Zipping at a faster pace and racking up higher scores than their grass-stained outdoor cousins, the iconic Missouri Comets streak through MISL play from the inner orbit of the new Independence Events Center. From their midfield seats, footsport fans can enjoy an unobstructed view as they brush up on their knowledge of indoor soccer, which features six players to a side, legal plays off of walled sidelines, and the frenzied neon lights of the multi-ball round. Visitors will get to cheer on the newly resurrected team led by former Danish soccer star Kim Roentved as they go head-to-head against the Chicago Riot or the Omaha Vipers—teams that weave Midwestern footwork narratives that rival the toe-typed tales of "Handless" Studs Terkel.
Though the city's name would seem to suggest otherwise, Independence residents must still—by law—interact with each other occasionally. Luckily, Independence Events Center serves to bring the community together, hosting everything from national concert tours to youth hockey leagues within its walls. Such stars as Kelly Clarkson have graced the stage within the 5,800-seat arena, also home to local sports teams such as the Central Hockey League's Missouri Mavericks and the Major Indoor Soccer League's Missouri Comets. Additionally, a community rink lets residents and nonresidents alike hit the ice for programs ranging from open-skating sessions and lessons to private rentals for Civil War reenactments.
At Screenland, campy and classic are rarely mutually exclusive terms. The movie theater serves as a cinematic time machine, transporting spectators through the history of Hitchcock's mysteries and straight into the heyday of The Rocky Horror Picture Show. Though it also shows current titles, its schedule is often beholden to audience whims—the Crossroads location hosts new independent films that are uniquely screened at this sole location. This dual devotion to cherished and modern flicks helped Screenland earn the 2012 Readers' Choice award for Best Movie Theater from the Pitch.
Even outside the projection room, nostalgia rules. More than 40 games, from Donkey Kong to Missile Command, test dexterity at the Crossroads location's retro arcade, where guests can purchase passes to play indefinitely or until Frogger finally flags down a cab. Photographs taken by former Kansas City mayor Dick Berkley accompany historical trivia in the adjacent gallery, and celebrity handprints mark the outdoor patio. Greeting cinephiles out front is a marquee salvaged from the Isis Theatre, just as it once greeted a young Walt Disney when he shared his early animations there.
Wedding receptions and corporate meetings alike have taken advantage of the theater's capacity for private functions. At both exclusive and public events, however, a full-service bar supplies guests with libations, cracking open bottles of Boulevard Pale Ale and Tallgrass Velvet Rooster.
Quality Hill Playhouse parts its curtains through October 23 for Noël and Gertie, devised by Sheridan Morley and featuring the words and music of Noël Coward. One of six musicals and cabaret revues the theater puts on annually, Noël and Gertie is based on Coward's own diaries and musical compositions and delves into the friendship of two former stage personalities, Noël Coward (Robert Gibby Brand) and Gertrude Lawrence (Melinda MacDonald). The witty and occasionally heartfelt performance celebrates the fun and sophistication of the roaring '20s without the drawback of state-mandated lessons to learn the Charleston. Quality Hill Playhouse's intimate 153-seat theater ensures patrons don't miss a single sight or sound, and the newly renovated lobby bristles with casual elegance. Multiple performances take to the stage each week in order to accommodate busy schedules and revisit important plot points for forgetful goldfish.
The performance begins with Kansas City Symphony Music Director Michael Stern leading the ensemble through Maurice Ravel's 1919 Le Tombeau de Couperin, a four-movement orchestral homage to baroque composer François Couperin. Next, the evocative melody of Samuel Barber's 1947 lyric rhapsody for orchestra and voice, Knoxville: Summer of 1915, fills the air as Ms. Murphy narrates scenes from author James Agee's dreamlike childhood memoir. After a brief intermission for flutes of champagne and handfuls of de-sloppied sloppy joes (also known as Dapper Dans), Gustav Mahler's Symphony No. 4 sneaks into the concert hall with the jingle of two sleigh bells, then erupts into a ghostly scherzo that builds to a solemn march before finally reaching a gentle conclusion with the soprano's bucolic, childlike warbling.