Underwritten by the Kranzberg Arts Foundation, The Dark Room offers live music every day we are open! Continuing our mission of providing the infrastructure for the arts to thrive in St. Louis, we provide local jazz musicians the platform to bring their music to the masses! The weekly schedule is:

– Wednesdays: The Kasimu-tet (9-11pm), part of the Wednesday Night Jazz Crawl in Grand Center
– Thursdays: Thursday Night Revue featuring rotating groups (9:30pm-11:30pm)
– Fridays (dinner): Ptah Williams Acoustic Trio (6-8pm)
– Fridays (late night): rotating bands (9:30pm-12:30am)
– Saturdays (dinner): Dine & Discover featuring rotating solo artists (6-8pm)
– Saturdays: “Late Night Grooves” Mo Egeston + special guests (10pm-1am)
– Sundays (brunch): The Dark Room Brunch Sessions (11am-1:30pm unless otherwise noted)

For more information, visit www.thedarkroomstl.com/live-music.

The Talking Cure: 2018 Featured Exhibition in the Gallery at the Kranzberg Arts Center

Opening reception January 19th 6-9 PM

On display from January 19th 2018 through May 19th 2018, the Gallery at the Kranzberg Arts Center is honored to host Melissa Stern’s acclaimed multi-media project, The Talking Cure. Taking it’s name from Sigmund Freud’s original description of psychoanalysis, the exhibition features twelve humanoid sculptures and complimentary inner monologues created by twelve sets of writers and actors. Utilizing smart phones, the viewer is able to hear audio recordings of the sculpture’s thoughts come to life. Visitors are invited to write and perform their own narrations about these creatures, bringing to life the community’s creativity and convictions.

LEARN MORE ABOUT THE TALKING CURE
PREVIOUS INSTALLATIONS

Gallery Hours:
Wednesday 11am-6pm Friday 11am-9pm	Thursday 11am-6pm Saturday 10am-5pm	Sunday 12pm-5pm
* Open during many events outside of above hours​

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At the The Big Top

Circus Flora
Presents
The Case of the Missing Bellhop

April 19  – May 13, 2018

Thursday-Saturday Evenings – 7pm
Saturday and Sundays – 1pm
Super Saver Sunday – 5:30pm

Tickets starting at $12

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The world-famous Balding Hotel has long been an exclusive getaway for dignitaries and nobility from around the world. A place where people can go about their business without many questions asked. A place where the staff and crew have unusual skills, making the hotel famous for luxury and impeccable service. But when a beloved bellhop goes missing, the Balding begins to attract attention. Secrets proliferate and questions abound: what happened to the bellhop, and who knew about it?

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St. Louis Storytelling Festival

May 2 – 5, 2018

Times Vary

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The Kranzberg Arts Foundation is excited to be hosting a number of events for the 2018 St. Louis Storytelling Festival (a University of Missouri Extension program).

Thursday, May 3rd

“Thursday Later Tales I: An Evening of Storytelling for Adults”
7 pm
$5 suggested donation

The Marcelle, 3310 Samuel Shepard Dr, St. Louis, MO 63103

Storytellers: Bobby Norfolk, Donald Davis and Regi Carpenter
Featured Storytellers will perform fuller-length stories for adults.

“Thursday Later Tales II: An Evening of Storytelling for Adults”
7 pm
$5 suggested donation

.ZACK Theater, 3224 Locust St, St. Louis, MO 63103

Storytellers: Gayle Ross, David Gonzalez
Featured Storytellers will perform fuller-length stories for adults.

Saturday, May 5th

“Teen Rap Crisis II – Performance and Q & A”
2 pm
Free

Kranzberg Arts Center Gallery, 501 N Grand Blvd, St. Louis, MO 63103

Coinciding with The Talking Cure exhibit at the Kranzberg Arts Center Gallery, Teen Rap Crisis II is a humanities-based project designed to give voice to concerns and triumphs, uncover facts, and build awareness of public health issues as seen through the eyes of contemporary African American youth, ages 15-24.  This performance is a culmination of collaborative work reflecting upon Bobby Norfolk’s original 25-year-old Teen Rap Crisis. It follows a morning performance and discussion at the St. Louis City Juvenile Detention Center with Bobby Norfolk, KP Dennis, Howard Cox, and Professor Sean Joe from Washington University, a scholar in Black male adolescent self-destructive behavior and related societal causes and implications.

 

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In the .ZACK Theatre

St. Louis Storytelling Festival

Opening Concert

May 2, 2018

7:30pm

$20 (General Admission)

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The Kickoff concert for the 2018 St. Louis Storytelling Festival (a University of Missouri Extension program), where Festival Featured Storytellers share “teaser tales” to preview upcoming Festival events. Join us for a night of music, stories, art, and fun! The Storytelling Festival is proudly sponsored by the Kranzberg Arts Foundation, our 2018 Festival Presenting Sponsor

More Info

In the Kranzberg Arts Center Black Box.

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HEARding Cats Collective
Presents
Black Cats and Blues by Craig Vear

May 3, 2018
8pm

$15 General Admission | $10 Artists & Students

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HEARding Cats Collective is pleased to announce the world premiere of Black Cats and Blues, a hypermedia concerto for cello and digital technologies by Craig Vear, featuring Craig Hultgren performing on cello. The piece is inspired by Boris Vian’s book ‘Blues for a Black Cat’.  Black Cats and Blues uses the human performer to initiate and interact with a vast multimedia system. Text, image, and sound interact with camera analysis tracking the performer’s motion and real-time sound (frequency) analysis from the performer’s instrument. These elements also facilitate a live, generative score.  With an emphasis on using technology to extend the capabilities of the performer, Black Cats and Blues carefully balances media and human interactions, maintaining a system of chance, control, and sonic extension that results in a unified, cohesive whole.

Craig Vear (born 1970) is a composer and musician working predominantly in contemporary, improvised and electroacoustic music for the concert hall, installation and theatre. In recent years his practice has moved increasingly into the realm of computer-based composition but continues to draw on his experience as a professional musician. He studied composition under Gavin Bryars, Dave Smith and Joe Duddell. He is Professor of Digital Performance (Music) at De Montfort University, UK.  Craig Hultgren is a fixture on the scenes for new music, the newly creative arts, and the avant-garde. Recently leaving Birmingham after more than 30 years as a member of the Alabama Symphony, he now resides outside of Decorah, Iowa as the farmer-cellist. He is a founding member and former President of the Birmingham Art Music Alliance and was on the Board of Directors of the Metropolitan Youth Orchestras of Birmingham and their Scrollworks program. Currently, he is member of the Board of Directors for the Iowa Composers Forum and Vice President of the Oneota Valley Community Orchestra Board of Directors in Decorah.

Free Admission

In the Kranzberg Arts Center Black Box.

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UMSL Theatre
presents
Pageant Play

May 4 – 6, 2018
Friday & Saturday at 7:30pm
Sunday at 2pm

Free Admission

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Welcome to the hilarious, terrifying and surreal world of child beauty pageants. Pinky Corningfield will do anything to make sure her little angel wins the ultimate title, Supreme Queen. When Marge, a newcomer to the pageant circuit, shows up and starts grabbing all the glory, Pinky and her minions, Bob and Bobby, use some unorthodox methods in order to ensure her darling, Chevrolet, is victorious. Glitz. Glamour. Kidnapping. Money.

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In the Kranzberg Arts Center Studio

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The Presenters Dolan
David Giuntoli
“We’ve Got a World That Swings”

May 4, 2018
8pm shows

$25 General Admission

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Featuring the songs of Frank Sinatra, Mel Torme, Dean Martin, Sammy Davis Jr., Tony DeSare, Michael Feinstein, Tom Jones, and others.

With Jesse Gannon on piano, Ben Wheeler on bass, and Steve Tatum on drums.

David Giuntoli and his trio perform and evening of swinging songs, made famous by some of the greats of this genre. The show includes: We’ve Got a World That Swings; The Best is Yet to Come; Night and Day; Here Goes; Copacabana; New York, New York; Come Fly With Me; My Way; and more.

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At The Grandel

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Tennessee Williams Festival St. Louis

Presents 

“Tennessee Williams: The French Quarter Years”

May 10-19, 2018
Various Locations & Times

$10 – $45

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“A Streetcar Named Desire”

The Grandel ($25 Student, $35 Regular, $45 Premium)

May 10th at 7:30pm | May 11th at 7:30pm | May 12th at 7:30pm | May 13th at 3pm | May 16th at 7:30pm | May 17th at 7:30pm | May 19th at 2pm & 7:30pm

 

“Tennessee Rising”

.ZACK ($25 General Admission)

May 11th at 8:00pm | May 12th at 2:00pm | May 13th at 1:00pm

 

“Panel Discussions”

The Grandel ($10 General Admission)

-Tennessee Williams : The French Quarter Years  | 10:00am

-A Streetcar Named Desire | 11:00am

 

Staged Reading: “Interior: Panic”

The Grandel ($10 General Admission)

Saturday, May 19th at 11:00am

 

Pre-show Celebration @ The Dark Room

May 10th at 6:00pm

 

Jazz Brunch @ The Dark Room

May 13th at 11:00am

In Duet

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“Restore Mystery” by Cydney Parkes

On display
May 19, 2018
6pm-9pm

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Come out to meet artist, Cydney Parkes, Chattanooga TN, as she shares her personal vision of art. A graduate from Savannah College of Art and Design with a bachelors in Advertising Design, she applies her advertising storytelling techniques, into each of her art pieces. Concept, color theory and symbolism build her intriguing stories, leaving her audience curious about the mystery behind each creation.

Defining art, Cydney ponders….”Like the rich night sky and the deep blue sea, open but mysterious.”

Join us Saturday evening and SEE for yourself the story behind the artist, Cydney SEE.

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At The Grandel

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Terence Blanchard
featuring
The E-Collective

Welcomed by Jazz St. Louis

May 20, 2018
7pm doors / 7:30pm show

$60 – Orchestra Center
$45 – Orchestra Sides
$60 – Balcony Center
$35 – Balcony Sides
$75 – Box Seats (minimum 4 or 6 purchase)

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From his expansive work composing the scores for Spike Lee films ranging from the documentary 4 Little Girls to the epic Malcolm X, as well as his own discography of recordings such as A Tale of God’s Will (A Requiem for Katrina), 2018 USA Fellow and five-time Grammy-winning trumpeter/composer Terence Blanchard has been a consistent artistic force for making powerful musical statements concerning painful American tragedies – past and present. With his current quintet E-Collective he addresses the staggering cyclical epidemic of gun violence in this country with his new album Live, 7 powerful songs recorded live in concert that both reflect the bitter frustration of the conscious masses while also providing a balm of emotional healing. With a title that carries a pointed double meaning, the album is an impassioned continuation of the band’s GRAMMY-nominated 2015 studio recording, Breathless.

The music of Live was symbolically culled from concerts performed at venues in three communities that have experience escalating conflicts between law enforcement and African American citizens: The Dakota in Minneapolis (near where Philando Castile was pulled over and shot by a cop on July 6, 2016); The Bop Stop in Cleveland (near where 12-year-old Tamir Rice was shot by police on November 22, 2014); and the Wyly Theatre in Dallas (near where police officers Lorne Ahrens, Michael Krol, Michael Smith, Brent Thompson and Patricio Zamarripa were assassinated while on duty covering a peaceful Black Lives Matter protest on July 7-8, 2016). The E-Collective’s Live project condemns gun violence of all manner whether against profiled citizens of color or targeted members of law enforcement.

Discussing the origin of E-Collective, Blanchard states, “I didn’t put this group together to be a protest band. We started out wanting to play music to inspire young people that didn’t want to play jazz to play instrumental music on its highest level. In this computer age, we saw too many kids playing music but not trying to learn theory or master their craft. However, while we were on tour in Europe, Mike Brown got shot. Trayvon Martin had already been murdered. And back then it seemed like these shootings were happening every month. That’s when I felt we had to stand up and make a statement with our 2015 album, Breathless [named in honor of Eric Garner who pleaded in vain to a pile of police officers with their knees in his back that he could not breathe]. After touring that music for two years, we couldn’t just let it go. What would we look like as artists doing a record like Breathless then come out with some other shit totally devoid of consciousness?”

Experimental, electric and exotic, E-Collective consists of Terence Blanchard on trumpet, Charles Altura on guitar, Fabian Almazan on piano and synthesizers, Oscar Seaton on drums, and new addition David “DJ” Ginyard on bass.

“This band is an example of the revolution that is taking place,” Blanchard explains. “The pianist Fabian – born in Cuba, raised in Florida – has his own record label, Biophilia, that’s devoted to making the planet green. Most people are trying to make money but that’s not where his focus lies. The bassist David, from Greensboro, South Carolina, is a very talented church boy. He doesn’t preach or wear it on his sleeve yet he walks tall in his confidence everyday. The guitarist Charles looks like a hard rocker but he’s a brilliant Stanford alumnus who studies anthropology – sits at the piano and plays Chopin after a show. And the drummer Oscar, who grew up playing gospel in church in Chicago, has been with Lionel Richie for 16 years. When you look at the conglomeration of us all from different walks of life, look at how we come together and create something harmonious. We are what the promise of America is supposed to be.”

Indeed, throughout the album, Blanchard’s horn does not play the traditional role of a lone voice above the fray. Instead, he plays his horn through an effect that gives it the sound of a group of people standing up for their rights in ‘Marleyan’ harmony. “The vibe I wanted is a sound like a gathering of people chanting en masse for the communal demand of justice.”

Live opens with a cover of “Hannibal,” a Marcus Miller composition honoring the heroic Tunisian military general of a series of battles in the early 200s BC, that was introduced on jazz trumpet legend Miles Davis’ culture conscious classic 1989 album, Amandla (its title the Zulu word meaning “power” and a rallying cry during the resistance in South Africa against apartheid). With its crying guitar, tender piano and majestic chordal progression, it makes a mighty start to the album. “We need a Hannibal right now,” Blanchard muses, “a powerful figure to come in and effect change. The spoken words are from a speech given by Cornel West in which he asked, ‘What kind of human being do you want to be?’ It’s about finding your voice to speak out against the wrongs you see.”

“Kaos,” a Blanchard composition, opens with a strong boxing horn line, percussive piano solo, forlorn guitar and ominous rising synths that drop down into a tributary of bass, setting up Terence on twinned horn for a slaying solo that brings the song to an explosive close. “Chaos is what we’re experiencing now and also where we’re headed,” Blanchard states. “Take any topic: when you have the public shouting at the top of their lungs to do something and you have a minority of people in power insisting that the real problem lies elsewhere, it makes for ludicrous dialogues and decisions.”

“Unchanged,” composed by Altura, opens with introspective solo electric guitar, a haunting melody and a powerful freight train of a drum solo from Seaton over the chord changes that reflects the frustration and helplessness of going in circles on issues with no resolve…from peaceful protest to the rage of Black Lives Matter…of hollow victories and unending madness. Through all the intensity, it remains an exceedingly beautiful piece of music.

“Soldiers,” which opens with a soundbite pastiche of Martin Luther King over Malcolm X speeches, erupts into raging trumpet over a funk march and electric blues guitar. “I wrote this song for those who help others like my mom who loved working with kids and has a big heart,” Blanchard states. “With so many people negatively affecting the lives of citizens all because of money, I wanted to write something for good folks always endeavoring to do things that help others.”

“Dear Jimi,” an homage to anomaly Black rock guitar hero Jimi Hendrix, juxtaposes pitch bending blues with a lilting melody line. “I never got a chance to write a song about a hero that wasn’t a jazz musician,” Terence says, “I included this composition on the record because Jimi was a cat that was always talking about love. It felt appropriate.”

“Can Anybody Hear Me” is a slow marching anthem that explodes into creeping ascending, crisscrossing lines – a reflection of the outrage of the masses ignored and unheard. Blanchard elucidates, “Oddly enough, I wrote that for the kids in Florida before I knew about the kids in Florida or any other kid that’s been through that and come out the other end screaming…and nobody’s doing anything.”

The closing encore of Live is a concert version of New Orleans-native Blanchard’s song “Choices” – a musing on the human challenge of decency. “I wrote ‘Choices’ in the aftermath of Hurricane Katrina but it’s still relevant to what’s happening today. Look at the scare tactics that people buy into which got us our current administration. We move from one controversy to another, never acknowledging that the previous one didn’t even come to fruition. The sad part is the people that believed in our president have a legitimate beef. The problem is that those in power that they believe in are manipulating them and their feelings. At the end of all this, hopefully, we’ll be able to thank this administration…not for the manner in which they governed this country but how many sleeping people they woke up.”

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Terence Oliver Blanchard began playing piano at age 5, and later trumpet beginning in summer camps alongside his childhood friend Wynton Marsalis. While studying jazz at Rutgers University, Blanchard was invited to play with the Lionel Hampton Orchestra in 1982 before Marsalis recommended him as his replacement in Art Blakey’s Jazz Messengers. Following a string of collaborative recordings, he released his first self-titled solo album on Columbia Records in 1991, leading to a string of acclaimed often conceptual works and over forty movie scores, primarily feature films and documentaries for director Spike Lee, including HBO’s 4-hour When the Levees Broke: A Requiem in Four Acts.

Regarding his consistent attachment to artistic works of conscience, Blanchard confesses, “You get to a certain age when you ask, ‘Who’s going to stand up and speak out for us?’ Then you look around and realize that the James Baldwins, Muhammad Alis and Dr. Kings are no longer here…and begin to understand that it falls on you. I’m not trying to say I’m here to try to correct the whole thing, I’m just trying to speak the truth.” In that regard, he cites unimpeachable inspirations. “Max Roach with his ‘Freedom Now Suite,’ John Coltrane playing ‘Alabama,’ even Louis Armstrong talking about what was going on with his people any time he was interviewed. Herbie Hancock & Wayne Shorter who live by their Buddhist philosophy and try to expand the conscience of their communities. I’m standing on all of their shoulders. How dare I come through this life having had the blessing of meeting those men and not take away any of that? Like anybody else, I’d like to play feel good party music but this album is about the reality of where we are.”

“The main reasons E-Collective and I recorded this new music are two-fold,” Blanchard concludes. “1: I wanted the music to be a healing force in the areas in which we performed – to let the music take your anger and frustrations. I’m not telling people not to be angry but when things become too much, the music is there to help you heal. 2: With this administration that commands all of the airwaves everyday diverting people’s attention away from matters that are very important, my hope is that this project helps to focus the conversation and, in the heat of these events that keep happening, to keep that conversation going.”

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At The Grandel

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St. Louis Paranormal Research Society
Presents
“The Grandel Theatre Haunted Tours”

May 22, 2018
7:00pm & 8:30pm

$30 General Admission

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At the top of a small hillside in the heart of Grand Center sits the beautiful and mysterious Grandel Theatre. Built in 1884, this stately limestone structure was originally The First Congregational Church.

Throughout its 134-year history, the Grandel has been the site of several reports of unexplained paranormal activity. Now, after months of research and investigation, the St. Louis Paranormal Research Society has gathered evidence supporting these claims are true! On Tuesday, May 22nd, STLPRS has exclusive access to this cultural gem and is excited to partner with the Grandel Theatre in offering an interactive Haunted Tour!

Guests will explore areas of the theatre normally “off-limits” to the public using the same high-tech investigation equipment used by our investigators. The STLPRS will also conduct TWO spirit communication sessions in known paranormal “hot spots”!

The Grandel Theatre Haunted Tour is perfect for everyone-from newbies to well-seasoned ghost hunters!

 

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In the .ZACK Theatre

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The Tesseract Theatre Company
Presents
“Spinning Jenny”

May 25 – June 3, 2018
Friday, Saturday – 8pm
Sunday – 4pm

$20 – General Admission
$15 – Students & Seniors

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When Jenny discovers the world outside of her family’s traveling carnival she begins to see there’s more to life than a quick con job. Two paths open for Jenny: love or familial greed. Will she defy her family for a new way of life or will she remain another lost soul on the midway?

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At The Grandel

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David Peaston Foundation
presents
The Distinguished Gents Welcome The Ladies Of Excellence

May 26th, 2018
6 pm

$30 Reserved Seating | $50 VIP | $140 Reserved Orchestra Box (seats up to 4)

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The Distinguished Gents Welcome the Ladies of Excellence where the groups join together in a stage performance where they sing renditions of jazz, blues, classical, gospel, R&B, and country western music. The show features the Distinguished Gents as Leslie Johnson, Jermaine Smith, Jeff Radford, Chuck Flowers John Legette Jr. the Ladies of Excellence as Cheryl Brown, Stacy McClenahan, Karen Hylton, and Mary Meriwether.

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At The Grandel

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The Willie Akins Jazz Festival

May 27th, 2018
2:30pm Door, 3pm Concert

$12 Advance / $15 Day of Show | $100 – Orchestra Boxes (seat up to 4) | $150 – Balcony Boxes (seat up to 6)

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The 2nd Annual Willie Akins Jazz Festival – honoring one of St. Louis’ most influential jazz musicians and educators. All the proceeds of this event go to the Willie Akins Scholarship Fund at Webster University which will help supplement the tuition of jazz students based on need.

Willie gave most of his life to the art form and mentoring young jazz musicians. This festival is a testimony to that very legacy as most of the performers in this event are former students and band-mates of the late, great, master, Willie Akins!

Performances by:
Joe Mancuso, Erika Johnson and Sandra Akins.
The Unity Quartet: (Sponsored by Saxquest) Ben Reece-tenor sax Austin Cebulske-tenor sax Bob DeBoo-bass Marty Morrison-drums
The Daniel Campbell Quartet: (Sponsored by Fifty/50 Kitchen) Danny Campbell-trumpet Eric Slaughter-guitar Jeff Anderson-bass Bernard Long-drums
Willie Akin’s All Stars: (Sponsored by Thurman’s in Shaw) Freddie Washington-tenor sax Paul DeMarinis-tenor sax Kendrick Smith-alto sax Tom Byrne-guitar Willem von Hombracht-bass Kyle Honeycutt-drums
*Plus, after the show in the Grandel Theatre there will be an after party jam session in The Darkroom hosted by St. Louis’ Jazz Fusion Legends… TRACER! Ptah Williams-piano Darrell Mixon-bass Gary Sykes-drums (The After Party Jam Session is Sponsored by Saxquest)

Legacy Sponsors:
The Kranzberg Arts Foundation
The Kwame Foundation
Imo’s Pizza
The University City Symphony Orchestra
Webster University

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In the Kranzberg Arts Center Black Box

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Black Mirror Theatre
Presents
A Tragedy Two Ways – “Magdalen” & “Eclipsed”

May 31 – June 10, 2018

Thursday, Friday, and Saturday – 7pm
Sunday – 2pm

$20 General Admission | $15 Student/Senior | $25 Two Performance Combo

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A Tragedy Two Ways is the story of Ireland’s Magdalen Laundries told from two different perspectives played in two very different dramatic styles. Magdalen Laundries were homes for ‘penitent’ or ‘fallen’ girls, often run by Catholic nuns, in which, over the years, as many as 30,000 Irish women and girls were held in forced labor for indefinite terms. The last such home closed in Ireland in 1996, but the impact on the inmates’ lives is still being revealed.

The Black Mirror Theatre is proud to present … Magdalen, a powerful 1-woman show written and performed by New York-based St. Louis native, Erin Layton. Magdalen won numerous awards since its premiere at the New York International Fringe Festival in 2012. Layton and her play were hailed by the Huffington Post as ”the performance of the festival.”

and …

Eclipsed, an internationally acclaimed play by Patricia Burke Brogan, whose life as a novice, a nun, in a Magdalen Laundry caused her to leave the convent and eventually record what she had seen, heard, and felt. Eclipsed, while fictional, was pivotal in bringing the tragedy of Ireland’s Laundries to light. Eclipsed has been performed on three continents, was named Festival First at the Edinburgh Theatre Festival and won the U.S. Moss Hart award in 1994.

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at The Marcelle

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New Line Theatre
presents
Yeast Nation

May 31 – June 23, 2018
Thursdays, Fridays & Saturdays at 8pm

Thursdays: Adult = $20, Student/Senior = $15, Military/Educator = $10 (with ID)
Fridays & Saturdays: Adult = $25, Student/Senior = $20

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The world’s first bio-historical musical comedy, from the mad geniuses who brought you Urinetown! It is the year 3,000,458,000 BC. The Earth’s surface is a molten mass of volcanic islands and undulating waves. The atmosphere is a choking fog lit by a dim red sun. And the mighty waters of the world are inhabited only by rocks, sand, salt, more rocks, a little silt, and the great society of salt-eating yeasts – yes, yeasts! – the world’s very first life form! These single-cell salt-eaters are the only living creatures on earth, and they’re up against a food shortage, a strange new emotion called Love, and the oppression of a tyrannical yeast king. But when the king’s son ventures out of the known yeastiverse, the yeasts’ story – and ours – is changed forever.

For more information, visit the New Line Theatre website.