Eagle Days

Last winter we made several day trips along the river north of the city to see bald eagles. When our friends from Hamilton, NY, Russ & Sally Lura, visited last January we convinced them to spend a frigid Saturday afternoon with us at Eagle Days.

Bald eagles were plentiful in Missouri when Lewis & Clark camped during the winter of 1803-04 just north of St. Louis. Habitat loss and senseless hunting exterminated the entire population of midwestern eagles by 1890. Missouri’s eagles were already long gone by the time DDT nearly wiped out the rest of the bald eagle population across the country.

There were no nesting pairs of bald eagles in Missouri for nearly a hundred years. In 1972 DDT was banned and it was time for the eagles to return. The Missouri Department of Conservation, in cooperation with the U.S. Fish and Wildlife Service and the Dickerson Park Zoo of Springfield, MO started to release young bald eagles across the state in 1981. By 1990, the eagle was back. Because their old haunts in the cypress swamps of the bootheel in southeastern Missouri had long ago been cut and drained for cotton fields, modern eagles set up housekeeping along the banks of the Mississippi and a few big lakes. It's estimated that the current resident population consists of about 300 nesting pairs.

In addition to resident eagles, the middle Mississippi River Valley hosts one of North America's largest concentrations of migrant bald eagles during the winter. Annual bird counts show an annual influx of about 3000 birds drawn to areas of open water in search of fish, their preferred food. Many of the small towns on both sides of the river capitalize on the eagle migration. On the Missouri side, Clarksville has an eagle festival featuring an auto tour of eagle sites including a tree covered bluff behind the town that becomes an eagle roost in winter. On the Illinois side, festivals are held in Grafton and nearby Pere Marquette State Park that feature views from the spectacular limestone bluffs in that area. The Great River Road runs along the base of the bluffs and the river. We were captivated here last year by the sight of a large eagle riding down river on a block of ice.

We took Russ and Sally to the celebration hosted at the Old Chain of Rocks Bridge by the City of Madison, IL, the Illinois Department of Natural Resources,  the Confluence Partnership, and the MO Department of Conservation [but not the MO Department of Natural Resources, which I previously mentioned, thanks to alert reader Dan Zarlenga]. This historic bridge is worth of a visit any time of the year. Built in 1929, it was once part of old Route 66. One of its most distinctive features is a 22% curve in the middle of the river, the curve built to accommodate barge navigation. The bridge closed in 1968 but was renovated in 1999 as a bike and pedestrian walkway connecting trails on both sides of the Mississippi. Just south of the bridge is a line of rapids that insures the water stays ice free all winter. This open water attracts bald eagles looking for easy fishing.

It was cold and clear when we joined the crowds of birdwatchers at Eagle Days last January. We packed into a tent to watch a live eagle program put on by the World Bird Sanctuary and McGuire, an adult male eagle. We trouped onto the frigid bridge where we saw the bare sycamore trees along the banks filled with eagles. At the bend of the bridge in the middle of the river the Audubon Society set up a big heated tent with displays on all sorts of birdwatching opportunities.

Back near the parking lot a camp of four or five canvas tents was set up. Outside the tents stood men in buckskins and funny hats holding muskets. Until that moment I was unaware that Lewis & Clark reenactors existed. One bearded fellow was demonstrating the weapons carried by the Corps, another explained the design and use of period canoe paddles. We stopped to talk to another reenactor who had a fine collection of fur trapping paraphernalia. Among his collection spread on a wool blanket on the ground I spotted a few strings of glass beads. I asked him about them. He picked up some small red ones and showed me their real gold centers. He handed me a string of about ten blue beads with white centers on a rawhide cord. “These were found in a archeological dig along the Columbia River in Oregon. They're the real thing, they are Lewis & Clark trade beads actually carried on the expedition.”

In fact the Corps of Discovery may have been saved from starvation because of these humble blue beads. The Corps brought a trunk load of beads along to trade with the natives for everything they needed from food to boats. The far western tribes were unimpressed with the expensive beads and wampum favored by eastern tribes. Lewis made the following entry in his Journal as he travelled down the Columbia: “[T]he object of foreign trade which is the most desired are the common cheap, blue or white beads, of about fifty or seventy to the penny weight, which are strung on strands a fathom in length, and sold by the yard, or the length of both arms; of these the blue beads, which are called tia commachuck, or chief beads, hold the first rank in their ideas of relative value; the most inferior kind are esteemed beyond the finest wampum, and are temptations which can always seduce them to part with their most valuable effects.”

As I turned the old blue beads over in my hand, I felt history stir.

Eagle days will be held again soon, Saturday & Sunday Jan. 16-17, 2010 at the Old Chain of Rocks Bridge 9 am - 3 pm.

Chado - The Way of Tea

The Japanese Festival is one of the premier events at the Missouri Botanical Garden, a/k/a Shaw Garden, after its founder, Henry Shaw. Held every Labor Day weekend, it attracts thousands. When we first visited Shaw Garden last fall we were astonished to find it contains a 14-acre formal Japanese garden. This part of the garden is named Seiwa-en, which means “the garden of pure, clear harmony and peace.” http://www.outside-in.com/seiwa-en/index2.html A four-acre lake is complemented with waterfalls, streams, bridges and water-filled basins. Dry gravel gardens are raked into rippling patterns. Carefully placed islands rise from the lake. Largest of these is Nakajima. It crosses the lake, connected to each bank by traditional bridges. We were both drawn to Nakajima, but the entrances were barred.

We learned that Nakajima is a sacred teahouse island reserved for tea ceremonies that are held one weekend each year in a traditional soan, or “farm hut style” teahouse, a gift from Missouri's sister state of Nagano, Japan. This soan was built in Japan, shipped to St. Louis, reassembled by Japanese craftsmen, and dedicated with a Shinto ceremony in 1977. http://www.mobot.org/hort/gardens/japanese/teahouse/index.shtml

Merry and I resolved to attend a tea ceremony and see the island. We finally did last Sunday, September 6, but not without a little drama.

Chado, forty minute tea ceremonies, are held on Nakajima 6 times a day for the three days of the Japanese festival. Each seating is restricted to 12 people. Tickets can only be purchased at the entrance to teahouse island one hour before the seating. We planned to go Saturday early.

Saturday dawned gray. Thunder could be heard just before a sustained downpour started. When we reached Shaw Garden at 9 am it was still pouring. We were told at the gate that the three early seatings of Chado had been cancelled. We went in anyway and enjoyed the garden in the rain. We toured the Bonsai exhibit, listened to some traditional drumming, ate, and watched people. Merry has some terrific photos of this visit on her blog http://meredithleonard.blogspot.com/

We decided to come back the next day to try again. When we reached the gate we were told due to the threatening weather the ceremony would be held in a room indoors. The disappointment was too much for me. I decided to leave, but Merry wanted to stay and experience Chado, even in a much reduced form. I got in the car and started to exit when I saw Merry running toward me. Plans had changed, the ceremony would be in the teahouse on the island unless it started raining again. Merry ran ahead to stand in line to buy tickets.

An hour later we meet our guide by the Arbor of the Plum Wind. He opens the outer gate that bars the bridge to the island. As we walk he explains the design of the “roji” garden. The outer garden called “soto-roji” is paved with broad stepping stones laid in a sweeping arc. The plants are simple, small shrubs, no flowers. This is a transition area where we can walk without being required to pay much attention as we leave our daily cares behind.

At the end of the arc we come to two parallel rows of thick trimmed bamboo that narrows the focus dramatically. Now the path is paved with uneven tobi-ishi stones, slowing the gait and encouraging much closer attention. An inner gate opens to a courtyard of raked brown gravel. A stone basin filled with water sits by the entrance for symbolic cleansing. Three boulders rise from the gravel sea, two bigger ones on the right, a smaller on the left.

The teahouse is a small room in a simple hut with a tile roof, rough wooden pillars and mud walls. Bamboo hedges screen it entirely from any view off the island. The room has an alcove with a calligraphy scroll and some fresh flowers, and an alcove for the host to prepare tea. The scroll is white, with only four characters: wa [harmony], kei [respect], sei [purity], jaku [tranquility]. The floor is covered by four and a half bamboo tatami mats. One wall is open to the weather, but this is not the door, rather a window. The door is along the side, so small it must be crawled through. We learn only seven of us can enter, the rest will be served tea in the courtyard. I'm right by the entrance. I slip off my shoes and crawl in first.

I'm told to sit in the “least honored guest” spot nearest the host. The last guest across from me will be honored by being served first. Our host is Professor Kimiko Gunji of the University of Illinois. She is assisted by three of her students and a young girl in a beautiful red kimono.

Our host trained in Kyoto to be a tea master in the tradition of the Urasenke school. http://www.urasenke.or.jp/texte/chado/chado2.html She leads us through the simple steps. She carefully cleans the utensils. Powered green tea is wisked into a foam in hot water. You eat a sweet cookie and candy. A bowl of tea is carefully placed before you. You offer your tea to the guest seated to your left. They politely refuse. You drink the tea. The bowls are collected. http://japanhouse.art.uiuc.edu/oldsite/tea/1/1_TOC.html

Every move is choreographed. The utensils are beautiful. Every thing encourages contemplation.

We reluctantly leave the teahouse. We linger in the courtyard. Finally, we cross a wooden drum bridge and return to the rest of the garden.

The forty minutes on the island was one of the most peaceful meditations I've experienced. It opened a small space in my consciousness. I feel ready.

The Muny

Even though rain threatened, we set out for Forest Park this last Thursday evening to attend our first ever performance at the St. Louis Municipal Theatre, lovingly referred to as “The Muny.” We knew we could not claim to know anything about this place until we had a dose of America's oldest and largest outdoor theatre. www.muny.org/component/option,com_frontpage/Itemid,1/ Merry got the tickets, scoped out the best place to park and prepared a picnic supper. We went early so we could appreciate it all.

Forest Park is to St. Louis as Central Park is to New York City, only Forest Park is bigger. For an overview of the park and its history take a look at my very first blog from way back on 09/07/08. The Muny is set on a steep hillside close to the center of the park. The backstage and auxiliary buildings are constructed of light tan brick fronted by a grand colonnade. The theatre has an astounding 11,000 seats. Ticket prices are pretty reasonable ranging from $9 - $46 and 1500 seats at the top of the hill are free, first come, first served. When we arrived at the picnic area around 6 pm only half the picnic tables were taken but soon they all filled. A line formed for the free seats that are given out at 7 pm for the 8:15 curtain. All around the theatre people set up picnics, bought box suppers or sat down to eat at the open air pavilion serving a $19 buffet, reservations only.

The season typically consists of seven musicals, each running a week. This year the lineup is 42^nd Street, Annie, Godspell, Meet Me In St. Louis, The Music Man, Camelot, and Hairspray. We chose the 76 trombones. Each show features actors equity performers in the leads drawn from Broadway and traveling professional productions mixed with a large number of local performers and a full orchestra.

We were just finishing our picnic when a serious thunderstorm hit. Everyone calmly took cover under the colonnade, spread out their table cloths again and resumed picnicking. Thunder crashed and torrents of water ran off the roof. The rain let up in about half an hour. More and more people arrived, wiped off the picnic tables, filled the pavilion and prepared for the show. The free seats were completely taken.

We explored while we waited. In front of the Muny is a pond with an elegant pagoda on a island. A white egret with a hurt leg stalked frogs on one side of the pond. On a bridge a young man was throwing bread crumbs in the water. We walked over to find he was feeding the many turtles that live under the bridge, pond sliders and one pretty big snapper.

Finally the gates opened. The theatre quickly filled. It was not a sellout, but at least 9,000 people arrived from all sides. Most brought all the necessities: seat cushions, towels to dry the seats and rain gear. Those who were unprepared could rent seat cushions or have the friendly ushers wipe off the wet seats. The lights dimmed. The music started. Bats danced overhead seeking insects drawn to the stage lights. From the first note I knew this was a top quality show; terrific singers in all lead roles, great dancing and fabulous sets.

About an hour after the show started a second rainstorm hit. Out came a sea of umbrellas and rain ponchos. Vendors immediately appeared hawking cheap rain gear. The show continued for a few minutes until the rain really started to come down. A rain delay was called. The show would resume, we were told, in 15 minutes to half an hour. We decided to leave even though we were having a good time. It's a long show and I needed to get to work early the next morning.

To understand how the Muny managed to gain such a substantial following you have to look to its beginnings during the First World War. In 1916 the site was first used to present “As You Like It” put together by the Parks Commission and the Civic League to commemorate the 300^th anniversary of Shakespeare's death. This show turned out to be such a success that by early 1917 a decision was made to erect a permanent stage at the site. That summer the city was hosting the 13^th Annual Convention of the Advertising Clubs of the World. The opening of the new outdoor theatre would be the highlight event of the convention. Construction began April 16 funded with $5000 provided by the Convention board and $5000 from the city. In 46 days the massive stage was constructed, an orchestra pit built to hold up to 200 musicians, all the concrete was poured and dressing rooms built behind the stage. On June 5, 1917 the Muny opened with an audience of 12,000 in attendance. A full production of Verdi's “Aida” featured world famous opera stars and a local chorus of 250 plus 30 local dancers.

After three weeks of performances with about 10,000 people in attendance nightly the theatre had lost nearly $60,000. Nonetheless the city was determined to make a first rate summer theatre in the park a permanent reality. During 1918 Mayor Henry Keil spearheaded a fundraising campaign that raised the necessary money to plan another season.

By March 1919 the organizing committee announced they would present six operas the coming summer. In April, St. Louisans went to the polls to vote on the repertory. As soon as the results were tabulated, stars were engaged from New York, musicians auditioned, sets built and choruses assembled.

Ticket prices ranged from 25 cents to a top price of one dollar. 1,620 of the 9,000 seats were set aside as free, beginning a tradition that continues to this day. On June 10, 1919, the Municipal Theatre Association was formally incorporated. Six days later the curtain rose on “Robin Hood,” with a full house and Mayor Kiel himself proudly appearing in the production as King Richard.

Ninety seasons later, the Muny is still going strong.

Circus Flora

It was a warm sunny day last Saturday as we made our way to the parking lot behind Powell Symphony Hall in the downtown St. Louis arts district where a beautiful circus tent awaited. Outside there was a modest pony ride, a concession stand, and an old automatic player circus organ. Inside the tent a wonderland awaited.

Circus Flora made St. Louis its home in 1987. http://www.circusflora.org/ It only runs for a few weeks each year. Every year there is a theme around which the acts are loosely assembled. This year the theme is “Medrano” drawn from the historic Cirque Medrano a/k/a Cirque Fernando that first set up at different locations in Paris in the late 19^th Century and continues as a traveling circus throughout Europe today. The basic story of this year's Circus Flora show is that the beautiful star of Medrano is a sought after socialite who attracts high society to the circus as well as some of the great artists of the time. In fact, famous paintings inspired by Cirque Medrano were done by Toulouse-Latrec [Jane Avril], Degas [Miss La La a la Cirque Fernando] and Renoir [Jugglers at the Cirque Fernando].

The big tent with four tall peaks is night blue inside with crystal chandeliers. At one end of the ring an elaborate red and gold pillared entranceway is capped by a band box where the five person circus orchestra sits. We sat in the box seats next to the ring, but not close enough to get squirted by the clown. The crowd numbered about 1000, with adults outnumbering children two to one.

This one-ring circus strives to be true to its European roots. Throughout the show a narrator in whiteface wearing a gold and sequin embroidered costume roams the ring telling the story and introducing the acts, weaving them into the story. Some acts fit the story better than others, but I don't want to quibble. For the most part the story line enhances a non-stop display of traditional circus skills. No lions, tigers or elephants, just ponies, stunningly beautiful horses, a goat, one main clown, and a comedy dog act with a dozen mixed breed rescue dogs. Interspersed with modest juggling and clown acts are world class performances by The Flying Wallendas on the high wire, Cossacks performing at full gallop on horseback, and The Flying Pages on trapeze. Because the story was set in 19^th Century Paris there were numbers incorporating the can-can and an astounding hoop act where the star encased herself in about fifty rotating hoops at once. Most acts somehow incorporate Nino the Clown (Giovanni Zoppe, one of the producers), in little red knit hat and the obligatory red bulb nose. Nino sometimes has a shadow, a very small child dressed in exactly the same costume.

We were very taken by the local teen acrobats, the St. Louis Arches, who train year round and also perform at the City Museum. http://circusday.org/News.html These kids are of different genders, ages and abilities; all beautifully full of spirit. They jump and tumble and build impossible human pyramids. We were immediately reminded of our teen gymnast neighbor from Syracuse, Taniya Williams, who we both felt would fit nicely into a Arches costume.

After a couple of hours we sauntered back into the sunny afternoon humming circus music. Overall the effect was like a dream play; not exactly a story, no moral or message, just the sights and sounds of a modest and wonderful circus. Circus Flora is theatre at it's best, original, accomplished and completely absorbing. It's a treasure waiting for everyone to discover.