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Backstage at the Jack C. Taylor Music Center in the musicians' lounge. It's large, modern and comfortable. There are sets of cubbyholes where members can keep their favorite mug. My favorite is second row, third column where first violinist Emily Ho has a mug labeled Santa's Favorite Ho.
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Recent posts have shown the interior of the renovated Powell Symphony Hall in all its old-fashioned opulence. A big part of the project was a large addition to the building on two sides; the whole thing is now called the Jack C. Taylor Music Center. (Mr. Taylor was the the founder of a large international car rental company based here.) It's a huge benefit to the organization, with space for modern offices, meeting and rehearsal rooms, musicians' dressing rooms and lounges, the music library and more. However, the new public areas strike us as sterile, in sharp contrast to the opulent old interior. Maybe people will get used to it. They did to the glass pyramid at the Louvre.
The view from the stage at Powell Hall, but hopefully with the seats full of patrons. Across the center in the first level up from the floor are the Mezzanine Boxes, where the self-styled elite can feel their privilege, albeit with the worst acoustics in the house. The view of the balcony is foreshortened but it goes way back. Unlike many symphony halls that are longer front to back, Powell is wider, reflecting its origin as a movie and Vaudeville venue.
Upstairs at Powell Symphony Hall. As part of the renovation, a few hundred seats were removed, with new, wider and more comfortable chairs installed. For many years, our subscription seats were front row center of the lower balcony, just behind where the group is standing. I'm old, tall and arthritic, and loved the luxurious legroom. Unfortunately, in the new configuration that row has less foot room than the last row on Spirit Airlines (or Ryanair, your pick) and was really uncomfortable. We've moved around since, looking for a new base. First world problems.
Continuing on the tour of Powell Symphony Hall, this is a view of the stage from the balcony. There can be many more musicians on stage than the chairs here suggest. (Think Beethoven 9th or Verdi Requiem.) The many lights directed at the stage were changed to LEDs during the renovation. Our tour guide told us that the hall's electric bill dropped dramatically after the change.
A break from the public sculpture series for a special event. Our beloved St. Louis Symphony Orchestra closed its home, Powell Hall, for a major renovation, restoration and addition lasting two years. It was a grand old movie theater that became the orchestra's home in 1968, but with far too little space for all its needs.
We think this is our 47th year as subscribers so this is a big deal to us. The orchestra arranged for front and back of the house tours this month and we went yesterday. This is the old main lobby, that has many architectural references to the chapel at the Palace of Versailles. More to come.
So said John Lennon. As we continue with St. Louis sculpture, who better to personify love than Eros, Greek god of the same? Igor Mitoraj's Eros Bendato
(Eros Bound) is probably the most popular sculpture in Citygarden. The
plinth is a gently sloping circle with water trickling down the surface. The head is hollow - you can climb inside through the neck and kids can peek
out through the eyes. It looks like something natural - sort of.
But then you
have to try to understand it. Was Eros bandaged or were his eyes and
mouth deliberately covered at another time? Is it about repression of
vision and speech, injury or perhaps death of love? And what's with that
notch in the neck? And why are the eyes empty? (Greek sculpture used
plain spheres for eyes. The Romans introduced carved irises and pupils.
This is neither.)
I'm just askin'.
The series of four busts of St. Louis writers I just finished was unusual. It occurred to me that a survey of local public sculpture might be worthwhile. St. Louis has a lot of it, some very good, some simply dreadful. I'll start looking around. For starters, Erwin Wurm's Big Suit in Citygarden. However, there is an unusual event to shoot Thursday.
Ah, my favorite of the Central West End writers, William S. Burroughs. Born to a wealthy St. Louis family (anyone remember Burroughs adding machines?), he revolutionized fiction writing with his bizarre techniques such as cut-ups, taking finished text and literally cutting it into strips and rearranging it. Much of his work was drawn from long but intermittent periods of addiction. His narrators were notoriously unreliable, shifting times and personas. Novels such as Naked Lunch, Cities of the Red Night and The Western Lands stirred outrage and admiration. Characters like Dr. Benway wielded humor with predator’s claws.
Towards the end of his chaotic life he moved to Lawrence, Kansas, of all places. He died at 83 of a heart attack and is buried in St. Louis, in the Burroughs family plot in Parisian-elaborate Bellefontaine Cemetery. His marker is unassuming.
He’s not from Tennessee and doesn’t have any particular connection with the state. It was his pen name. Thomas Lanier Williams III was born in Mississippi but moved here in his childhood when his alcoholic, abusive father worked at the International Shoe Company, once one of our major corporations. His chaotic life took him to many parts of the U.S. and Europe. His family remained here and there is an annual performing arts and academic festival devoted to him. Late in life, he nominally converted to Catholicism at the behest of his brother, Dakin. Although he died in New York City, probably of a drug overdose. he is buried here in Calvary Cemetery, a vast, elaborate Catholic resting ground.
We will finish with the fourth corner of the intersection tomorrow with my favorite St. Louis writer. Think adding machines.
Kate Chopin is not as widely known as the other writers depicted at this Central West End intersection, yet she is a major figure in American literature. She is considered one of the first feminist authors of the Twentieth Century. She was born and grew up in St. Louis but moved to Louisiana with her husband. Much of her fiction is set in the South. After her husband’s death, she returned here for the rest of her life. To learn more about her, see https://americanliterature.com/author/kate-chopin/ .
Euclid and McPherson Avenues is a major intersection in The Lou’s trendy Central West End neighborhood, or CWE. Each of the four corners has a bust of a famous native writer or, in one case, an author with major ties here. This is Thomas Stearns Eliot. His image is that of the consummate English intellectual, High Church Anglican and all that. Well, not quite. He was born and raised in St. Louis, living here until he went to school in Massachusetts at age 16. He’s the one who told us that the world ends not with a bang but a whimper. Got my doubts about that.
Same bridge as in yesterday’s post with the lens backed up. It’s part of the complex system of waterways in Forest Park. Note, though, the stump at right center. It is what remains of one of the trees knocked over in last year’s tornado.
A membrane of ice here, some open water there. Temperatures fluctuating a lot in recent weeks. There used to be more big trees on the horizon before last June’s tornado.
I was driving around yesterday, again looking for something, anything, to photograph. When I pulled into Forest Park something caught my eye that made me stop and pick up the camera. A middle-aged man was cruising down the sidewalk on contraptions I’ve never seen. A little hard to see at this scale, but this variation on roller skates/blades has one wheel in the front and three in the back. He was pushing along with poles and a smile on his face.
Passenger rail service in the US. This is the Amtrak train coming into downtown from Chicago, the only one that comes from this direction. None of the sleek lines of the Shinkansen or TGV, but it’s something. Outside of the Boston - Washington corridor, we just dont' have the population density. This is America. We drive or fly.
From the downtown gray-day cruise, another old commercial building newly converted to apartments. That is wonderful but I wonder about the occupancy rate. Downtown has one good-enough grocery with a pharmacy, a shrinking number of restaurants and some issues about safety. Maybe the residential population will reach a critical mass.
No new material so I went out driving under leaden skies. Terrible light, iffy images, but I needed something and the Arch is always available. I worked in downtown St. Louis for 47 years and have been retired more than 4. The pandemic hit downtown hard. Over the last 4 or 5 years, it has become more and more desolate, although there are a couple of big redevelopment projects on the boards. Hope they work.
It’s New Year’s Day, and City Daily Photo members show off their favorite picture of the year just ended. This is a bit of the joy I get from doing theatrical photography for the St. Louis Fringe. These girls and their theater group are from a town maybe 90 minutes from St. Louis, one that has seen better times. The outstanding company did a spin-off on A Midsummer Night’s Dream centered on Puck. That’s the sprite at top center. Talk about a charm offensive.
