Jeffrey Gibson, Barbara Kasten, and Anne Lindberg. Color here is both a chromatic display of beauty, Turkovic says, and an amplification of its “objectness,” a display of technology and material sciences, and proof that the creation of hue variations is similar to that in nature. Not to be missed: Ashley’s inflatable sculpture, accompanied by local dancers performing choreography coordinated to go with the park’s landscape.
Garth Brooks | March 9 | The Dome at America’s Center
Brooks, according to the Recording Industry Association of America, is the top-selling solo artist of all time at 148 million units, beating Elvis Presley, Michael Jackson, Billy Joel, and Elton John. Brooks is more than his stats, though. There’s the music, ranging from rollicking—“Ain’t Goin’ Down (’Til the Sun Comes Up)”—to sweetly tender—“If Tomorrow Never Comes” and “The Dance.” When he charges into The Dome, we’ll be hoping for “Friends in Low Places.”
The Play That Goes Wrong | March 13–April 7 | The Mainstage at The Rep
Will anything go right in this play within a play? The Cornley Polytechnic Drama Society is putting on a murder mystery, The Murder at Haversham Manor, but there are a few…hiccups. The actor playing the victim won’t stay dead, the leading lady’s unconscious, and actors are tripping up everywhere. Described as a “fall-down funny” mix of Monty Python and Sherlock Holmes, this British farce won London’s Olivier Award and then unexpectedly took flight in the States. When sci-fi god and Star Wars director J.J. Abrams, in London shooting The Force Awakens, wandered into the show one night, he found himself laughing and became a producer.
“Striking Power: Iconoclasm in Ancient Egypt” | March 22–August 11 | Pulitzer Arts Foundation
Is there anything more inspiring than wandering around a museum and looking, awestruck, at ancient works of art? As part of the Pulitzer’s first exhibition to track the “history of iconoclasm in relation to ancient Egyptian art,” the museum has almost 40 objects on loan from one of the largest collections: New York’s Brooklyn Museum. Broken artworks and undamaged pieces together tell the story of the period’s destruction of art, be it for political or religious reasons. Take, for example, a fragmented basalt face from a sarcophagus, dating from 332–30 BCE, perhaps destroyed in the belief that it contained a certain spiritual energy.
The St. Louis Sound Project | March 23, 26, 28–30 | Various venues.
This new fest has unexpected roots: as a book. When Reedy Press teamed up with KDHX DJ Steve Pick and author Amanda Doyle to create a compendium of the St. Louis music scene, they felt that a book wasn’t enough. Enter The St. Louis Sound Project, five shows in various venues in the city. Nights are devoted to jazz, rock, blues, hip-hop, and Americana with performances by such favorites as The Tonina Quartet, Marquise Knox, and Marsha Evans. Shows are $10 each, $25 will get you all five, and for $50, a copy of The St. Louis Sound Project is included.
Demetri Martin | March 24 | The Pageant
Known for his absurdism, deadpan observations, and use of a sketchpad and acoustic guitar in his act, comedian Martin—who was a Daily Show contributor and writer for Conan—comes to St. Louis on the heels of his 2018 Netflix special, The Overthinker.
Time Stands Still | March 28–April 14 | The J
James is a reporter who left Iraq after seeing too much; Sarah is a photojournalist who stayed there and was injured by a roadside bomb. When the two are reunited in New York, they try to start a different, more conventional life together—but Sarah has a secret about her time embedded without James. the Los Angeles Times called this play, by Donald Margulies, “absorbingly intelligent.” Here it’s directed by New Jewish Theatre’s Doug Finlayson.
April
Dreamgirls | April 4–20 | Tower Grove Abbey
We’re on board for anything Beyoncé- or Jennifer Hudson–related, and Stray Dog Theatre’s performance of Dreamgirls checks both boxes. But before it was a movie, of course, it was a musical, one that tells the story of R&B group The Dreams. Based on groups like The Shirelles and The Supremes, The Dreams will find their star—but not without conflict.
Coppélia | April 5–7 | Touhill Performing Arts Center
Coppélia is actually based on two stories, one of them a dark psychological fantasy—German writer E.T.A. Hoffmann’s “Der Sandmann”—but you wouldn’t know it. This comic tale of a doll so real-seeming, a boy falls in love with her, is magical, innocent, and sweet; one reviewer describes it as “enough tiaras, tulle and rhinestones to sink the Titanic.” When the ballet, by French composer Léo Delibes, premiered in Paris in 1870, it was an immediate success. One more reason to catch this performance: It’s your last chance this season to watch the Saint Louis Ballet on the mainstage.
A Standing Ovation for Steve | April 10 | Repertory Theatre of St. Louis
In 1986, when Steven Woolf took over as artistic director of The Repertory Theatre of St. Louis, the organization was in a tough spot, artistically and financially. Since then, he’s produced more than 300 shows, directed 45, and presided over the theater’s record-breaking 50th-anniversary season. In 2017, when Woolf announced his retirement, he led with this sweet sentiment: “It’s not often you get to live your dream, but I’ve been able to do just that at The Rep.” It’s only fitting that the soon-to-be artistic director emeritus kicks off his retirement with an event celebrating his tenure. Fans are invited to share memories, which will be incorporated into the ceremony, here.
My Favorite Murder Live | April 20 | Stifel Theatre
A podcast wherein two friends who met at a Halloween party talk about their favorite murders seems a little…inappropriate. But once you listen, you’ll find Karen Kilgariff and Georgia Hardstark are anti–victim-blaming, equally against romanticizing the crimes, and pro–“pepper spray first, ask questions later.” (“Stay out of the forest,” “You’re in a cult; call your dad,” and “Stay sexy and don’t get murdered” are some of the podcast’s other catchphrases.) In each episode, the pair recap the events of a grisly true-crime event and ask listeners—dubbed Murderinos—to write in with murders committed in their own hometowns. Their rowdy live shows follow a similar format: Kilgariff and Hardstark each run down a crime, usually centered on the place where they’re performing, and ask audience members to come up to the mic and share firsthand accounts.
Aziz Ansari | April 27 | Stifel Theatre
When we last saw Ansari, he’d returned from learning to make pasta in Modena in his Netflix hit Master of None. After taking a year off in the wake of allegations of sexual misconduct (and since apologizing), the Parks and Recreation favorite is slowly re-emerging, with a 30-plus-city tour—Road to Nowhere—of his über-personal standup. To catch up, watch any of his previous specials: Intimate Moments for a Sensual Evening, Dangerously Delicious, Buried Alive, and Live at Madison Square Garden. θ
Slatkin Conducts Bernstein | April 27 & 28 | Powell Hall
Leonard Bernstein was one of—if not the—most accomplished conductors, composers, and pianists of the 20th century, his contributions ranging from directing the New York Philharmonic to creating music for West Side Story. Beloved St. Louis Symphony conductor laureate Leonard Slatkin returns to the podium to lead musicians in Bernstein’s Symphony No. 3, “Kaddish.” A mourner’s kaddish is a Jewish prayer said for someone who has died, and in Symphony No. 3, Bernstein taps into its duality: both as a requiem and a celebration of life. The piece was dedicated to the memory of the slain President John F. Kennedy.
May
Bach in Motion | May 2 | E. Desmond Lee Concert Hall
Almost 300 years ago, composer Johann Sebastian Bach wrote his four orchestral suites, which were basically popular dance music back in the 18th century. Now in its second year, the St. Louis Bach Festival pays homage to the German Baroque composer with a series of performances. Don’t miss this collaboration by Big Muddy Dance Company and the Washington University Department of Music in performances ofthe suites.
Tennessee Williams Festival | May 9–19 | Grandel Theatre
Christopher Castellani’s Leading Men | April 18 | Left Bank Books
The buzz is the premiere of Dear Mr. Williams, a one-man play inspired by the writer’s life, by Bryan Batt (Mad Men). Batt described the show to Playbill: “The tumultuous journey from adolescence to adulthood is one we all must take, but it’s oh-so-much more exciting and poetic with Tennessee Williams as your guide.” Need more? Left Bank Books hosts Christopher Castellani and his book Leading Men, all about Williams.
Cher | May 10 | Enterprise Center
Last year alone, Cher debuted a Broadway show (appropriately titled The Cher Show), graced the silver screen in the jukebox rom-com Mamma Mia! Here We Go Again (playing Meryl Streep’s mother—is there a higher achievement?), and was honored at the Kennedy Center (there’s one). She also put out an album, Dancing Queen, with covers of ABBA songs. Watch her perform them, along with her biggest hits, on her Here We Go Again Tour.
Symphonie Fantastique | May 10–12 | Powell Hall
This 1830 work by Berlioz is a trip in five movements: the introduction of the protagonist artist and the object of his fixation; a ball; a cowherd’s melody; the artist poisoning himself with opium and having nightmarish visions; and, finally, a satanic dream. Conducted by the St. Louis Symphony Orchestra’s Stéphane Denève, it’s your last chance to catch the new music director this season. Mezzo-soprano Rinat Shaham will also perform Shéhérazade by Ravel.
Come From Away | May 14–26 | Fox Theatre
In the immediate aftermath of the September 11 terror attacks, when the FAA closed American airspace, 38 inbound planes were diverted to the town of Gander, Newfoundland and Labrador…population 10,000. Come From Away takes its name from the stranded passengers, the “come from aways,” and tells the story of people from all over the world who are forced together.
Nina Simone: Four Women | May 15–June 6 | Edison Theatre
Christina Ham’s play, presented by The Black Rep, features four characters modeled on the civil rights activist’s song. The setting is the 16th Street Baptist Church in Birmingham, Alabama, the day it was bombed in 1963. Amid the rubble: Sarah, Sephronia, Sweet Thing, and Simone. Sarah wants to work. Sephronia wants to march. Sweet Thing wants to go to Chicago. And Simone? She wants to fight back. In 2017, Ham told The Washington Post, “I think any black woman has felt like all four of these women at different parts of her life.”
“Lawrence Abu Hamdan & Paul Mpagi Sepuya” | May 17–August 18 | Contemporary Art Museum
This spring, two new exhibits at the Contemporary Art Museum explore the politics of listening and how we make up our identities. First up, the Beirut artist Hamdan’s two installations examine the “world of the earwitness.” The first part is the U.S. premiere of Walled Unwalled, a video and live performance. The second is his 2017 work Saydnaya (the missing 19db). The two pieces reflect the artist’s acoustic investigation of Saydnaya, a prison in Syria. Sepuya uses collage and mirrors to deconstruct traditional portraits of friends and other artists. Shot from both an apartment in Brooklyn and a studio over more than 10 years, the images ask the viewer to consider what’s real and what’s not.
James Carter with the Peter Martin Trio | May 19 | The Sheldon
Carter is a saxophonist—soprano, alto, tenor, and baritone—who, one reviewer says, “draws as much from free squonkers as gutbucket blues players, with an equally musical knowledge added to it.” (You had us at “squonkers.”) At the Sheldon, he’ll be playing modern jazz, with a mix of funk, rock, and soul, with the acclaimed Peter Martin Trio.
John Pizzarelli Trio with Catherine Russell: Billie & Blue Eyes | May 22–26 | Ferring Jazz Bistro
Closing out the jazz season is a massive show paying tribute to two standards: Billie Holiday and Frank Sinatra. The guides in this trip back to the music of the 1930s, ’40s, and ’50s are bandleader and guitarist John Pizzarelli and “old-school vocalist” Catherine Russell.
Be More Chill | May 30–June 22 | The Marcelle
The last show of New Line Theatre’s season asks the audience: “You’re offered a pill with a tiny supercomputer inside, to be taken with some Mountain Dew, that will install a personalized voice inside your head that will tell you how to be cool. Do you take it?” Any adult would say no—at the thought of drinking Mountain Dew alone—but put yourself in Jeremy’s shoes. He’s a teenage nerd who discovers a “super quantum unit Intel processor” in pill form that promises popularity. Consider this from The New Yorker: “If you fed Dear Evan Hansen and Mean Girls to the Little Shop of Horrors plant, Be More Chill is probably what you would get.”
Love’s Labour’s Lost | May 31–June 23 | Shakespeare Glen in Forest Park
A comedy from Shakespeare’s lyrical period (see also Romeo & Juliet) is set for the mainstage of the Shakespeare Festival. In Love’s Labour’s Lost, Tom Ridgely’s directorial debut, the Princess of France sets out on a diplomatic mission to Navarre, but its young king has vowed not to see women. “The Bard’s insights into the different ways men and women love and want to be loved have never felt so contemporary,” Ridgely says, noting that Navarre’s park setting is perfect for Forest Park.
June
Carrie Underwood | June 18 | Enterprise Center
Carrie Underwood’s Cry Pretty was the latest country album to mix in sounds of R&B (“Backsliding”) and address gun violence in America (“The Bullet”). Now she’s touring in support of it with The Cry Pretty Tour 360. Why the 360? Her set—her tour’s creative director has worked with Michael Jackson, Mariah Carey, and Rihanna, her production designer with Justin Timberlake and Beyoncé—has a 360-degree stage that lets her play to the entire audience. She’ll share it with guests “Girl in a Country Song” duo Maddie & Tae and Runaway June, a trio that reminds us of the Dixie Chicks.
Kinky Boots | June 19–25 | The Muny
Kinky Boots is the Broadway brainchild of pop star Cyndi Lauper (who wrote the play’s 16 songs) and Torch Song Trilogy’s Harvey Fierstein (who wrote the book). Based on a British work taken from a true story, it tells the story of Charlie, who inherits a near-bankrupt shoe factory, and Lola, the drag performer who shows him the niche market that just might save it. Dealing with themes of identity, acceptance, and honor, the musical, winner of six Tony Awards, is having its Muny and regional premieres.
Ozzy Osbourne | June 26 | Hollywood Casino Amphitheatre
If you were born before 1980, you probably know Osbourne as the Prince of Darkness for his work with Black Sabbath or for his solo career, which includes chart-topping hit “Mama, I’m Coming Home.” And there was the time he bit the heads off two doves…and the time he bit the head off a bat. If your birthdate is after 1980, you might know him from his reality show The Osbournes, which featured the rocker shuffling around the house and sometimes hilariously forgetting how to answer his own phone. Or 13, the 2013 record he made with Black Sabbath after 35 years. Either way, Osbourne officially retired from music in 1992. Maybe that’s why he’s named this latest tour, with guest act Megadeth, No More Tours 2.
The Revolutionists | June 27–July 14 | The Marcelle
Insight Theatre Company describes this work as an “irreverent, girl-powered comedy”… set, um, during France’s Reign of Terror. How does that play out? Three women from history—Queen Marie Antoinette, playwright Olympe de Gouges, and assassin Charlotte Corday—plus one composite character, a Haitian woman called Marianne Angelle, meet, murder Marat, and try to make sense of the extremism that was Paris in 1793. That the queen, de Gouges, and Corday all died that year should give you a hint as to how it ends: “in a song and a scaffold.”
Shawn Mendes | June 30 | Enterprise Center
Shawn Mendes’ story is truly that of Gen Z. The Ontario native, who had natural talent for singing but no formal training, started posting videos of himself performing covers in his bedroom online, which went viral—and finally a record label noticed. Now the 20-year-old has three world tours and two Grammy nominations under his belt. His fourth tour will spotlight new hits like “In My Blood” and “Lost in Japan” from a self-titled album.
July
Fair Saint Louis | July 4–6 | Gateway Arch National Park
At press time, the lineup was still top secret, but what’s well known: There’s no better spot for fireworks under the Arch.
Ariana Grande | July 6 | Enterprise Center
It’s been almost two years since Grande’s Dangerous Woman tour, during which 22 people died in a bombing after her performance at the Manchester Arena in England. Since the attack, Grande’s raised $13 million for the victims and spoken out about her PTSD. This spring sees her return to the tour circuit with the Sweetener World Tour, in support of two albums, Sweetener and Thank U, Next. The latter refers to her bop of the same name, when she name-drops ex-fiancé and Saturday Night Live performer Pete Davidson, along with other exes, in a series of scenes from early-2000s movies: Mean Girls, Legally Blonde, Bring It On, and 13 Going on 30.
Death Cab for Cutie | July 8 | Stifel Theatre
Earlier this year, Death Cab for Cutie expanded its (mostly sold-out) tour in support of is ninth album Thank You for Today, proving that the alt-rockers who once were a recurring storyline on the mid-aughts favorite The O.C. are still relevant. Fun, even. The Pitch wrote that frontman Ben Gibbard “burned through dazzling renditions of old favorites and brought along a colorful light show to match” when Death Cab played Kansas City.
An Evening with The Avett Brothers | July 12 & 13 | Fox Theatre
The folk favorites have been busy and not just with the 16 extra stops they’ve added to their 2019 touring schedule. There’s an HBO documentary about their lives, directed by Judd Apatow and Michael Bonfiglio; a new album, True Sadness; and two new songs late last year, “Trouble Letting Go” and “Roses and Sacrifice,” which debuted on Late Night with Seth Meyers.
Let Them Eat Art | July 12 | Downtown Maplewood
The French celebrate Bastille Day with fireworks and a day off work. We celebrate by going to downtown Maplewood for five hours of live art demonstrations. The festival last year invited more than 50 creatives from across the region to show off their talents and talk about their processes. You can also expect live music and food from Maplewood’s restaurants.
St. Louis Filmmakers Showcase | July 12–14 & 19–21 | Washington University’s Brown Hall
It’s an embarrassment of local film riches. For two weekends in July, the nonprofit Cinema St. Louis will show only movies—ranging from features to shorts as well as documentaries—that were made, directed, written by, or produced by St. Louisans and films with strong ties here. Filmmakers will be on hand for Q&As.
Grease | July 19–August 18 | Robert G. Reim Theatre
Looking for a dose of nostalgia? Stages St. Louis performs a beloved American coming-of-age story, featuring a beauty school fever dream and the best dance-off ever.
“Paul Gauguin: The Art of Invention” | July 21–September 15 | Saint Louis Art Museum
The story of Paul Gauguin, who started creating Impressionist art in Paris in the late 1800s, rings oddly true even in 2019: Man loses job in stock market crash; man is relieved because it means he has more time to create art; man hits the road. Gauguin visited Brittany, Panama, Martinique, and Tahiti; befriended Vincent van Gogh; and, after his death, became a figure in the Post-Impressionist, Synthetist, and Symbolist movements. Now the Saint Louis Art Museum exhibits more than 50 of his works, on loan from one of the biggest collections of his art, Ny Carlsberg Glyptotek in Copenhagen.
August
Blues at the Arch | August 2, 9, 16 & 23 | Gateway Arch National Park
On the first four Fridays in August, starting at 6 p.m., The Gateway Arch Park Foundation fills North Gateway near Laclede’s Landing with the sounds of world-renowned blues artists—and it’s free. As of press time, the lineup hadn’t been finalized (watch stlmag.com for an announcement), but last year’s included Dexter Allen and Christone “Kingfish” Ingram, dubbed by Rolling Stone the future of blues music. The event also includes food vendors and lawn games.
Florida Georgia Line | August 8 | Hollywood Casino Amphitheatre
Last month, the country duo released a fourth album, Can’t Say I Ain’t Country, and now they’re hitting the road with a tour they promise will bring “lots of pyro, energy, and good vibes.” And they’re bringing another pair with them, Dan + Shay, plus Morgan Wallen, who collaborated with Florida Georgia Line on “Up Down.”
St. Lou Fringe Festival | August 13–18 | Grand Center Arts District
The festival, which connects “uncensored, unjuried performing arts with accessible and affordable performances for audiences,” is back at it for the eighth year with a new, as-yet-unnamed play by Shannon Geier of the Because…Why Not? Theatre Company. Other late-night local acts include Lola Van Ella and Kristen Goodman and their Big Gay* Soirée.
Luke Bryan | August 17 | Hollywood Casino Amphitheatre
Luke Bryan is back for a second year. On his Sunset Repeat Tour, the country star—who has nine No. 1 Billboard hits—is sharing his song “Sunrise, Sunburn, Sunset” with fans across the U.S. Lucky for us, Bryan—along with Cole Swindell and Jon Langston—has mastered the art of a fun summer concert.
Festival of Nations | August 24 & 25 | Tower Grove Park
For a couple of days in August, Tower Grove Park is transformed into an international bazaar when 125,000 people gather to eat and shop globally. Last year featured more than 45 food booths alone, with tamales, samosas, kebabs, and khachapuri. There are also arts and crafts, music and dance performances, and an area with children’s activities.
Shakespeare in Love | August 29–September 15 | The Grandel
In 1998, the inimitable Tom Stoppard co-wrote this story about a wealthy merchant’s daughter who disguises herself as an actor to attract the attention of Shakespeare, and the Bard, plagued by writer’s block, who is inspired by her to write Romeo and Juliet. Now Insight Theatre Company brings the love story of Will and Viola to the stage.
Big Muddy Blues Festival | August 30–September 1 | Laclede’s Landing
The lineup for this year hadn’t been finalized at press time. Last year more than 30,000 people came to watch 60-plus musicians, including Big George Brock, St. Louis Brass Band, and Ptah Williams. There will be two tribute shows and a free event on Friday.
Fest List
Four festivals you mustn’t miss: the 48 Hour Film Project, the Whitaker Music Festival, Twangfest, and the Loop Arts Fest. Although the dates hadn’t been announced at press time, the 48 Hour Film Project challenges St. Louis filmmakers to make the best short in two days. June through August, the Missouri Botanical Garden hosts the 10-week outdoor Whitaker Festival. Looking for Americana? Head to Twangfest (June 5–8), which has been celebrating the best in the region since 1997. Round out the month by attending the Loop Arts Fest (June 21–23).
Opera Theatre of Saint Louis
Opera Theatre of Saint Louis is committed to bringing new works here, and this season is no different. But first, something funny, something tragic, and something…a little different. In May and June, Mozart’s The Marriage of Figaro (May 25 and 31; June 6, 8, 12, 16, 19, and 29). In this opera buffa, a sequel to The Barber of Seville, Figaro is getting married to Susanna, who is also the Count’s object of affection. Will they be able to thwart the powerful man’s plans? Next, Verdi’s Rigoletto (June 1, 5, 14, 20, 22, 26, and 30): The Duke has eyes for Rigoletto’s daughter, Gilda, but when Rigoletto hires an assassin to take out the Duke for seducing her, the effect is the opposite of what Rigoletto intended. The Coronation of Poppea (June 9, 13, 15, 22, 26, and 28), by Monteverdi, tells the story of Emperor Nero and his mistress Poppea, who longs to be empress and will go to great lengths to make sure it happens. The winners of this opera aren’t who you’d expect. If you can only see one performance, make it Fire Shut Up in My Bones (June 15, 19, 21, 23, 27, and 29). Terence Blanchard, who composed the opera’s hit Champion, returns with screenwriter Kasi Lemmons for the adaptation of New York Times journalist Charles M. Blow’s memoir about his turbulent childhood in Louisiana.
