Lynn Venhaus

Total Post: 1287

Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.  She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.  She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle. She is retired from teaching journalism/media as an adjunct college instructor.

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

New Line to Premiere Go-Gos Musical Comedy ‘Head Over Heels’ March 6

“Head Over Heels” will open at New Line Theatre March 6. It is the regional premiere of the wild, sexy, modern musical fairy tale where Once Upon a Time is now.

“Head Over Heels” is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening.

Conceived by Jeff Whitty, with an original book by Whitty, adapted by James Magruder, originally directed by Michael Mayer, and set to the music of the iconic 1980s all-girl rock band The Go-Go’s, this high-octane, laugh-out-loud love story includes hit songs like, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” “Heaven is a Place on Earth” and “Mad About You.”

The wild story follows the escapades of a royal family who set out on a journey to save their beloved kingdom from extinction, only to discover the key to their realm’s survival lies within each of their own hearts — though not always in the way they expect — and in their willingness to let go of rigid tradition and change with the times.

With band and vocal arrangements by Broadway composer Tom Kitt (Next to Normal, If/Then, High Fidelity), and eleven amazing dance numbers, choreographed by New Liners Michelle Sauer and Sara Rae Womack, this is the heaviest dance show New Line has produced since Chicago in 2002.

Head Over Heels originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards.

The New Line cast includes Grace Langford (Princess Pamela), Melissa Felps (Princess Philoclea), Clayton Humburg (Musidorus), Jaclyn Amber (Mopsa), Zachary Allen Farmer (King Basilius), Carrie Priesmeyer (Queen Gynecia), Aaron Allen (Dametas), Tiélere Cheatem (Pythio), Kevin Corpuz, Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack.

The New Line production will be directed by Scott Miller and Mike Dowdy-Windsor, with music direction by Nicolas Valdez, choreography by Michelle Sauer and Sara Rae Womack, scenic design by Rob Lippert, costume design by Sarah Porter, lighting design by Kenneth Zinkl, and sound design by Ryan Day.

The Daily Beast said, “Head Over Heels is a raucously choreographed joy — intelligent, winningly comic, and surprisingly-for-Broadway radical when it comes to its presentation of gender and sexuality.” Entertainment Weekly said, “The show is an ode to female independence with the winking spirit of a Shakespearean fairy and the neon edge of a rebellious ‘80s teenager, teaming up to beckon people into the woods. Forty years after The Go-Go’s’ formation, Head Over Heels does more than preserve the band’s iconic hits in amber. For two hours and 15 minutes, it’s enough to pull the world back into sync.”

TimeOut NY said, “It grafts a 2010s sensibility onto songs from the 1980s — by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career) — and fits them into a 16th-century story that is set in ancient Greece. . . Head Over Heels is a fantasy and celebration of nonconformity, and it puts its casting where its mouth is with an ensemble that is diverse in race, gender and size. Honoring the beat, in this merry Arcadia, means making room for different drummers.”

Head Over Heels contains adult content. Produced by arrangement with Broadway Licensing, New York.

Tickets

HEAD OVER HEELS runs March 5-28, 2020, Thursdays, Fridays, and Saturdays, all at 8:00 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. March 5 is a preview.

Tickets are $25 for adults and $20 for students/seniors on Thursdays; and $30 for adults and $25 for students/seniors on Fridays and Saturdays. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website. 

DISCOUNTS

HIGH SCHOOL DISCOUNT: Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page.

COLLEGE FREE SEATS: Ten free seats for every performance, open to any college student with a valid student ID.

EDUCATORS DISCOUNT: New Line offers all currently employed educators half price tickets on any Thursday night, with work ID or other proof of employment.

MILITARY DISCOUNT: New Line offers all active duty military personnel half price tickets on any Thursday night, with ID or other proof of active duty status.

All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

The New Line Film Series

Have a Little Rock & Roll Fable with your Rock & Roll Fable…

The New Line Film Series presents the movie musical ABSOLUTE BEGINNERS on Weds, March 18 at 7:00 p.m. at the Marcelle Theater, during the run of New Line’s Head Over Heels.

Click Here for more info.

About New Line Theatre

New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country.

New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions.

Altogether, New Line has produced 89 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives funding from the Missouri Arts Council, a state agency, and the Regional Arts Commission.

For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com. All programs are subject to change. New Line’s 29th season closes in June with Urinetown.

Stages St. Louis Announces Naming of new Main Stage Theatre for Ross Family

Stages St. Louis Announces Naming of new Main Stage Theatre for Ross Family

STAGES St. Louis and the City of Kirkwood are thrilled to announce the naming of the Main Stage Theatre at the Kirkwood Performing Arts Center (PAC). Thanks to a very generous gift from Don and Nancy Ross, the theatre will be named The Ross Family Theatre.

“Nancy and Don Ross have been extraordinary supporters of Stages for many years. This amazing gift to name the Main Stage Theatre at the Kirkwood Performing Arts Center is a transformative one. The entire Stages organization will be forever grateful,” said Executive Producer Jack Lane.

The Ross Family Theatre will serve as the mainstage for STAGES performances, beginning with the organization’s 35th Anniversary Season in 2021. The theatre will feature both orchestra and mezzanine levels, totaling 525 seats.

“Our entire family is so pleased to support Stages St. Louis with the naming of the Ross Family Theatre at the Kirkwood Performing Arts Center. For 34 years, Stages has been a tremendous asset to the cultural landscape of our community. On this new national level with the stunning state-of-the-art building, the future appears limitless for Stages. We are very proud to play a role and we hope others in our community will join us in supporting Stages for future generations,” said Don and Nancy Ross.

In addition to The Ross Family Theatre, the new Kirkwood PAC will also house a 2,000 square-foot event space, spacious upper and lower level lobbies connected by a grand staircase, a 3,000 square-foot studio theatre, and community and artistic support spaces.

The Performing Arts Center is slated to open in July 2020. In its inaugural year, the PAC is projected to entertain over 100,000 patrons between the seasons at both STAGES and the Kirkwood Theatre Guild and community events hosted by the City of Kirkwood.

STAGES 2020 Season, the final one in the Robert G. Reim Theatre, will kick off May 29 and runs through Oct. 4, 2020. The season features:

A Chorus Line
Music by Marvin Hamlisch Lyrics by Edward Kleban
Book by James Kirkwood & Nicholas Dante
May 29 – June 28

La Cage Aux Folles
Music and Lyrics by Jerry Herman Book by Harvey Fierstein July 17 – August 16

Always… Patsy Cline
Written and originally directed by Ted Swindley
Featuring the music of Patsy Cline
September 4 – October 4

Disney’s Alice in Wonderland
Music and lyrics by Sammy Fain and Bob Hilliard, Oliver Wallace and Cy Coban, Allie Wrubel and Ray Gilbert, Mack David, Al Hoffman and Jerry Livingston
Music adapted and arranged and additional music and lyrics by Brian Louiselle
Book adapted and additional lyrics by David Simpatico
June 16 – June 28


STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

In 2020, STAGES celebrates its 34th year of producing Broadway-quality theatre, presenting 132 performances from June through October to nearly 50,000 patrons. STAGES opened in 1987 with a budget of $50,000 and a part-time seasonal staff of eight. Today, the company employs a full-time staff of 23 overseeing a budget of $5.1 million. During the performance season, an additional 150 actors and crew members bring the productions to life.

To date, STAGES professionals have produced 119 musicals, with over 3,700 performances, playing to more than one million patrons. Subscriptions to the 2020 Season begin at just $120 and are on sale now. Single tickets will go on sale April 6, 2020. Single ticket prices range from $25 – $66.

STAGES’ Mainstage productions perform in the intimate, 377-seat Robert G. Reim Theatre at the Kirkwood Civic Center, 111 South Geyer Road in St. Louis, MO 63122. For more information or to purchase tickets call 314-821-2407 or visit www.StagesStLouis.org.

Rap Artist Tef Poe to Star in The Black Rep’s “Spell #7”

Rap Artist Tef Poe to Star in The Black Rep’s “Spell #7”

“Spell # 7” will be The Black Rep debut of rap artist Tef Poe. Tef Poe has received numerous Hip-Hop awards for his work, and was recently featured as a Harvard Fellow at the W.E.B. DuBois Research institute.

Tef says “This is an opportunity for me to sharpen my skills and work with some of the best talent in this region.  The Black Rep is known for reimagining what’s possible in Black entertainment.  I knew this would be a challenge for me. My background obviously isn’t rooted in theatre. But the hip hop world has a few commonalities so I’m able to play into my strengths with this character. I’m honored to be a part of this production.  My respect for my cast mates and our director is insurmountable.”

“Spell # 7” will also feature Drummond Crenshaw, Robert Crenshaw, and Jacqueline Thompson as well as four of our Professional Acting Interns: Brian McKinley, Tyler White, Christina Yancy, and Camille Sharp.

“Spell # 7” is a striking choreopeom by the author of “for colored girls who have considered suicide when the rainbow is enuf”, Ntozake Shange.  Set in a bar in St Louis frequented by Black artists and musicians, actors, and performers. In a series of dreamlike vignettes and poetic monologues, they commiserate about the difficulties they face as Black artists.  The piece is framed by the narrator, Lou (played by Brian McKinley), a magician who wants to use his magic to help the artists come to terms with their Blackness and rejoice in their identities.

“Spell # 7” is the second production supported by the Sophisticated Ladies Giving Initiative.  This initiative supported last year’s production of Nina Simone: Four Women by Christina Ham.

This production is also funded with support from the Regional Arts Commission, World Wide Technology, Washington University in St. Louis, Steward Family Foundation, and Centene Corporation. “Spell # 7” is also underwritten in part through a grant from the Creative Impact Fund for Diversifying the Arts – a partnership between the Arts and Education Council and local community leaders.

“Spell # 7” is directed by Ron Himes, with choreography by Heather Beal, scenic design by Dunsi Dai, lighting design by Joe Clapper, costume design by Brandin Vaughn, and sound design by James Biko.  Jim Anthony is the stage manager and D’Angelo Himes is the assistant stage manager.

The production will run Feb. 19 – March 8 at the AE Hotchner Studio Theatre on the campus of Washington University. Tickets are available at www.theblackrep.org/, or by calling the box office at 314-534-3807.

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About The St Louis Black Repertory CompanyThe St Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and international playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.

‘Songs for Nobodies’ Another Tour de Force for Debby Lennon

‘Songs for Nobodies’ Another Tour de Force for Debby Lennon

By Lynn Venhaus

Wow. Just a WOW.
Dynamic Debby Lennon has a beautifully trained voice that is spellbinding, and even better on stage when she is playing a character. She is a terrific storyteller, which is why she’s often the centerpiece in recent revelatory shows by Max and Louie Productions.

“Songs for Nobodies” showcases both those talents in a warm, endearing way. On a simple set, wearing a nondescript black dress, Lennon vividly creates a genuine connection between the audience and the stars.

Lennon smoothly guides us through homages of divas Judy Garland, Patsy Cline, Billie Holiday, Edith Piaf and Maria Callas. This is no small feat, given the challenges of their distinctive personas but also the differences in dialects and genres – standards, country, blues, torch ballads and opera.

Lennon delivers each number with customary skill, from Garland’s “Come Rain or Come Shine,” the Harold Arlen classic that was part of her Carnegie Hall concert in 1961, to Callas’ signature aria “Vissi d’arte” from Puccini’s “Tosca” – her 1953 recording is considered the best.

Photo by John Lamb

These are not imitations, but rather representations. As Lennon sings these memorable selections of the 20th century in a revealing and heartfelt way, we are transported to other times and places, as this play offers intimate glimpses into ordinary lives with extraordinary results.

Kevin Bowman’s projection design creates a visual frame of reference for each interaction – the famous singer, who after all is human, and the regular people who are their fans. Touched by the music, those fans make a connection that matters in their lives.

Lennon sets each vignette by smartly defining each fictional everyday woman character with humor and instantly likable traits. And why not? They have unexpected life-changing encounters with musical icons of the 20th century, much to their surprise and joy.

These females are the “Nobodies” in the title, but that’s facetious because they are significant human beings. And Lennon brings out the fun in those personalities.

Lennon has sung with the St. Louis Symphony for 33 years and has performed with Opera Theatre of St. Louis, Union Avenue Opera and Winter Opera in St. Louis, in addition to the Muny and other professional regional theater companies.

Debby Lennon sings Edith Piaf, Photo by John Lamb.

For her unforgettable performances in Max and Louie’s “Grey Gardens” and “Souvenir,” she won two St. Louis Theater Circle Awards. Last year, she appeared in the one-woman show “Love, Linda, The Life of Mrs. Cole Porter.”

Perhaps the most emotional segment is Billie Holiday’s, given her troubles with addiction and the segregated time she lived in, and her bold song “Strange Fruit” is an example of her courage. And “Lady Sings the Blues” was part of her portfolio too.

And French chanteuse Edith Piaf’s rousing “Non, je ne regrette rien” (No, I Don’t Regret Anything) is one of the most familiar songs, and Lennon matches its fervor. She also delivers a robust “L’Accordeoniste.”

Music Director Nicolas Valdez, who also plays piano, superbly conducts the one-woman show. He is joined by Jake Stergos on bass and Keith Bowman on percussion. They are behind a black scrim that is strikingly lit by lighting designer Tony Anselmo, a nice touch.

With wit and charm, Australian playwright Joanna Murray Smith has imagined these memorable women in intriguing scenarios. Beatrice Ethel Appleton, who is stationed in a powder room in a New York hotel; Pearl Avalon, a proud back-up singer; and fashion writer Too Junior Jones thrilled to interview Billie Holliday take place in the U.S. Edie Delamotte, whose section takes historical liberties when talking about Piaf; and Orla McDonough with prima donna Maria Callas.

The most moving is Edie Delamotte’s recollection of her French father’s hardships during World War II.

The play is captivating in the way it presents the personalities, this timeless music and why we care about our relationships with artists.

Director Pamela Hunt also noted the women lived at a time where many a man controlled their lives. This is indeed an interesting aspect.

These gifted singers are bright-light individuals who allowed their brilliance to shine, which is still felt today, and their stories go beyond entertainment.

In their mission statement, Max and Louie refers to “bringing artists and audiences together in a shared experience that illuminates life through joy, wonder, laughter and tears.” Mission accomplished with “Songs for Nobodies.” You could feel the audience’s happiness. That’s a good way to start Max and Louie’s 11th season.

Max and Louie Productions presents “Songs for Nobodies” Jan. 23 – Feb. 2 at the Kranzberg Arts Center. 501 N. Grand. Performances are Thursday at 7:30 p.m., Friday and Saturday at 8 p.m. and Sunday at 3 p.m. A special 2 p.m. matinee on Saturday, Feb. 1, has been added. For more information, visit www.maxandlouie.com

Debby Lennon. Photo by John Lamb

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

‘Flanagan’s Wake’: A Raucous, Raunchy, Ribald Romp

By Connie Bollinger
Contributing Writer
Full disclosure: I ordinarily don’t enjoy audience interactive productions However, “Flanagan’s Wake,” playing now through March 21 at the Playhouse at Westport Plaza, proved to be a delightful exception.

Part improv, part scripted, part interactive,”Flanagan’s Wake” tells the story of an Irishman’s funeral and the family and friends who come together in an Irish pub to toast him on his way to paradise.  

Already a long-running smash hit in Chicago, Emery Entertainment has moved the interactive play to St. Louis, where the locals memorialize his passing with plenty o’ pints, zany sing-a-longs and witty tales.

There’s a priest, of course, dear Father Damon Fitzgerald, played by Alan Knoll, whose penchant for sacrilege and gambling is well presented. Knoll tells a thumping good story about the deceased and about an unknown Apostle named Kevin.

Alan Knoll as Father Fitzgerald. Photo by John Flack

Mother Flanagan is there, an ancient, salacious, Gaelic speaking old blister, played to perfection by Bill Burke. Mayor Martin O’Doul (Lynn Berg) hosts the gathering, as it’s his Pub after all.

Brett Ambler is Brian Ballybunion, a fun-loving handsome young man with big dreams. Dustin Petrillo plays Mikey, Teresa Doggett is Kathleen Mooney, the Irish Pagan, and Jennifer Theby-Quinn is Fiona Finn, Flanagan’s long-time fiance.

Music Director Charlie Mueller commands the pub piano, accompanying some of the most surprising songs we’ve ever heard, and three patient bartenders (Janelle Pierce, Sean Seifert, and Matt Billings) round out the cast, along with Patrick Blindauer playing the accordion.

The assembled audience are the cousins and friends come to participate in Flanagan’s send-off.

A romp of this magnitude requires a talented director and an equally skilled stage manager. Luckily, Director Lee Anne Mathews and Stage Manager Emily Clinger are up to the challenge, keeping the action moving along at a break-neck pace but never giving us the feeling of being rushed. 

The cast of “Flanagan’s Wake” are Improv wizards. Brett Ambler creates a wonderfully funny song out of thin air right before our eyes. Theresa Doggett’s Pagan Kathleen tells a  tale of a visit from the “Little People”  that is both surprising and, I’m sure, mostly improvised.

The Mayor, Lynn Berg, also spins a yarn about Flanagan that incorporates audience suggestions and never misses a beat; but for me, the favorite is Jennifer Theby-Quinn’s Fiona, the long suffering, hard drinking, short-tempered fiance whose Banshee;like wails of grief will literally make your ears ring. Fiona throws herself on Flanagan’s casket at every opportunity, causing brother Mikey (Dustin Petrillo) to have to wrestle her off kicking and screaming. 


Some of you may remember Ms Theby-Quinn in Westport’s production of “Avenue Q,” where she played Kate Monster and Lucy the Lounge Singer. Indeed, much of the cast of “Flanagan’s Wake” have St. Louis connections.

Teresa Doggett (Kathleen) recently appeared in “Pride and Prejudice” at the Rep and is also the resident Costume Designer for the Union Avenue Opera.

Jennifer Theby-Quinn as Fiona Finn. Photo by Jack Flack

Bill Burke (Ma) comes to the Playhouse from St. Louis’ own Stray Dog Theater where he recently played in “The Tempest” and “Macbeth.”  Patrick Blindauer has appeared in movie and television productions as well as several productions at the Muny.  Brett Ambler played Brian in “Avenue Q” last year at Westport, and  Dustin Petrillo’s St. Louis credits include Myriad Productions’ “Heathers the Musical” where he played JD.

“Flanagan’s Wake” is irreverent, loud, sarcastic, and delightful — just like family.  

The Playhouse @Westport presents “Flanagan’s Wake” Jan. 24 through March 21. Performances run Thursdays, Fridays and Saturdays at 7:30 p.m., with a special Tuesday, March 17, St. Patrick’s Day performance. Tickets are available at www.metrotix.com or at the box office one hour prior to show time. Groups of 10 or more should call 314-616-4455 for special rates. The Playhouse is located at 635 Westport. Visit www.playhouseatwestport.com for more information.

Theresa Doggett and Dustin Petrillo dance. Photo by John Flack.


Tennessee Williams Festival St. Louis Seeks One-Acts for Playwriting Initiative

Tennessee Williams Festival St. Louis Seeks One-Acts for Playwriting Initiative

The Tennessee Williams Festival St. Louis invites playwrights to submit original one-act plays for our 2020 Playwriting Initiative. At least three winners will be chosen by our panel of playwrights. The winning plays will be presented in a staged reading, with professional actors, as an element of the 2020 Tennessee Williams Festival St. Louis, May 7-17, 2020. 


The winning playwrights will be invited to attend the staged reading and to participate in a talkback panel—featuring the other winners and the judges—at the conclusion of the event. The plays, with playwrights’ biographies, will be listed in the official Festival program.The winning playwrights will be provided with Festival passes. (The Festival will not be able to provide other compensation or reimbursement.)

Tennessee Williams

Tennessee Williams started out in St. Louis writing one-act plays, and one of his biggest breaks was winning a competition sponsored by the Group Theater in New York—the first time he signed his name as “Tennessee” rather than “Tom.” He wrote more than seventy throughout his career—sometimes edgy, often experimental, and always infused with his unsurpassed poetry. Many of them have been presented at the Tennessee Williams Festival St. Louis, several as world premieres. We invite you to find your inspiration in his artistry and to share it with us.

The panel is chaired by Jack Ciapciak, winner of New York University’s 2017 Goldberg Playwriting Prize and winner of our own inaugural Playwriting Initiative. Judges also include Deanna Jent, whose play Falling has been produced on Broadway, and Gregory Carr, who teaches playwriting at Harris Stowe University. 

Guidelines for submission:

  • The play must be no more than 15 minutes long.
  • The play must not have been professionally produced (although plays that have been workshopped or presented as staged readings are acceptable).
  • The play must be submitted by the author of the play.
  • Only one submission per author.
  • The author must include a statement of no longer than 250 words, including a brief biography, contact information, and author’s availability to attend the staged reading and serve on the talkback panel. (Attendance is requested but not mandatory.)
  • The play must be in a PDF in Standard Playwriting Format. 
  • Submit your materials by March 1, 2020, to info@twstl.org with the subject line 2020 Playwriting Initiative.

Winners will be notified no later than April 1, 2020. By submitting the play, authors give performance rights to the Tennessee Williams Festival St. Louis for the May, 2020 event, as well as possible other uses in connection with the 2020 Festival. Authors retain all other rights. 

For more information, visit the website: www.twstl.org

Acting Elevates True Crime Drama ‘Just Mercy’

Acting Elevates True Crime Drama ‘Just Mercy’

By Lynn Venhaus
Attorney Bryan Stevenson’s own account of the Walter McMillian case, as recorded in the 2014 bestselling nonfiction book “Just Mercy: A Tale of Justice and Redemption,” is faithfully adapted on screen by writer-director Destin Daniel Cretton.

After earning a law degree from Harvard, Bryan Stevenson (Michael B. Jordan) sets up shop in Alabama, focusing on defending wrongly condemned Death Row inmates, and finding out many were not afforded proper representation.

McMillian (Jamie Foxx) is one of his first cases. He is sentenced to die in 1987 for the murder of an 18-year-old girl. Evidence overwhelmingly proves his innocence, but it’s an uphill battle because of racism and legal and political maneuvering.

While the film is basically a legal procedural, it pushes buttons – frustration, anger and a clear indication that justice is sometimes only for those who can afford a good lawyer.

Cretton, along with screenwriter Andrew Lantham, depicts the harsh reality of dealing with black-and-white issues in the deep South (and beyond) as it methodically details the ‘cover your ass’ local good-old-boy police and legal system.

What elevates this film, however, is the acting. With the customary outstanding portrayals one expects from Michael B. Jordan and Oscar winner Jamie Foxx, we are presented with the ‘so-what’ obstacles that have led real-life hero Stevenson to overturn convictions of dozens of innocent people.

The McMillian case, detailed on “60 Minutes,” is so obvious in its railroading of an innocent man that the struggles seem more outrageous as the film weaves its matter-of-fact account with all the subtlety of a freight train collision.

The supporting cast also excels in bringing clearly defined characters to life – especially Rob Morgan and O’Shea Jackson Jr. as Death Row inmates Herbert Richardson and Anthony Ray Hinton. Brie Larson, so good in Cretton’s film “Short Term 12,” conveys activist Eve Ansley’s plight as a Southern wife and mother.

Versatile character actor Tim Blake Nelson delivers one of his finest performances as a key witness, Ralph Myers, whose original testimony helped put McMillian in prison.

Stevenson’s work, through his Equal Justice Institute, shows how badly the criminal justice system is broken – more criminal than just – and the filmmakers have done a public service by bringing it to our attention.

“Just Mercy” won the Audience Award at the St. Louis International Film Festival in November. It’s easy to see why it strikes a chord with anyone who believes in truth and justice.

This image released by Warner Bros Pictures shows Michael B. Jordan, left, and Rob Morgan in a scene from “Just Mercy.” (Jake Netter/Warner Bros. Pictures via AP)

Genre: Drama, True Story
Director: Destin Daniel Cretton
Starring: Michael B. Jordan, Jamie Foxx, Brie Larson, Tim Blake Nelson, O’Shea Jackson Jr.
Rated: Rated PG-13 for thematic content including some racial epithets.
Lynn’s Grade: B+
A version of this review was originally published in the Times newspapers.

Introducing PopLifeSTL

Introducing PopLifeSTL

Life it ain’t real funky
Unless it’s got that pop
Dig it
Pop life
Everybody needs a thrill
Pop life
We all got a space to fill
— Prince, “Pop Life”

Welcome to PopLifeSTL.com, a new arts, entertainment and lifestyle website curated by veteran journalist Lynn Venhaus.

Venhaus has had a continuous byline in St. Louis area publications since 1978 and has worked as a reporter, feature writer, reviewer and editor for daily and community newspapers and other platforms in the region. She has taught journalism and media at three area colleges as an adjunct instructor.

Lynn Venhaus

“We will spotlight local events but also cover a wide spectrum of entertainment,” she said.

Venhaus has written movie and theater reviews for many years. From 2008 to 2017, she wrote entertainment reviews for the Belleville News-Democrat, and currently covers film reviews for the Times newspapers (Webster-Kirkwood Times, South County Times and West End Word), KTRS Radio and the Reel Times Trio podcast. She also has a partnership with OnSTL.com for the podcast and content. This will be home to her theater reviews but she will also feature other local reviewers.

“We want to explore the local arts scene with enthusiasm and insight, but also with an informed critical eye,” she said.

Local contributors include reviewers CB Adams, Connie Bollinger, Andrea England Braun, Joe Pfaller and Jeff Ritter. We will welcome more experts as we grow.

Currently, we are a work in progress and will be placing fresh content as much as possible and after that, get the archives up to speed.

Venhaus talks to Seth Meyers at the Critics Choice Association Awards Jan. 12 in Santa Monica, Calif.

As a founding member of the St. Louis Theater Circle in 2012, which awards excellent in St. Louis regional professional theater, she has enjoyed getting to know the local theater community.

Film is a major force in her life, and she has been a vetted member of the St. Louis Film Critics Association since 2008 and its elected secretary since 2012.
She has been accepted into the national Alliance of Women Film Journalists and the Critics Choice Association (formerly the Broadcast Film Critics Association).

She is also a volunteer and member of Cinema St. Louis, and frequently serves on juries for the St. Louis Filmmakers Showcase, 48-Hour Film Project and St. Louis International Film Festival.

She has served on the Arts for Life board since 2010, which recognizes outstanding work in community theater.

“We are going to spotlight local people and places, including food and drink too – the whole leisure experience.”

She is a former feature writer, food editor and reviewer at the defunct St. Louis Globe-Democrat and wrote for niche publications at the Belleville News-Democrat, so promoting what the metropolitan area has to offer is important to her.

“We have hidden gems to explore, and there are so many untapped subjects in the region. I look forward to informing people of our colorful heritage and the interesting people who enrich our area,” she said.

Venhaus is a graduate of Illinois State University, with a comprehensive mass communications major and a minor in theatre. Born and raised in the metro-east, she currently lives in St. Louis. Her son, Charlie, lives in New York City and her son Tim passed away in December 2018.

Charlie, Lynn and Tim Venhaus, ushers at the 2011 Sundance Film Festival.

Currently, she covers news and features for several local publications as an independent contractor, Venhaus Creative. Editing and writing services are also available.

For more information, she can be reached at lynnvenhaus@gmail.com or 618-917-8175.

The Black Rep Welcomes New Board Members

The Black Rep Welcomes New Board Members

The St. Louis Black Repertory Company announces additions to its Board of Directors. Joining the Board is Feleccia Moore-Davis, Wanda Starr-Ferguson, and Paul Steger. “The new members further diversify the board towards the goal of bringing the magic of live theatre to everyone by entertaining diverse audiences, educating promising youth, and enriching our community,” says Ron Himes, Founder and Producing Director.

Feleccia Moore-Davis is Campus President at St. Louis Community College: Meramec. Feleccia is a first generation college graduate that recognizes the importance of education. She has more than 20 years of higher education experience teaching and in cross-functional administrative roles within Community Colleges. Prior to coming to STLCC Feleccia served as Provost and Vice President for Academic Affairs at Tallahassee Community College in Florida and Vice President for Instruction at Lone Star College-CyFair. Feleccia brings leadership, grant writing, fundraising, and program management to the board and plans to expand partnerships support and further expose students to the arts.

Wanda Starr-Ferguson is the Inclusion & Diversity Specialist for Edward Jones. Throughout her 20-year tenure at Edward Jones, Wanda served in multiple capacities the Compliance and Operations division including Asset Surveillance Officer, leading to a promotion to Field Supervision Director. Wanda has a passion for developing relationships with the community and giving back.  In 2017, Wanda was awarded “Volunteer of the Year”, by the Boys and Girls Clubs of Greater St. Louis. Wanda brings leadership, program management skills, and a strong passion for inclusion and diversity to the board. She looks to increase awareness of the Black Rep offerings to the St. Louis Community.

Paul Steger, Dean of the Leigh Gerdine College of Fine Arts at Webster University. Paul is a director, producer, actor, and action designer with credits on Broadway and in numerous regional theatres. He is a Certified Teacher with the Society of American Fight Directors and holds certificates from the British Academy of Stage and Screen Combat, the Nordic Stagefight Society, and Fight Directors Canada. Paul is a member of Actors’ Equity Association, the Screen Actors Guild, and the National Theatre Conference among others. He plans to serve as a liaison to higher education institutions across St. Louis and nationwide.    

About the Black Repertory Company

The St. Louis Black Repertory Company was founded in 1976 by Producing Director Ron Himes. The Black Rep is one of the largest, professional African-American theatre companies in the nation and the largest African-American performing arts organization in Missouri. Quality professional dramas, comedies and musicals by primarily African-American and third world playwrights are produced. Mainstage productions and education programs combine to reach more than 80,000 people annually.

Surreal ‘Wildfire’ Sizzles with Terrific Trio’s Dive into the Weird and Wacky

Surreal ‘Wildfire’ Sizzles with Terrific Trio’s Dive into the Weird and Wacky

By Lynn Venhaus
Every so often, an unusual play debuts in St. Louis that is such a delicious mix of sweet and salty, sharp and tangy that one devours every word. “Wildfire” is one such experience.

Produced by Upstream Theater, the 2012 unconventional French Canadian one-act play “Le Brasier” by Montreal playwright David Paquet has been translated by Leanna Brodie.

I suspect Brodie’s work is faithful to the original’s spirit, and along with the dramaturg by Clare Fairbanks, a clever blend of pungent, absurd humor in the vein of legendary Firesign Theatre in the late ‘60s and early ‘70s for the first two scenes and a heated “Dateline” scenario for the finale.

Upstream, as they often do, is presenting the U.S. premiere of this original and quite engaging surreal comedy-drama. But instead of their usual venue, the Kranzberg Arts Center, they move to larger digs at The Marcelle, which is an advantage for the set and lighting.

Nancy Bell and Jane Paradise as triplet sisters. Photo by ProPhotoSTL

Under artistic director Philip Boehm’s pivotal direction, we’re led through Paquet’s fertile imagination, game for the detours and intersections, eager for the ‘a-ha moment’ each scene reveals. Without spoiling too much, every segment focuses on peculiar people and items with a key tiny thread.

The dialogue (with mostly monologues) is delivered with fervent conviction by a trio of highly skilled performers, who crisply capture all the nuances. Six eccentric characters are played by the splendid Nancy Bell, Jane Paradise and Tom Wethington, the who are remarkably nimble in their interactions. Their rhythms for each character, both separately and together, is a marvel to watch.

Bell’s virtuoso fire-and-ice performance as Caroline in the third scene, “The Fever,” conveying a repressed woman’s sexual awakening in an alarming way, is a master class in storytelling. Bell is always compelling in parts large and small, but this monologue of temptation, desire and regret raises the bar quite high to start the year.

Paradise and Wethington are daffy and charming as a pair of socially awkward adults, Callum and Carol, who find each other in “The Dragons.” They’re so likable that they make their strange behaviors endearing.

With “The Bonfire,” the play opens with all three playing neurotic adult triplets – Claudette, Claudine and Claudia — each with their own obsessions and tics that call their sanity into question.

Jane Paradise and Tom Wethington talk tarantulas. Photo by ProPhotoSTL.

Michael Heil’s scenic design, with its eerie black and red emphasis, mysteriously sets the stage and draws us into this bizarre world, expertly lit by Tony Anselmo from Steve Carmichael’s lighting design. That color scheme is carried through in Laura Hanson’s costume design.

Also noteworthy are Sleepy Kitty’s graphic art, projection design by Traci Lavois Thiebaud, sound design and music compositions by Anthony Barilla and Jenny Smith’s props, including an antique gilded birdcage.

“Wildfire” glows with the heat of discovery, releases a kinetic energy with surprise revelations and pops with dark humor. If you embrace quirky, this is a must-see.

Nancy Bell as Caroline. ProPhoto STL photo.

 “Wildfire” is performed Friday through Sunday from Jan. 24 to Feb. 9 at The Marcelle, For tickets or for more information, visit www.upstreamtheater.org