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All posts by Caitlin Lally

08 Sep 2020

In an effort to build sustainable infrastructure and feed artists, The Dark Room and Urban Harvest STL have been collaborating to donate pantry items including fresh produce to local families in need.

From radishes and collard greens to oregano and thyme, Sally’s Rooftop Garden — which is located above .ZACK and maintained by Urban Harvest — has produced over 550 pounds of organic produce so far this year, according to Drew Hundelt, Urban Harvest’s Director of Urban Agriculture.

“Urban Harvest strives for building stronger communities around food, so like making every process of food available to the surrounding communities, from growing it to eating it,” Hundelt said. 

Food and beverage director for Kranzberg Arts Foundation, Gene Bailey explained that the vegetables and herbs were originally destined for the menu at The Dark Room. However, when the pandemic hit, he started thinking about how the food could still be put to use.

“We wanted to be able to donate it in a way that it would still carry its mission. We intended to sell it at this restaurant that showcases local artists, so we were looking for a way to use it that might still focus on benefiting artist communities. Me and [Executive Director Chris Hansen] went back and forth on it,” Bailey said. “We didn’t want to dictate who it’s for, but we wanted to put it through a channel for a community that was artist-rich.”

By tapping into the Foundation’s network of resources in South City through the Art Place Initiative, Bailey got in touch with Amanda Colón-Smith of Dutchtown South Community Corporation, who then connected him to a local business for distribution.

Gooseberries, a restaurant in Dutchtown South, has now been doing weekly food pantry donations every Saturday since May to people in that community, which includes a lot of artists, as well as families in need,” Bailey said estimating that about 15 families per week have benefited from the donation bags.

In the earlier months of summer, leafy greens and herbs from Sally’s filled the donation bags. Hundelt said the later summer harvests produce larger crops including tomatoes, cucumbers, peppers, and corn. After Hundelt and his team gather the food, Bailey divides it among bags consisting of hand sanitizer from local brewing company, 4 Hands, and pantry staples such as crackers, peanut butter from Performance Food Group.

“We plan on continuing this project … It’s something I want to make sure that we can carry on,” Bailey said. “It’s been good to tangibly do something with those resources.”

20 Aug 2020

While some may see wearing masks or standing six feet apart as hindrances to artmaking, one St. Louis theatre company has welcomed the new norms to reignite their production methods.

After hosting virtual auditions, rehearsing for hours over Zoom, and then recording scenes in small physically-distanced groups, Ignite Theatre Company will present “A Chorus Line (High School Edition),” online Aug. 26, through Aug. 30. The 5-day streaming event marks a first for the organization.

Adopting new methods

Originally scheduled as a live event at .ZACK Theatre for the beginning of August, the Kranzberg Arts Foundation resident organization quickly pivoted to host virtual auditions in May and Zoom rehearsals through July.

Brionna Lacy of Ignite Theatre Company
Brionna Lacy, photo by Libby Pedersen

Brionna Lacy, 16, who plays Richie Walters in “A Chorus Line (HSE),” has been with the company for almost two years. She said one of the biggest differences between this production and previous ones was connecting with her fellow cast members.

“We do a lot of character and cast bonding to mesh with each other, and we didn’t really have the opportunity to do that this time around,” Lacy said. “It’s been difficult being apart from directors, too … and coming to rehearsal and not being able to connect with them has been hard.” 

With new methods, came new challenges, as well as new learning opportunities for the students of Ignite. Lacy, said she unexpectedly enjoyed learning about film production. “I’ve always been interested in the filming aspect of theatre, it’s really cool to dive into that sort of thing,” she said.

Daphne Kraushaar, photo by Libby Pedersen

Daphne Kraushaar, 16, who plays Al DeLuca in “A Chorus Line (HSE),” said she also liked the “move-making” side of this production.”It’s not like we’re performing a typical musical with cameras … it’s more like we go scene-by-scene and get different shot angles,” Kraushaar explained. 

Instead of filming a single show like previous Ignite productions, this musical was filmed in several takes by a local volunteer videographer, Jorgen Pedersen, and then edited together.

“That’s one of the benefits of filming — if one of us makes a mistake, we can do it again,” Kraushaar said. “And also, different clips can overlap, so if someone makes a mistake, we can put in a clip of someone else … we can sort of ‘Band-Aid’ for each other.”

However, filming the production in scenes wasn’t the only difference.“We’re dancing and singing, but almost never at the same time, which is one of the biggest differences with this [production],” Kraushaar said. “For example, we are recording our voices first … and then they are put together to make one track. Then we will dance to that track, lip-synching to ourselves … some of the dialogue is even [pre-recorded].”

Staying safe and smart, six-feet apart

Ignite Theatre Company presents "A Chorus Line (High School Edition)"
Ignite Theatre Company presents “A Chorus Line (High School Edition)” / poster by Jorgen Pedersen

With the stage blocked into six-foot-squares, the student actors adhered to strict physical-distancing rules while performing, using camera techniques to make them appear closer together. In addition to following all Kranzberg Arts Foundation COVID-19 mitigation policies, the theatre company outlined its own strategy that includes working in groups of 10 or fewer at one time.

“I think that the directors and everyone have done a good job of keeping the rules in place to keep everyone safe,” Kraushaar said, noting that she felt very comfortable during the production process.

“We’re really thankful for the guidance of the Kranzberg Arts Foundation with the reopening and mitigation policies to feel really confident that we’re creating art in the safest way possible,” Managing Director Kimberly Kavanagh said. “We’re [also] grateful for the opportunity to innovate and still be able to not only create something but also be an outlet for students during such an unsure time.”

“A Chorus Line (High School Edition)” presented by Ignite Theatre Company will stream online Aug. 26, through Aug. 29, at 7 pm, and Aug. 30 at 2 pm. Tickets are available through ShowTix4U. This performance is rated PG-13, and parental guidance is recommended.

“This is the first time we will not know what the final product will look like,” Kavanagh said. “I’ll be so proud of the kids no matter what the final product looks like because they worked so hard at something new.”

For more information about Ignite Theatre Company, visit www.ignitewithus.org.

29 Jul 2020
by Joe Hanrahan

The selection of plays for a theatre group’s season is always an exciting, wildly hopeful, sometimes frustrating process. The scripts must play to a company’s strength, while often exploring new themes and production styles to encourage artistic growth. It has to take into account the appropriateness of available spaces for the plays selected, as well as the available pool of talent and their appropriateness for roles needed to fill. Also, a group has to consider scheduling issues such as holidays that might fall during a show’s run, necessary rehearsal schedules, performer availability, and more. And then, you have to secure the rights for a play — not always an automatic.

At The Chapel: Kicking Off The Season — And Punting It Into Next Season

2020 has proven to be a challenging time for everyone, including theatre companies, most of whom have decided to shut down all theatre for the calendar year. The Midnight Company’s challenges started at the very beginning of the virus outbreak. They’d scheduled their first production for May at a space new to the company: The Chapel. The show they chose would be a reprise of a one-person play they’d initially presented at the 2018 St Lou Fringe Festival, “Now Playing Third Base For The St. Louis Cardinals…bond, James Bond.”

The Midnight Company presents Now Playing Third Base for the Cardinals ... Bond, James Bond
The Midnight Company presents Now Playing Third Base for the Cardinals … Bond, James Bond

Written and performed by Midnight Artistic Director Joe Hanrahan, the script focused on 1964 when a teenage boy — set back by world events like the Cuban Missile Crisis and particularly the assassination of John F. Kennedy — finds the world coming back to life with the emergence of the Beatles, a sensational new movie featuring one of the first superheroes, James Bond, and the race of the hometown Cardinals to a pennant and World Championship. The play explores such diverse themes as the racism black Cardinal players had to face as they made their way into Major League baseball, the role WWII played in JFK’s assassination and the history and growth of one-person shows in the theatre scene.

Because of Fringe restrictions, that production was limited to a handful of performances and limited to less than an hour in length. But still, the show was very enthusiastically received by audiences. Never had Midnight experienced such a visceral reaction to a play. So, thinking that the play (with its crowd-attracting title) could draw larger audiences, it was decided to bring it back to The Chapel in Spring 2020; this time with an expanded script that added depth and new stories to the incidents of the script.

But the outbreak of COVID-19 altered opening plans and Midnight made the cautious decision to postpone the show until July. And as the virus strengthened its grip on the world, it was postponed again until August.

And it was only in mid-July when discussions between the small cast and crew resulted in the difficult decision to reschedule the show for July 2021, at The Chapel. The decision was particularly difficult because the people at The Chapel were unfailingly supportive and enthusiastic about the show, right up until the moment of cancellation. They were preparing to undertake all of the safety precautions pioneered locally by the Kranzberg Arts Foundation. But the final decision rested on the entire team’s belief that a greater number of people might want to see this show, and it should be given the chance to draw those crowds.

If you’d like to take a look at the script of the Fringe production, click here

At Kranzberg Arts Foundation Theatres: The Fall Shows — October

As a resident company of the Kranzberg Arts Foundation, The Midnight Company had two slots to fill in their 2020 Calendar: mid-September and late October, each for three-week runs.

It Is Magic presented by Midnight Company
It Is Magic presented by Midnight Company

The October show was the first engagement filled. “It Is Magic” premiered in Chicago in Spring 2019. Midnight management saw the production, and it never left their mind. The play was written by Mickle Maher, playwright, and co-founder of Theater Oobleck in that city. Midnight had already produced two plays of Maher’s: “The Hunchback Variations” and “An Apology For The Course And Outcome Of Certain Events Delivered By Doctor John Faustus On This His Final Evening,” first as individual productions, and then on the same bill in September 2018 as part of Faustival, a St. Louis celebration of the work, which involved five different St. Louis companies doing their own take on Faust.

Midnight loved Maher’s work and loved Theater Oobleck. It’s on hiatus now as are most groups, but you can check out their fabled history on their website: theateroobleck.com. They’re a very small group that gets very big recognition and very good reviews in the very competitive Chicago theatre scene.

“It Is Magic” takes place in the basement of a community theatre. Auditions are going on for a new play — an adult version of the Three Little Pigs. Upstairs, in the main theatre, opening night for the Scottish play is underway. Holding the auditions are two sisters — one who has written the new play, the other an actress. Both have volunteered for this community theatre for years, but neither has ever got the opportunity to contribute artistically. Now one sister has written a play that will be produced, the other wants the lead role of The Big Bad Wolf. Auditioning for them is an actor (in a kilt, expected upstairs soon) who also wants the Wolf role, and who also has been with the group for years without a good role. As the play develops, the arrogant artistic director of the group comes down and causes havoc, and later, an actress appears out of nowhere to audition — yes, she is the “third sister” of Scottish play fame.

The play is brilliant, as is all of Maher’s work. It explores the love/hate relationship many people (and many aspiring artists) have with theatre but confirms the magic that infuses the stage. It also has a touch of black magic, so it qualifies as a show that can open on Halloween weekend. (Midnight, like many companies opening a show at that time of year, first looked around for a more traditionally-themed script, like a “Dracula” adaptation they’d always liked.) And with a cast of five, the show gave Midnight a chance to work with more local talent than their usual cast sizes of one or two. 

But as the COVID-19 crisis continued, Midnight saw little choice but to reschedule this show. It’s now slated to run Oct. 21-Nov. 16, 2021, at the Black Box Theatre inside The Kranzberg.

At Kranzberg Arts Foundation Theatres: The Fall Shows — September

After deciding on “It Is Magic” for October, Midnight still had a calendar slot to fill in September. After considering several works, one prominent theme continued to echo for the Company. With the current political turmoil and the upcoming sure-to-be hotly contested elections, Midnight decided to do the one thing it could do best to contribute to possible positive solutions for the country.

Midnight Company presents "Give 'em Hell Harry"
Midnight Company presents “Give ’em Hell Harry”

It brought back a play it had done before (at The Missouri History Museum, during the dawn of the Obama administration) — “Give ‘em Hell Harry” by Samuel Gallu, the one-man show depicting the life and times of Harry S. Truman. The play premiered in 1975 with James Whitmore in the role. The show was shot on the then-innovative format of videotape and released as a major motion picture (for which Whitmore received an Oscar nomination for Best Actor.)

The play begins with Truman’s days in the White House, a tumultuous time. After three terms of Franklin Roosevelt guiding the nation through the Depression and World War II, FDR’s death propelled Truman into the Oval Office, introducing a new president that the nation knew only slightly (as FDR knew him only slightly.) Truman’s first four months in office were some of the most critical and overwhelming any President has ever faced: Four months that saw the founding of the United Nations, the fall of Berlin, victory at Okinawa, firebombing in Tokyo, the Nazi Surrender, the liberation of concentration camps, mass starvation in Europe, the controversial decision to drop nuclear weapons on Hiroshima and Nagasaki, the surrender of Imperial Japan, and finally, the end of World War II and the rise of the Cold War. After Franklin Roosevelt died, and the unknown senator from Missouri took the oath of office, what was called Truman’s “Accidental Presidency” began. But his performance as leader of a changing world in crisis during those whirlwind four months, and after, continues to enhance his reputation and regard.

Two recent books underline the continued interest in and appreciation of Truman’s term in office. Chris Wallace’s “Countdown 1945” focuses on those first few months of the Truman presidency, narrowing in on the final preparations and Truman’s decision to use the Atomic Bomb to end World War II. And A.J. Baime’s “Dewey Defeats Truman” moves ahead to 1948, when Truman’s whistle-stop tour of America helped his underdog campaign win back the White House. (Baime also wrote 2017’s “The Accidental President,” which explores the first four months of the Truman presidency in detail, but also gives a good, balanced overview of his early life and career in Missouri.)

Through research, Midnight (along with most everyone else) came to the conclusion that Harry S. Truman was, at minimum, a decent human being who sat in the Oval Office. It was their goal through this play to offer that example, and to instigate more thought about the type of person that should lead our nation.

At the time of this writing, “Give ‘em Hell Harry” is still scheduled to run this Sept. 17-Nov. 3, at .ZACK Theatre.

At The Kranzberg Theatres: The Fall Shows – New Show For October?

And for an on-going theatre company, the selection of which plays to present never ends.

For Midnight, with the rescheduling of “It Is Magic,” there are now open dates in late October. Midnight does not have to fill those dates, but already has a play in their pocket that — worldwide pandemic allowing — will run at that time.

Note: Any productions that happen at Kranzberg Arts Foundation spaces in the coming months will be rigorously prepared and extensively monitored for safe audience experiences. See the Foundation’s COVID-19 Mitigation Policies here.

And also for Midnight, that leaves June 7-June 27, 2021, at the Black Box Theatre inside The Kranzberg waiting. Hoping things will be back to some kind of (new) normal, the Company is currently looking into a number of scripts for that time.

To stay up to date with what’s happening and what’s coming up, check kranzbergartsfoundation.org for updates on all the activities at their various spaces. And check out midnightcompany.com for the latest on their shows.


Joe Hanrahan is the Artistic Director of The Midnight Company.  As an actor and director, Joe has worked with many St. Louis theatre groups, including the St. Louis Rep, the Black Rep, Upstream, Stray Dog, Metro Theatre, New Jewish Theatre, the West End Players, R-S Theatrics and SATE.  As a playwright, his scripts have been produced by companies and festivals in Kansas, Brooklyn and St. Louis.  As a company, Midnight has produced many works new to St. Louis in a variety of spaces, as well as performing at the Philadelphia Fringe Festival and the Jesse James Farm in Kearney, MO.

07 Jul 2020
All About Love: New Visions by Bell Hooks
All About Love: New Visions by Bell Hooks

For this edition of High Low’s “Caffeinated Curation” series, we’re featuring an Iced Chai Latte from Blueprint Coffee and “All About Love: New Visions” by bell hooks.

This pairing was recommended by artist Hayveyah McGowan ahead of her virtual opening reception for the exhibition “Feelings of Home: A need to simplify,” on Friday, July 10, at 7 pm on Instagram Live.

McGowan writes:

“In this context ‘maternal surroundings’ are not bound to the idea of a certain sex rather its the qualities of birthing receptivity, nurture, and sensuality, all expressed through the subtle realm and reinforced in the physical. Through this alchemical process I want to call attention to, not only, the unique ways that the black maternal lineage creates safety but also the synchronicity and rooted need for safety that we share.”

The exhibition will be on display at High Low Gallery by appointment only through Aug. 14, 2020. Click here for more information.

Blueprint Coffee at High Low is now open for curbside pick-up and patio service, Monday through Friday, 8 am – 3 pm. Order online here.

Read more from the Caffeinated Curation series here.

06 Jul 2020

Two Kranzberg Arts Foundation resident organizations have found new homes within the Hansen House located at 3617 Grandel Square. 

HEAL Center for the Arts and Fly North Theatricals moved into renovated office spaces this summer at the three-story Victorian house, which formerly housed EarthWays Center prior to its move to the Missouri Botanical Garden in 2010.

“We’ve been trying [to find an office space] since we were established in 2015,” said Harvey Lockhart, executive and artistic director of HEAL. “We’ve been with the Foundation since 2016, and [Kranzberg Arts Foundation Executive Director Chris Hansen] has been actively trying to find a fit for us. It’s been a long time coming.” 

The Foundation invested in rehabbing the house after acquiring it in 2019, and the space opened for the resident organizations in June 2020, with COVID-19 mitigation policies in place.

“Having our own location gives us the flexibility to create the programming we know students need,” Lockhart said. 

HEAL offers music programming for students including lessons and camps, and according to Lockhart, they will now have more adaptability to generate income in the new space. The organization formerly worked out of local high schools, which was convenient for the students, though not having a centralized location proved challenging at times. 

“COVID-19 definitely is causing us to think outside the box a little in regards to what we do,” Lockhart said. “There’s definitely space [at the Hansen House] for us to have a virtual studio where we can do some live-streaming courses and pre-recorded courses.”

HEAL’s curriculum not only teaches students how to play music, but it also teaches them about the music business, including negotiating contracts and booking gigs for the ensemble Point of View, which tours regionally.

Similarly, Fly North Theatricals Artistic Director Colin Healy said the new office space also allows him and the Fly North team to make digital resources amid the pandemic.

“We’ve been producing online content — we’ve sort of switched over to that this summer, and that became our new summer plan, which is kind of awesome and has been fun,” Healy said. The theater company originally planned to present “Assassins” this summer at .ZACK Theatre, however, the production’s opening night has been postponed until Friday, Nov. 20, 2020.

“We’re making lemonade,” Healy added.

Now the organization occupies a space that includes an office where Healy will conduct voice lessons when it is safe to do so (bookings available in September); a rehearsal space for private, physically-distanced dance lessons (bookings available in July); and a production studio.

This summer, Fly North has launched a new podcast called “Grown-Up Theater Kids,” an episodic program called “Gin & The Tonic,” which is a “reckless unpacking of music history’s weirdest stories,” and another video series that spotlights local actors.

Prior to moving into the Hansen House this summer, Healy said the organization was challenged by not having a centralized work and rehearsal space. 

“We were renting three different spaces essentially,” Healy said. “It was totally inefficient and, not to mention, expensive.” 

“Infrastructure is one of the hardest things for arts organizations to maintain and fundraise for,” said Andrew Warshauer, Marketing and Communications Director for Kranzberg Arts Foundation. “That’s why our mission is to provide the arts with the infrastructure they need to thrive. It helps to fill a gap, and allows our city’s art scene to flourish.” 

“We’re so grateful to have our own home and grow and really provide the services students need,” Lockhart said.

Healy echoed the sentiment, “It’s just such a flexible and beautiful space, and it means really everything to us. We’ve finally been able to consolidate all the things that we are … To the Kranzbergs, thank you.”

For more information about HEAL Center for the Arts, visit healcenterforthearts.org. Learn more about Fly North Theatricals at flynorthmusic.com.

29 Jun 2020

Pride Month as we know it spawned from the violent riots at Stonewall Inn, in New York City, in 1969. Black queer folks including Stormé DeLarverie and Marsha P. Johnson were instrumental in this demonstration for LGBTQ rights. 

“No pride for some of us without liberation for all of us.” This quote by artist Michah Bazant who included it on a portrait of Johnson resonates boldly today as we continue to work toward dismantling systematic oppression in all its forms.

We asked our Kranzberg Arts Foundation family, “What does Pride mean to you this year?” Here are some of the responses we gathered.


Matthew Kerns of St Lou Fringe and his husband with marriage license
Matthew Kerns of St Lou Fringe and his husband with their marriage license

“I came out of the closet in my early 20’s during the mid-’90s. When I came out I vowed to never go back in; not for a relationship, job, or any reason whatsoever. It has been a long road filled with daily battles for equality… every battle has been totally worth it.

“I live in a state that hates me. It fought against my right to live as an out and proud homosexual man, marry my husband, adopt a child, and even still to this day allowed others to discriminate against me in my workplace. 

“If there is a right for a straight man in Missouri the state government will actively and openly work to keep that same right away from a gay man.

“Missouri may hate the LGBTQIA+ community, but Lady Liberty loves us and she proved again [this month] that love always conquers hate.”

#LoveWins

 -Matthew Kerns, Executive Producing Director for St Lou Fringe


“Pride is canceled.

“I’m thinking about Rem’mie Fells, Riah Milton, Nina Pop, Tony McDade, Kiwi Herring, & way too many other Black trans folx murdered at the hands of state-sponsored violence, white supremacy, transphobia, & other systemic oppression. I’m thinking about all of the Indigenous trans & two-spirit folx who are murdered and missing, whose stories are usually erased and unheard under the same violent systems of power that are taking their lives. And how none of them get to live to celebrate their queerness, their joy, their magic, their fierceness, their aliveness.

“As a queer mixed-race east Asian femme artist, this time for me is another reminder of how acutely I (& we, but to speak for myself) need to continue to examine and use my roles, my art, and my relationships to power, privilege, and oppression to co-shape the reality many of us want to see. One that centers Black and Indigenous liberation & life & pleasure & creativity & wellness & leadership — especially that of Black & Indigenous trans womxn & two-spirit folx & non-binary folx & queer folx.

“To me, that’s a kind of pride to celebrate.” 

-Erika Harano, company artist + educator for Consuming Kinetics Dance Company


“These are celebrations [Juneteeth and Pride] of our human rights. What we do now and from now on will contribute to the changes we need for our future, for equal rights, and for equal treatment as a human race.” 

-Dawn Karlovsky, Founder and Artistic Director, Karlovsky & Company Dance


“For me, PRIDE is about celebrating diversity, inclusion, and the LGBTQIA+ community. It is a time to actively promote one’s self-affirmation and for everyone to reflect on the true meaning of acceptance and love for all of humanity.”  

-Ashley Tate, Artistic and Executive Director, Ashleyliane Dance Company


“I salute Pride Month. I honor my LGBTQ colleagues in the Arts. And I’m so happy about this [month’s] landmark Supreme Court decision, making this month, perhaps, the most significant Pride Month ever.

“And I salute all my fellow humans, of whatever stripe, who are carrying on through the challenges of our time to lead us to a brighter future for all.”

-Joe Hanrahan, Co-founder and Artistic Director, The Midnight Company 


“It’s fitting then that Juneteenth and Pride are celebrated in the same month. Both groups have endured struggle, hardship, and inequality, fighting tooth and nail for every inch of acceptance within the majority culture. Black and LGBTQIA communities have much to celebrate, but their celebration is bittersweet, not just this year but every year. The fact that these two groups share celebratory space isn’t all that weird when we consider how inequality and injustice found in American society are often interconnected by systems, institutions, and individuals. 

Quote by James Baldwin, Art by Megan Kenyon
Quote by James Baldwin, Art by Megan Kenyon

“One of my favorite Black authors also happened to be a Gay man; James Baldwin. He is the originator of the quote in the illustration. He reminds us that our character, integrity, leadership, love, is determined by how we treat those who have been pushed to the bottom, denied their full expression of humanity, left to be forgotten. 

“Celebration, with its twin sides of lamentation and joy, helps us to combat this desire to forget people not like us. It helps us see the other as just as human as us, full of the same emotions of joy and sorrow, fear and courage, hope, and despair. I hope [this] month gives you an opportunity to learn about the many beautiful aspects of Black and LGBTQIA culture, why they are worth celebrating, and that you not shy away from the sorrowful bits, but instead learn to sit with others in both their grief and their joy. 

“We can never be the America we say we want to be if we do not learn how to love our neighbor as fully human, worth of dignity and justice, and worthy of our care and concern, regardless of color, nationality, orientation, gender, age, ability, religion, political affiliation, class, and any other distinction we could put out there. “

 -Megan Kenyon, 2020 visual art exhibitor

*This is an excerpt from a longer essay on the topic of Juneteenth and Pride written by Kenyon. Read the full essay here.*


“It’s so important to celebrate and support each other – all of us, no matter how we look or identify, are loved and important. One Love.” 

-Janet Evra, 2019-20 music artist in residence

19 Jun 2020

This year, Juneteeth comes amid a global pandemic and an invigorated movement against police brutality and racism. While the day commemorates the emancipation of the last enslaved people in the Confederacy, specifically in Texas, the ancestors of those who were enslaved are still fighting for liberation as systematic oppression has not disappeared, but merely transformed and has become more insidious.

With this in mind, we tapped into the powerful and transformative capacity of the arts to share the voices of our resident artists and organizations. 

We asked our Kranzberg Arts Foundation family, “What does Juneteenth mean to you this year?” Here are some responses we gathered …


“Juneteenth is the celebration of the liberation of Blackness.

“To me, it represents disembodying white supremacy in all forms so that Black people have the freedom to just be.

“I hope one day Black lives and bodies gain true, tangible freedom, reparations, and justice in this country and in this city. And I hope for it soon.”

-Katarra Parson, 2019-20 music artist in residence


Ashreale McDowell, photo by David Moore, edit by Sonja Petermann
Ashreale McDowell, photo by David Moore, edit by Sonja Petermann

“As a Black woman, I am ashamed to say that I never truly understood the importance of Juneteenth and what it means for my community. It wasn’t something that was taught in the schools I attended, and it really wasn’t mentioned amongst conversations where I grew up. 

“My entire life I celebrated the fourth of July. I loved the fireworks and all of the festivities that take place during that time. In the midst of all the excitement and glamour of celebrating the fourth, I never really stopped to think about what I was truly celebrating. 

“July Fourth, America’s independence day, America’s “freedom” day. How could I have been celebrating a national holiday of independence and freedom, when in reality it wasn’t meant for me. 

“My people were not free, there was no independence for us. We are still not free. We are still living in a world of racism and social injustice. We are fighting to have the right to LIVE! I made a vow to myself and to my people, that I will no longer celebrate and participate in a holiday that was not meant for us. 

“For me this year, Juneteenth means awakening!” 

-Ashreale McDowell, Assistant Artistic and Executive Director, Consuming Kinetics Dance Company


“Juneteenth is a time to celebrate how far we as a society have come while assessing how far we still have to go. This important day still receives little attention, but I am hopeful that because of recent events that will change. 

“Juneteenth, to me, means that while this marked the end of slavery in the United States, it represents the greatness that is the African-American legacy. It represents breaking chains and breaking barriers literally and figuratively…something that I hope continues with greater acceleration.”

-Ashley Tate, Artistic and Executive Director, Ashleyliane Dance Company


Saint Louis Story Stitchers commemorated Juneteenth with the release of a new podcast episode. In Episode VII, from the StitchCast Studio, St. Louis youth discuss “Compounding Issues” during the pandemic such as health disparities, mental health, economy and unemployment, education facing St. Louis’ economically-challenged minority neighborhoods. The episode was recorded on May 26, 2020. Listen here. 

StitchCast Studio Drop June 19 from Saint Louis Story Stitchers on Vimeo.


“Growing up in Texas, I remember when Juneteenth became a state holiday in 1980. That was a long time coming. Just like the 1865 event it celebrates — the announcement in Galveston made two and a half years after Lincoln’s Emancipation Proclamation. I want to celebrate progress, but why does it always take so long to get here?” 

-Philip Boehm, Artistic Director, Upstream Theater


“I salute Juneteenth. I honor my Black colleagues in the Arts. And I’m proud of those who have taken to the streets in the last several weeks, making this Friday, perhaps, the most significant Juneteenth ever.”

-Joe Hanrahan, Co-founder and Artistic Director, The Midnight Company 

29 May 2020

From a variety of virtual performances to hours of educational content, explore the list below of digital resources provided by our resident organizations and artists. Have a digital offering your organization wants to add to the list? Let us know by contacting us here.

Educational classes and resources

Entertainment and engagement resources

28 May 2020

“You’re going to have to bring your own popcorn for this one!”

Reimagining what it looks like to connect with the community this year, Kranzberg Arts Foundation resident organization Circus Flora is planning to debut its Virtual Showcase on its website at 7 pm on Thursday, June 4 — the original opening night of their 34th season that has been postponed until 2021.

“There’s really no way to recreate a full-blown Circus Flora production, but we thought we’d do things a little differently,” said Managing Director Karen Shoulders.

Similar to a typical Circus Flora show, viewers can expect to see a variety of acts by performers from all over the world. Also a part of the digital experience this year will be music, guest appearances, and behind-the-scenes footage.

“The Daring Horseman, Caleb … he is practicing and has a new horse and is going to show us what he’s up to,” Shoulders said.

Without giving too much away, another performer Shoulders said viewers can look forward to is Adam Kuchler, a juggler and physical comedian who appeared as the Bellhop in the company’s 2018 production.

“It’s kind of nice to see from your home what our performers are doing,” Shoulders said. “They’re from all over the place, and we can still kind of be together and still experience the same kind of intimacy that Circus Flora is known for — but just in a different format this time around.”

Although we aren’t gathering under The Big Top this summer, Circus Flora’s Virtual Showcase is a modern example of how the community can continue to connect and engage with performing arts.

“This isn’t our first trial and tribulation,” Shoulders said. “There have been many things in our history that have proved to be challenging … but we go on with the show.”

21 May 2020

The St. Louis arts community, including several Kranzberg Arts Foundation resident organizations, will come together for a free virtual benefit to support local artists on Sunday, May 31.

In partnership with Opera Theatre of Saint Louis (OTSL) and the Regional Arts Commission (RAC), more than a dozen local arts organizations will be featured during the Arts United STL live stream to support the RAC Artist Relief Fund.

While OTSL continues to encourage the St. Louis arts community to get involved, the current roster of performers includes the following Kranzberg Arts Foundation residents: The Big Muddy Dance Company, Circus Flora, Metro Theater Company, Saint Louis Ballet, St. Louis Shakespeare Festival, and Tennessee Williams Festival St. Louis.

In the age of coronavirus, where artists are compelled to create in front of screens for an audience on the other side of the virtual platform, human connection is much sought after. For St. Louis arts companies like Tennessee Williams Festival St. Louis, this theme resonates with their work.

A Lovely Sunday for Creve Couer, 2019
“A Lovely Sunday for Creve Couer” presented by Tennessee Williams Festival St. Louis, 2019, image by ProPhotoSTL

“Tennessee Williams’ beautifully poetic work expresses his longing for kindness and for human connection. That is what we all need now, more than ever,” said Carrie Houk, Executive Artistic Director of Tennessee Williams Festival St. Louis. 

Previewing what the audience should expect from their performance, Houk explained, “In our segment, Anita Jackson plays the Williams character Bertha, singing of her desire to be reunited with her love and to take him to Paradise.”

Presenting work based on similar motifs, Metro Theater Company will share an excerpt from a script in development, inspired by submissions from the company’s COVID-19 Memory Project.

"GHOST" presented by Metro Theater Company, 2020
“GHOST” presented by Metro Theater Company, 2020, photo by Jennifer A. Lin

“The four interlocking monologues will be accompanied by an original score by Syrhea Conaway,” said Joe Gfaller, managing director for Metro Theater Company. “Through this performance – and by holding a mirror to the lived experiences of young people in our region as they and their families face COVID-19, MTC continues to serve its purpose to bridge communities, to build empathy, and to create a world in which the emotional wisdom of young people can help us all ensure a stronger future for St. Louis.”

Watch live Sunday, May 31, at 7 pm at ExperienceOpera.org/ArtsUnited or on Facebook via Higher Education Channel TV (HEC-TV).

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