Culture

[STAGE]

Written by JENNA JONES

The year is 2017, and leaves are crunching under your feet outside in late October as you unlock your phone. When you slide open Twitter or Facebook — or really any social media platform — you’re bombarded with apologies or accusations from friends or celebrities. The #MeToo movement is in full swing after a slew of sexual assault allegations against now-disgraced film roducer arvey einstein For a moment, it seems as though justice is finally being served

But as the seasons changed into the summer of 2018, playwright Steph Del Rosso couldn’t shake the feeling that none of these apologies we were inundated with seemed like enough. That’s when she began her script for the Repertory Theatre of St. Louis’ new play, The Gradient.

“I just became obsessed with the fact that these apologies were not what I hoped they would be, and that bothers me. And when something bothers me, I write a play about it,” Del Rosso says. “So, I was trying to look at what would be enough. What would feel like true accountability for me? What ould be a su cient a ology When does an apology necessitate actual accountability and relief and catharsis?”

Running through this Sunday, October 24, at the Catherine B. Berges Theatre at COCA (6880 Washington Avenue), the play follows its main character Tess at her new job, a rehabilitation center of sorts called the Gradient. With an algorithm, Tess works to change men — and other people, but mainly men, another character notes — who have sexually harassed people or committed sexual misconduct.

Tess is elated to be at the Gradient, praising the algorithmic solution to life’s messier, more di cult parts. As the story progresses, the play’s complexities tangle with what Del Rosso wondered in 2018: What would really be enough to prove someone has changed? Are apologies enough, or do we have to move further?

Director Amelia Acosta Powell tells the RFT that seeing Tess’ journey makes her feel “great not just joy, but vindication.”

“One of my favorite parts is to watch this powerful, smart female character come into her own power,” Powell says, “and give herself the permission and the validation that she may have been waiting for someone else to give her, and just seize that ownership of her own life and her own power.”

Del Rosso explains that a lot of her plays are about women taking up space in a way she relates to, navigating a career in an industry that’s dominated by white men. Developing stories where women can take up space and deal with issues like sexual harassment but also find a catharsis through comedy is something important to Del Rosso. She never wants to retraumatize her audience, so providing moments of relief is key.

The writer says she thinks “comedy is necessary to get people to pay attention.” If you’re laughing, you’re open to receiving, Del Rosso adds.

At its heart, The Gradient is a complex comedy. Powell says she hopes the audience can see themselves — and other perspectives — in the story.

“I think we all have ways in which we’ve been hurt and ways we want to feel worthy and feel seen and feel heard,” Powell says. “I also think that we all have ways in which we’ve hurt other people, and ways in which we need to do that work on ourselves in order to make sure we are really seeing and hearing and showing love and compassion to others in our lives.”

When the hour and 40 minutes is up, there’s no one thing Del Rosso or Powell wants people to take away from the show, but they do want you to know it’s OK to laugh. Powell wants you to feel some sort of release while also finding something truthful in The Gradient.

Del Rosso says as long as you’re not thinking about what to eat for dinner five minutes after seeing the show, she’s happy. She’d rather you dislike the play and it get under your skin than not feel anything after seeing it. If it encourages some sort of analysis or re ection, she’ll be ha y

Maybe you’ll walk away questioning your own apologies, or maybe you’ll walk away questioning an apology given to you. Looking inward to answer the play’s questions surrounding forgiveness, and whether an apology is enough — that’s the opportunity The Gradient aims to provide.

Buy tickets online at repstl.org. n

[MUSIC]

Written by DANNY WICENTOWSKI

Archeological treasures belong in a museum, but, in April 2020, the St. Louis Symphony Orchestra canceled its season of live-scored classic movies — including Raiders of the Lost Ark — because people belonged anywhere but a crowded concert hall while the pandemic was rolling through society like a boulder through a Peruvian temple.

More than a year later, the symphony is whipping back into its traditional live performances, including the classic Indiana Jones flick.

Originally scheduled for May 2020, Raiders of the Lost Ark will finally get its orchestra-backed screening in two performances on February 18 and 19, 2022, with SLSO’s musicians providing John Williams’ iconic score to the classic adventure.

They will also conjure their magic to live-score Harry Potter and the Deathly Hallows Part 1 for three performances January 21-23.

The upcoming symphony season features even more chances to let your cinema spirits soar, with the orchestra performing along to Disney/Pixar’s Up on January 2 and Star Wars: Return of the Jedi May 12-15.

If cinematic scores aren’t your bag, SLSO’s symphonic tribute to the Beatles — also previously canceled in 2020 — still has standing-room and limited-view seats available for its October 22 show. A “symphonic experience,” the show is described as featuring accompaniment by “incredible vocalists and hundreds of rare and unseen photos” of the legendary band.

The St. Louis Symphony Orchestra is located at 718 North Grand. Tickets range from around $35 and up.

For specific show information, check out the full season schedule at slso.org. Attendees must bring proof of vaccination or a negative COVID-19 test. n