Lynn Venhaus

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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.

Heads Bang, Musicians Rock and Electric Performers Howl in New Line’s ‘American Idiot’

Heads Bang, Musicians Rock and Electric Performers Howl in New Line’s ‘American Idiot’

By Lynn Venhaus

An electric cast brings to life Green Day’s turbo-charged punk rock opera “American Idiot,” accompanied by an exceptional group of eight musicians whose propulsive rhythms invigorate New Line Theatre’s 98th production.

New Line first presented this youthful alienation statement as a regional premiere in 2016, and with a fresh crop of performers, has turned The Marcelle Theatre into a scorching experience that ramps up passion and urgency. Heads will be banged.

Green Day’s 2004 Grammy-winning rock album “American Idiot,” its seventh, is combined with additional songs from their “21st Century Breakdown” album in 2009 and previously unreleased material.

For the stage adaptation, it was formatted as a coming-of-age tale that delved into disillusionment in post-9-11 America. The explosive, in-your-face 2010 Broadway show was nominated for three Tony Awards, including best musical, and won two – for scenic and lighting designs.

Frontman Billie Joe Armstrong collaborated with director Michael Mayer to write the book, which attacked George W. Bush’s presidency, corporate greed, warmongering (“the War on Terror” in Afghanistan and Iraq), hypocrisy in politics, and being submissive, paranoid and apathetic, fueled by mass media.

Clayton Humburg and Bee Mecey as Johnny and St. Jimmy. Photo by Jill Ritter Lindberg

Guided by familiar songs that are rooted in realism, the ensemble is full of energy and attitude, snarling and in pain, confused about their lives’ directions as they struggle to find meaning. They hit the ground running with the title song “American Idiot” and crank it up to 11 from there. You always feel their convictions, no matter how dark it gets.

The ensemble’s momentum is strong in the group numbers, but also in the small vignettes that presents snapshots of lives in transition. Because there is minimal dialogue, the emotions must be conveyed to fill in the blanks about their confusion and malaise.

Temptations beckon ‘in the big city,’ relationships are messy, and the women seemed destined for disillusionment – with strong vocal showings from Lauren Tenenbaum as Whatshername, Adrienne Spann as Extraordinary Girl, and Rachel Parker as Heather.

Directors Chris Moore and Scott Miller have focused on the constant motion aspect of the material, where the band’s raw punk power is maintained, and the performers’ vibrancy comes through, even when playing angsty, restless characters.

Triple threats Clayton Humburg, Rafael DaCosta and DeAnte Bryant are a tight-knit trio of friends — Johnny, Tunny and Will, who are alternately angry and apathetic young men seeking to flee the stifling conformity of suburbia.

Rafael DaCosta, Adrienne Spann as Tunny and Extraordinary Girl. Photo by Jill Ritter Lindberg

Their robust voices harmonize as they verbalize their distress in “City of the Damned” and “I Don’t Care,” and their feelings coalesce in the soulful ballad “Wake Me Up When September Ends” with the company.

They are visibly agitated in several numbers, including “Tales of a Broken Home” trying to make sense of a world that keeps spinning and not in good ways.

Rebel without a cause, Johnny aka “Jesus of Suburbia,” just wants to be anesthetized and escape in most situations, saying yes to drugs and no to hygiene: “Give Me Novacaine” but shows a hopeful side in “Last of the American Girls” and “She’s a Rebel.”

Living in squalor, wallowing in drug hazes, not being nice to his “dream girl” that gets away, and wrestling inner demons, he hooks up with bad idea drug dealer St. Jimmy.

As a hero’s journey lynchpin, Johnny isn’t a sympathetic character, but Humburg’s verve for every role he takes on comes through, so that he demands you pay attention: Will he self-destruct or get it together? And he’s a naturally compelling performer, so you hope Johnny moves beyond cynicism.

Humburg, Lauren Tenenbaum. Photo by Jill Ritter Lindberg.

Tenenbaum becomes a forceful match for Johnny. At first, seductive Whatshername is misguided, then she grows bolder and more resourceful before she’s gone. In one of the show’s best numbers, Tenenbaum is a standout in the company’s “21 Guns.” She then leads the women in a feisty “Letterbomb.”

Trouble always comes by when St. Jimmy is around, and those pesky drugs that Whatshername is a willing participant in taking. She’s in the number with St. Jimmy and Johnny “Last Night on Earth.”

Bee Mecey is full of swagger as St. Jimmy, equal parts cocky and creepy. Mecey leans into the bombastic, snarling delivery of the vocals, and is an unremorseful ‘son of a gun’ in “The Death of St. Jimmy.”

Tunny joins the military, recruited for the Army by Favorite Son (a noteworthy Jordan Ray Duncan, who bears a striking resemblance to actor Paul Dano). DaCosta and Duncan are powerful in “Are We the Waiting,” joined by others, then they discover they are in for a rude awakening.

These scenes of combat and convalescences are the most powerful. After he is severely wounded in the War on Terror, Da Costa’s torment is palpable, and he agonizes about a crazy world — “Before the Lobotomy.” He attempts to adapt with help from the compassionate Spann, whose silky voice soars in “Extraordinary Girl.”

Gabriel Anderson, Kaylin Penninger. Photo by Jill Ritter Lindberg.

Bryant displays his shock at becoming a father when his girlfriend Heather (Parker) becomes pregnant. They clash as they deal with parenthood, and Parker is moving as she wrestles with Will’s lack of interest and the demands of a baby.

Parker’s sturdy vocal work is impressive as she delivers a rollercoaster of emotion. Her “Dearly Beloved” is a cry for help, her exasperation evident, while “Too Much Too Soon” reveals her frustration and desperation, and in a defiant “Rock and Roll Boyfriend,” she clearly has moved on from Will dragging her down.

As the characters grow, the band of brothers reunite for “We’re Coming Home Again,” and Johnny is sincerely regretful in “Whatshername.”

The zealous company includes Gabriel Anderson, Kaylin “Kat” Penninger, Alex Giordano, Amora Marie, Ian McCreary, Nathan Mecey, Hannah Renee and Vanessa Simpson. They do a fine job raging at the machine.

Anderson and Penninger are impressive as graceful and skilled featured dancers, and they were also the dance captains. Choreographer Chelsie Johnston pushed a passionate intensity in the movements, which brought out the group’s fire and never let up.

The finale is effectively staged, having the cast sit or stand scattered on the floor, singing a heartfelt “Good Riddance (Time of Your Life).” It is a surprisingly emotional ending after the group has poured out their hearts and souls into this rousing material.

Alex Giordano and Rachel Parker in “Rock and Roll Boyfriend.” Photo by Jill Ritter Lindberg.

Green Day was organized by lead vocalist and guitarist Billie Joe Armstrong in the Bay Area of California in 1987, and musicians Mike Dirnt (bassist) and Tre Cool (drums) came aboard awhile later. They are best known as a rock band that brought punk out of the underground and into the mainstream, starting with breakout success in 1994.

Thirty years later, they’ve sold 75 million records worldwide, been nominated for 20 Grammy Awards, winning five, and were inducted into the Rock ‘n Roll Hall of Fame in 2015, their first year of eligibility.

Bassist John Gerdes’ pulsing power chords are a definite highlight, as are the strings that add so much – violin, viola and cello, along with the robust rock beats of the guitars and drums.

The musicians are a tight group that maintained a driving pace important to the Green Day sound, and carry out the throbbing musical arrangements and orchestrations by Broadway composer Tom Kitt

Gerdes was an outstanding music director, capably getting the best from conducting Chelsea Zak on keyboards (also assistant music director), Adam Rugo and Xander Gerdes on guitars, Jake Luebbert on drums, Steve Frisbee on violin, Mallory Golden on viola, and Marie Brown alternating with Michaela Kuba on cello.

Ensemble in “Holiday.” Photo by Jill Ritter Lindberg.

Ryan Day’s sound design is bold, Ryan Thorp’s lighting design is effective, Lauren Smith Bearden’s costume design captures the club scene and scruffy daily casual. Rob Lippert’s scenic design sets up three distinct areas for the action, with minimal set pieces.

Nathan Mecey put the pieces together as tech director, Mallory Golden mastered the props, and Ashwini Arora was the intimacy coordinator. Gabriel Scott Lawrence is listed as the directing intern.

Every generation has its seminal rock operas – like the Boomers’ “Hair” and “Tommy,” Gen X’s “Rent” and Millennials’ “Spring Awakening.” Millennials identify with Green Day, although there are shades of Gen X’ers too, so its multi-generations.

This cast shows their bond as mostly Gen Z’ers presenting a specific era. It’s hard to think of “American Idiot” as a period piece, for it remains relevant with its blistering screeds and hopeful ballads.

Johnny leads the company in “East 12th Street.” Photo by Jill Ritter Lindberg.

With a complexity that you may not have thought about while hearing the music in radio play or through sound systems, “American Idiot” shakes things awake in a rant against complacency and manipulation – and that can be heard loud and clear at any age.

New Line Theatre presents “American Idiot” from Sept. 12 to Oct. 5 on Thursdays through Saturdays at p.m. at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis. There is no performance Sept. 14. This 90-minute show is presented without intermission and is the 33rd season opener.

Tickets: Metrotix: 314-534-1111 or visit the Fox Theatre box office or the MetroTix website. Discounts: for students, educators and military. For more information, visit www.newlinetheatre.com.

There are 10 free seats for every performance that are open to any college student with a valid student ID. It is valid only at the door.

There is a lighted parking lot across the street from the theatre, and there is lots of free street parking. There is no dress code and there are refreshments available in the lobby, including alcohol.

Company in “Good Riddance (Time of Your Life).” Photo by Jill Ritter Lindberg.

James McAvoy Is Gleefully Over the Top in Crowd-Pleasing Thriller ‘Speak No Evil’ From Blumhouse

James McAvoy Is Gleefully Over the Top in Crowd-Pleasing Thriller ‘Speak No Evil’ From Blumhouse

By Lynn Venhaus
Ah, polite society vs. listening to your natural instincts is at the heart of this intriguing psychological thriller-horror film “Speak No Evil,” which is an American remake of a bleaker 2022 Danish film.

In the hands of genre specialists Blumhouse Productions, the horrormeisters behind such franchises as “Insidious,” “Paranormal Activity” and “The Purge,” in addition to “Get Out,” M. Night Shyamalan’s “Split” and many more, this American version has been reimagined as a family pushed to the brink who fights back in a hair-raising showdown.

After meeting on vacation in Italy, an American family who uprooted their lives for the dad’s job in London is invited by a fun-loving British couple to their farmhouse in the remote countryside in southwest England called “the West Country.” Even though the hosts aren’t well-known, they decide to be spontaneous and go, as their kids hit it off. However, the weekend turns into a psychological nightmare that wreaks havoc on their lives.

Writer-director James Watkins, who crafted the thrillers “Eden Lake” and “The Woman in Black,” stuck to the original’s plot rhythms at first, but veered away from Danish writer-director Christian Tafdrup’s European social commentary, and then swapped out the unsettling gruesome ending for American-style action mayhem, although still disturbing overall. Tafdrup is one of the executive producers on this film.

This is one of those mainstream, no-frills, straight-up suspense movies injected with humor that must be seen at the theaters with an audience, for the laughs, gasps, cheers, and applause responses are as much fun to experience as watching all hell break loose on screen.

The Daltons – Agnes (Alix West Lefler), Louise (Mackenzie Davis) and Ben (Scoot McNairy) in “Speak No Evil.”

While it does take a while to get to the unnerving conflicts, that feeling of uneasiness when you don’t listen to your hunches keeps building to a discomforting second-guessing level. There are so many red flags and tell-tale signs that the American guests ignore or brush away at the risk of not being gracious and offending their hosts.

You know that phrase by Maya Angelou about when people show you their real selves, believe it? These are the nagging doubts that escalate with the psychological thriller set-up. The couple from the states, the Daltons Ben (Scoot McNairy) and Louise (Mackenzie Davis), are parents of an 11-year-old daughter Agnes (Alix West Lefler) who frets and is never without her ‘worry bunny’ Hoppy, a stuffed animal. While on vacation in idyllic resort in Tuscany, the trio doesn’t seem to be having much fun.

Enter James McAvoy as Paddy, a life-of-the-party guy whose wife Ciara (Aisling Franciosi) is friendly, too. Their son Ant (Dan Hough) doesn’t speak, which is explained as a condition he was born with, a malformed tongue. Paddy is a doctor, after all, so nobody questions why the son seems so sullen.

The British couple is so jovial and engaging in conversation that when the Americans receive an invite for a weekend in the country, they dismiss their fears about strangers and show up at this remote estate. A getaway from rainy London seemed like a good idea, and they’re trying to fit into their new home, make friends.

McAvoy, a favorite since his impressive work in “The Last King of Scotland” in 2006 and “Atonement” in 2007, goes all in as a convivial host who’s at first a tad pushy, then some toxic masculinity surfaces. As the guests start sensing something isn’t quite right, he then reveals what a sociopath he really is in bursts of aggressive and crossing-the-line behavior.

Why is he acting so different, seething and not respecting boundaries? The three guests will soon find out and be freaked out, questioning his intentions.

McAvoy is one of those intense actors who can play the hero (Charles Xavier aka ‘Professor X’ in the “X-Men” prequel series “First Class,” “Days of Future Past,” “Apocalypse” and “Dark Phoenix,” and attorney Frederick Aiken in “The Conspirator”) or the villain (multiple personalities in “Split” and “Glass”) and be believable as both.

Couples out to dinner in the “West Country.” Aisling Franciosi, James McAvoy, McNairy and Davis.

Here, he is gleefully over the top as a sinister con artist masquerading as a company-loving gentleman farmer but hiding ugly truths and terrible secrets. He is the most fun to watch when going ballistic, but he has a flair for comedy that his film roles don’t often indicate (obviously humorless in “It Chapter Two” and “Atomic Blonde”).

The other adults are believable as they wrestle with fight-or-flight impulses, and the two youths are surprisingly effective. Their dance routine to “Cotton-Eye Joe” is a sweet example of something innocuous that turns ugly.

McNairy, often in supporting roles (“Argo,” “Men”), excels as a guy going through some things, questioning his role as a husband and a father. He is not the alpha-male Paddy is, making him look weak and indecisive, more on the passive-aggressive side.

His wife, who appears to have the upper hand, is played by the likable Davis, who starred with him for four seasons on the AMC series “Halt and Catch Fire.” She’s more forceful, but is trying to be amenable in a social setting. She also made her mark in “Terminator: Dark Fate” as an action star.

They realistically portray an unhappy married couple going through some bumps and trying to work through them, yet disagreeing on parenting philosophies while trying to be polite as guests.

They keep shaking off their doubts, much to the dismay of the audience who knows what “I’ll be back” usually means. Of course, with all horror movies, some logic and credibility are stretched. We’re put in their shoes as they make decisions, both smart and very unwise.

Dan Hough and Lefler as Ant and Agnes.

The darkness is creepy, but we’re not going to be getting too many answers here as survivor skills kick in. Jon Harris’ editing is first-rate, and so is the cinematography by Tim Maurice-Jones, and the isolated feeling adds to the story.

Comparisons to the 1971 Sam Peckingpah film “Straw Dogs” are fitting, with an American astrophysicist (Dustin Hoffman) and his beautiful British wife (Susan George) pushed to the breaking point by locals harassing them, only sex never enters into this scenario. (Well, except for Paddy-Ciara getting frisky in public).

“Speak No Evil” satisfies mostly as a crowd-pleaser that is ideally suited as an entertaining end-of-summer romp without too much gore or any jump scares. It’s certain to make your staycation plans all the more appealing – or have you think twice when people you don’t know well invite you somewhere.

“Speak No Evil” is a 2024 horror-comedy written and directed by James Watkins and starring James McAvoy, Aisling Franciosi, Scoot McNairy, Mackenzie Davis, Alix West Lefler and Dan Hough. It is rated R for some strong violence, language, some sexual content and brief drug use, and its runtime is 1 hour, 50 minutes. It opens in theatres Sept. 13. Lynn’s Grade: B.

Madcap Michael Keaton Provides the Zest in a Goofier and Gorier Sequel ‘Beetlejuice Beetlejuice’

Madcap Michael Keaton Provides the Zest in a Goofier and Gorier Sequel ‘Beetlejuice Beetlejuice’

By Lynn Venhaus
It’s silly fun but hampered by uneven storytelling, nevertheless “Beetlejuice Beetlejuice” dips heavily into nostalgia and director Tim Burton’s irrepressible comic-horror sensibilities.

Thirty-six years after Burton’s distinctive original hybrid, he’s gotten the band back together — with a couple exceptions — for a madcap romp that’s gorier, goofier and goes off on nonsensical tangents.

After an unexpected family tragedy, three generations of the Deetz family return home to Winter River after an unexpected family tragedy. Lydia discovers she’s still haunted by Beetlejuice, and her life is turned upside down when her rebellious teenage daughter, Astrid (Jenny Ortega), discovers the Maitlands’ model of the town in the attic, accidentally opening the portal to the Afterlife. It’s only a matter of time until someone says Beetlejuice’s name three times, unleashing the mischievous demon once more.

While it is a real treat to see 73-year-old Michael Keaton re-inhabit the afterlife’s unpredictable bio-exorcist Betelgeuse with gleefully ghoulish visuals, that grating voice and his crackerjack comic timing, there are too many plot threads that distract from a couple crucial weddings that should be the focus.

To reconnect to the core Deetz family, Lydia is now a paranormal specialist with a TV series called “Ghost House.” Her husband died, and Ortega plays her hostile, angsty teenage daughter with appropriate disgust.

They return to the picturesque Connecticut town for Lydia’s father’s funeral. Charlie was chomped by a shark after one of his bird-watching expeditions when his plane crashed into the ocean.

Because Jeffrey Jones is unavailable (look it up), Burton has used an animated Claymation sequence to deal with his character’s demise.

Catherine O’Hara is back in all her flamboyant fiery red-haired glory as the vain artist Stepmom Delia. She can’t hide her disdain for Lydia’s opportunist boyfriend Rory (Justin Theroux), her show producer that speaks in psychobabble and spells trouble.

There’s also a new romance for anti-social Astrid — Jeremy (Arthur Conti), who has a complicated backstory and his motives aren’t clear at first, but wind up crystal clear down. And Beetlejuice’s sinister ex-wife Delores returns. As played by Monica Bellucci, she is a re-animated evil mistress that looks like a cross between Morticia Addams and Elvira, Mistress of the Dark. She is wreaking gruesome havoc like demons do.

In an interesting departure, Willem Dafoe has fun playing it straight as a hard-boiled detective from the afterlife.

The CGI-heavy story hinges on weddings, a funeral and a grotesque birth that is a mini-me Beetlejuice who is as demonic as the Chucky doll from “Child’s Play.”

It’s all ridiculous, with the added oomph of Burton’s funhouse aesthetic. The waiting room is as daffy as the original, and Bob, the shrunken-head spirit, reappears as Keaton’s wingman – a more prominent role.

The needle drops are funny but the song choices can be head-scratching. A dream sequence prominently uses both hit versions of Jimmy Webb’s  “MacArthur Park” that were recorded by Richard Harris and Donna Summer. Not sure if it is more than a Boomer in-joke.

Don’t think too hard and enjoy the fan service. Danny Elfman’s score, the weird sandworms, and bizarre happenings are commonplace in this spirit world. The spirited screenplay writers are Alfred Gough and Miles Millar, Emmy-nominated for “Wednesday” TV series, who also developed the story, along with Seth Grahame-Smith, based on characters created by Larry Wilson and the late Michael McDowell.

I did miss Alec Baldwin and Geena Davis as the recently deceased Maitlands, and the decorator character Otho (played by the dearly departed Glenn Shadix).

But watching Keaton dive back into one of his most iconic roles reminds us of how funny he was in ‘80s movie comedies (before “Batman” and showing his dramatic skills in serious acting roles).

Production designer Mark Scruton, also from “Wednesday,” has a field day with the macabre and the malevolence, but also with the daffiness. Costume designer Colleen Atwood, four-time Oscar winner including “Chicago,” “Fantastic Beasts” and “Alice in Wonderland” (2011), leans into the Halloween costume, steam-punk, and avant-garde artsy vibe with lively zest. The makeup artists and hairstylists did an outstanding job that also enhances the characters’ unusual looks.

Burton doesn’t quite know how to end the film, but he has pulled off an entertaining sequel that gives beloved characters another moment.

“Beetlejuice Beetlejuice” is a 2024 horror-comedy directed by Tim Burton and starring Michael Keaton, Winona Ryder, Jenna Ortega, Catherine O’Hara, Monica Bellucci, Justin Theroux and Willem Dafoe. It is rated PG-13 for violent content, macabre and bloody images, strong language, some suggestive material and brief drug use and the run time is 1 hour, 45 minutes. It started in theatres Sept. 6. Lynn’s Grade: B.

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

Personality Adds Pizzazz to a Peppery, Plucky ‘[title of show]’ from Prism

By Lynn Venhaus

A personality-driven low-key charmer, the musical ‘[title of show]’ offers a fresh perspective with its vivacious gender-bending cast.

And what’s not to love about a 20-year-old original musical that is unapologetically OK with being “nine people’s favorite thing than a hundred people’s ninth favorite thing”?

In a world of “Cake Boss” and “The Great British Bake Off,” why not choose to be a Rice Krispie Treat? (Nothing wrong with that – and you can have one at intermission, too).

Prism Theatre Company is presenting this enjoyable modest production in two acts with a disarming all-femme quartet of performers and one expert musician accompanying them on keyboard.

Mallory Golden serves as the music director, and they are called “Larry.” They have an occasional spoken line of dialogue and comical in their timing.

They have guy names because Prism did not change those characters when they cast women. The musical’s creators – Jeff Bowen wrote the music and lyrics, Hunter Bell the book – are called Jeff and Hunter, and played by a spunky pair, Katie Orr and Jaelyn Hawkins.

It really doesn’t make a difference – it’s entertaining from this point of view because it is brimming with sly theatrical references and features a classic struggle about pursuing your dreams, no matter what obstacles. Their ambition resonates.

It’s also a tale of friendship, those pals who get you through tough times, who encourage and collaborate – and work through tension and chaos. The four principal actresses project the camaraderie that is necessary to make this show work, under the adroit direction of Sam Hayes.

Being gender-fluid doesn’t change how meta this musical is, because they are two friends who are theater artists writing a musical about writing a musical. Their first goal together is to send in an original work to the inaugural New York Musical Theatre Festival – only its deadline is three weeks away.

Their frantic, fraught creative process, with their real-life obstacles, are what makes the show unique to them. The time and place are New York City, 2004. Starving artists whose endgame is Broadway have their own sets of issues, which factors into the show – all driven by the mindset “If you can make it here, you can make it anywhere.”

And from there, their goals get bigger, their challenges more daunting, and their exasperations and aspirations escalate. It’s clever and funny in a very natural, authentic way.

Rounding out the cast are their two friends they cast in their show. Rachel Bailey is sassy, snarky Susan, a comic actress whose day job is an office worker, and Savannah Fernelius is assertive Heidi, a polished performer who wonders if she is doing the right thing hitching her wagon to this project. They are based on Susan Blackwell and Heidi Blickenstaff, who not only were in the show, but were part of the process.

It is a wild rollercoaster ride of emotions for the quirky characters, all who have skin in the game. They yearn for fame and recognition. They persist. They want to matter, find their place in the world.

The creative team may be “Two Nobodies from New York” but they want to be “Part of It All.” Why not dream big? (“The Tony Award Song”).

The two writers are imaginative and capable. Their progress is chronicled in such witty ditties as “An Original Musical” (with the proverbial blank piece of paper) and “Filling Out the Form.”

Their brainstorming techniques are hilarious in “Monkeys and Playbills.” The second act’s stakes are captured in “Montage Part 1: September Song,” “Montage Part 2: Secondary Characters” and “Montage Part 3: Development Medley.”

The four are not only nimble at comedy, but can crisply sell a showtune with strong melodic voices.

Katie Orr, Rachel Bailey and Jaelyn Hawkins. Photo by Cady Bailey.

The Susan-led “Die, Vampire, Die!” is an ingenious way to vanquish demons and doubts, and Bailey is good at animated delivery.

In her professional debut, Fernelius makes quite an impact with silky-smooth vocals, and powerfully delivers a stunning “A Way Back to Then.” She has been standing out in college and community theater and is indeed ready for her close-up.

The show’s offbeat approach obviously differentiates from fairy tale-fiction in a land of enchantment (“Into the Woods” references abound, by the way). The quartet are more self-aware than naïve, more jaded and cynical about the highs and lows in life yet wear their hearts on their sleeves and they wish.

Their strengths and weaknesses are fully on display, not unlike those four unfiltered millennials in the HBO television series “Girls” that ran for five seasons. Raw and real, they aggravate each other and express their feelings.

Hunter fires off torrents of profanity, easily upset and distracted. (You can imagine him/her erupting at the neighborhood association meeting). Hawkins is funny in her no-holds-barred character’s tendency to go to DEF-CON 1.

Like many well-meaning longtime friends, Jeff knows how to deal with Hunter, and Orr is instinctive in her portrayal of the one who isn’t prone to histrionics.

There is a mature content advisory: “This play contains heavy adult language and open discussion of adult content. Audience discretion is advised.”

The pair of actresses playing actresses are creating an identity through their roles – “I Am Playing Me” and are initially at odds with each other – “What Kind of a Girl Is She?”

Savannah Fernelius is Heidi. Photo by Cady Bailey.

This is Prism’s first musical, and as a love letter to musical theater, it’s an interesting exchange of ideas and talents. It’s yet another version of “The Little Engine That Could,” showbiz style.

And in their hands – heartfelt. Co-producers Joy Addler (managing director) and Trish Brown (artistic director) founded this regional professional theater troupe with the mission of supporting women. This season’s theme is “Raise Your Voice.” I’d say this choice is apt.

The earnest presentation has a rough-around-the-edges quality yet has the enthusiasm of Judy Garland and Mickey Rooney gathering the neighborhood kids in those “Hey kids! Let’s put on a show!” old-timey musicals – but instead of a barn, they’re in a minimalistic rehearsal space with four chairs.

On a much smaller scale, this show follows the world-building on display in big-deal beloved musicals like “A Chorus Line,” “Singin’ in the Rain,” and “Dreamgirls.”

While it may not have a showstopper like “What I Did for Love,” the substantive songs showcase their doubts, fears, instincts, hopes and dreams in a relatable way.

Cady Bailey’s choreography is appropriate for the characters and incorporates snappy theatrical dance moves in an endearing way.

The quartet’s fervor for this material is perceptible, so is their warmth. The way they work together is specific, which adds a distinctive flavor to the show. There isn’t a whiff of artifice or slickness, rather a gutsy “Take us as we are” attitude.

And their work-in-progress show is constantly expanding and involving, as they adapt, evaluate, revise, re-evaluate, and have hissy fits. “Change It/Don’t Change It” illustrates those efforts, and “Awkward Photo Shoot” is a full-out meltdown of dysfunction.

Scenic designer Caleb D. Long has kept things basic and functional, with a nifty arrangement of frames that light up, and the noteworthy lighting design by Catherine Adams is effective. Golden also did the sound design, which is without issues in the intimate Kranzberg Black Box.

Their costumes, designed by Hayes, are everyday casual, look like out-of-their-closet selections. The sense of a team effort, with Sadie Harvey assistant director and props master, Katie Smith props artisan, carpenter William Higley, along with technical director Caleb D. Long, Golden, and Adams is apparent.

Bell and Bowen may not be as well-known as Pasek and Paul or as hip as Kerrigan and Loudermilk, but their memorable original work “[title of show]” earned awards nomination and elevated their credentials.

Bell, a graduate of Webster University’s Conservatory of Theatre Arts, won an Obie special citation award and was nominated for Drama League, GLAAD Media and Tony awards for best book of a musical. Bowen won an Obie special citation award for the music and lyrics.

After the musical debuted at the festival, two years later it opened off-Broadway at the Vineyard Theatre in 2006 and then moved to Broadway two years later, at the Lyceum Theatre, in 2008.

Proactively, in hopes of mounting the show at a Broadway theater, Bell and Bowen created a video blog, called “The [title of show] Show” that documented the musical’s progress and featured famous guest actors in episodes that went viral. In Episode 8, mission accomplished: the New York Times announced the show’s opening date at the Lyceum. (The show continued as a web series with a season 2, music videos and specials.)

What Bell and Bowen have learned the hard way – albeit with a delightfully improbable successful run about what all goes into making a musical — (and they did it before “Something Rotten!”) – can be summed up through the words of philosopher Ralph Waldo Emerson: “It’s not the destination, it’s the journey.”

This cast’s exuberance and the creative team’s efforts result in a satisfying tag-along adventure. Its candor and cheekiness are refreshing. And yes, that was Sutton Foster leaving a voice mail rejecting their offer. Touche!

Prism Theatre Company presents “[title of show]” weekends through Sept. 8.  Performances take place at the Kranzberg Center in Grand Center, 507 N Grand Blvd, St Louis, MO 63103. For more information: prismtheatrecompany.org.

For tickets, visit https://www.metrotix.com/events/detail/prism-theatre-company-title-of-show

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

‘Hamilton’ Continues to Resonate With Its Signature Style In a Fresh, Vibrant National Tour at The Fox

By Lynn Venhaus

A civics lesson brimming with dreamers and doers, the world now knows the name of a game-changing genius with an extraordinary verbal dexterity, who teamed with a creative cabinet of generational talents at their pinnacle, to present the revolutionary musical “Hamilton” that’s a revelation.

Founding Father Alexander Hamilton, the first Secretary of the U.S. Treasury, is the central figure in this retelling of history and political scheming, a fascinating inside view on the messy political process.

This monumental work by Lin-Manuel Miranda, who spent seven years writing the book, music and lyrics, was assisted by visionary choreographer Andy Blankenbuehler, director Thomas Kail and Alex Lacamoire, who supervised the music and arranged the orchestrations, to create a synergy that is a thing of beauty.

Now playing at the Fox Theatre in St. Louis, this grand and glorious work courses with electricity, wit and the words to make us better people – and citizens. It speaks to us on so many levels.

This mostly sung epic opera incorporates hip hop, jazz, R & B, pop and Broadway show tunes in a richly dense tapestry. While the score deftly blends different styles, the aching ballads “It’s Quiet Uptown” and heartbreaking “Burn” provide emotional depth.

The use of hip-hop gives it a freshness, an urgency and a unique rhythm. Hamilton’s smackdown on state’s rights vs. federal power, “Cabinet Battle 1 and 2,” should be the standard now for all history classes.

So much history and attitude are packed into the songs. The introduction of “The Schuyler Sisters,” who play an integral part of Hamilton’s personal life, leads to Eliza (Lauren Maria Soosay) and Alexander (Tyler Fauntleroy) falling in love and marrying (“Helpless”) and Angelica’s yearning “Satisfied.” Both Soosay and Marja Harmon, as oldest sister Angelica, have strong melodious voices that bring out the fire and the heart in their songs.

The lyrics have become part of our modern fabric, now ‘catch phrases,’ and you will never get these infectious beats out of your head.

The theatrical world has not been the same since the cultural phenomenon about “the $10 founding father without a father who got a lot farther by working a lot harder by being a lot smarter by being a self-starter” opened off-Broadway nine years ago.

Since “Hamilton” debuted on Jan. 20, 2015, at The Public Theatre in New York City, the musical’s impressive ground-breaking elements cannot be understated.

Miranda was inspired by the Ron Chernow biography to make Hamilton the centerpiece of a hopeful reflection on America as an ‘unfinished symphony.’

How much we learn about this penniless orphaned immigrant from the West Indies is an absorbing history lesson. His gift was his ability to communicate through the written word and public speaking, and that propelled him to be a force in our nation’s founding and our system of government.

Add the dynamic of being Washington’s right-hand man and how he interacts with his political rival Burr adds a complexity – and it is riveting. He embodied the revolutionary spirit that started The American Experiment, and we see his evolution. But his flaws as well as his fears, desires and regrets, are on display, too.

The recurring themes make this musical so compelling. To Miranda-speak, characters must enunciate clearly. Miranda’s stunning verbal dexterity and ability to condense and rhyme history, and make it accessible, is why he is a certified genius.(Seriously, won one of the 2015 grants from the MacArthur Foundation—the so-called “Genius” fellowships.)

The most nominated musical ever on Broadway (16), winning 11, one shy of the record, and winner of the 2016 Pulitzer Prize for Drama, in addition to Olivier Awards, Grammy Awards and a 2021 Emmy Award for Outstanding Variety Special – Pre-Recorded for the filmed performances that were recorded on June 25-26, 2016, with the original cast at the Richard Rodgers Theatre in New York City. Miranda, Kail, Blankenbuehler and Lacamoire also received an unprecedented Kennedy Center Honor for it in 2018.

Its third tour here lives up to its incredible reputation and remains one of the most significant and vibrant works of art ever.

The greatest live theatrical experience of my lifetime is how I first described seeing “Hamilton” in April 2018 at the Fox. Now, after seeing it again in 2022 and on Aug. 28, in addition to watching the film, including the Sing-Along version on Disney +, its magnificence is timeless – and timely.

On opening night you could feel the audience’s palpable electricity, like in the past, but this time felt a little different because it has become “an event.” You could hear it in the crowd’s reaction, how they anticipated lines because they were familiar, and shared a unified feeling.

It’s a sense of how lucky we were to be alive right now, to see “Hamilton” again. Everyone smiled hearing people chuckle as Justin Matthew Sargent made his entrance as the pompous King George. His break-up song “You’ll Be Back” is a crowd-pleasing ‘60s pop ditty that adequately captures the monarchy our “young, scrappy and hungry” rebels overthrew. Sargent makes the most of his nine minutes.

This show is performed by the Angelica Tour, and St. Louis is only the second stop of their national tour that began in Fayetteville, Ark. Passionately presented, this vibrant company showcases the heartfelt connections. The care, skill and attention to detail is obvious.

Overall, this ensemble is stronger vocally than the 2022 touring company, with A. D. Weaver a highlight as George Washington – delivering a rousing “One Last Time” that drew a thunderous ovation.

Some of the principals have been involved in previous tours – including the first Angelica one, Philip one and And Peggy. And a few were on Broadway. Jared Howelton, who’s a nimble Marquis de Lafayette and slick Thomas Jefferson, was a principal standby at the Richard Rodgers Theatre.

Jimmy “JJ” Jeter, who plays the unprincipled Aaron Burr, was instead in the title role on Broadway. He soars in the show’s best songs “Wait for It,” “Non-Stop,” and “The Room Where It Happens.”

The total sensory package that is Miranda’s masterpiece again left me in awe about its creative force and everlasting impact. The words, music, performances, and technical brilliance are unforgettable.

How it continues to resonate and remain fresh with its innovative storytelling while still inspiring in a thrilling patriotic way is a remarkable achievement. As it seamlessly unfolds, you see why it draws people back to see it again and again.

“Hamilton” is a vivid portrait of an infant country, imbued with Miranda’s optimism about what can be achieved, because look at how we started and what we’ve overcome.

The Tony-winning lighting design by Howell Binkley and costume design by Paul Tazewell add to the storytelling, and scenic designer David Korins’ stunning functional brick-walled set with scaffolds, catwalks, staircases and dexterous use of the turntable, which did not win the Tony, keeps everything fluid.

Enhancing the effect is Blankenbuehler’s imaginative choreography. The performers are seemingly non-stop, as movement matters, punctuating the action, and creating this mesmerizing diorama.

Special shout-out to Nathanael Hirst of Belleville, who is a dancer, and portrays George Eacker (who shoots Philip Hamilton) and “Men No. 3.”

A musical about history that made history, it wasn’t as if Miranda was an unknown, but history sure had its eyes on him. He wrote and starred in the Tony-winning 2008 musical “In the Heights,” was co-composer and lyricist with Tom Kitt and Amanda Green for “Bring It On!” in 2011 (produced by the Mike Isaacson-led Fox Theatricals) and at Stephen Sondheim’s request, wrote Spanish dialogue and lyrics for the 2009 Broadway revival of “West Side Story.”

In 2009, Miranda was invited to the White House to share what he was working on during a night of poetry-inspired entertainment. President Barack and Michelle Obama were a little taken aback by his concept – a hip-hop concert album about a founding father who wasn’t president. Well, the rest, as they say, is history.

Since “Hamilton” became a landmark and won numerous accolades, Miranda has gone on to further acclaim. He directed the Jonathan Larson musical ‘tick, tick…Boom!” film adaptation in 2021, and performed in the animated film “Vivo,” musical adaptation “In the Heights,” and as Bert in “Mary Poppins Returns.”

He was Emmy-nominated as guest actor for hosting “Saturday Night Live” in 2016 and as guest actor on “Curb Your Enthusiasm” in 2018 and won an Emmy for producing the limited series “Fosse/Verdon.”

He has been nominated twice for Best Original Song at the Academy Awards, for the animated Disney movies “Moana” in 2017 and “Encanto” in 2022, and received two more Grammy Awards. He wrote original music for Disney’s live-action remake “The Little Mermaid” and the upcoming “Moana 2” and “Mufasa.” Still making history.

“Hamilton” remains a must-see. A swirling mix of craft, art and talent, “Hamilton” has a signature style that is unmatched. Seeing it again gives us a chance to discover new things and marvel over the rhythms and harmonies. Every performance makes America more beautiful.

Hamilton

The Fabulous Fox presents the national tour of “Hamilton” in St. Louis Aug. 28 – Sept. 8. For more information, visit www.fabulousfox.com and for tickets, www.metrotix.com. More tickets are released daily. There is a #Ham4Ham lottery, where the chosen 21 can purchase $10 tickets for 2. There are also rush tickets on Tuesdays, Thursdays and Sundays.

Note: The production photos by Joan Marcus are from a previous tour, not the current tour.

Take Ten with Joe Sonderman

Take Ten with Joe Sonderman

By Lynn Venhaus

First time Art Hill was used for sledding?

January 5, 1905. The St. Louis Globe-Democrat reported that Louisiana Purchase Exposition employees had discovered a new use for the hill in front of the Palace of Fine Arts. Now cleared of trees, “Art Hill” made a perfect toboggan slope. The employees used discarded folding chairs as sleds.

A five-home run day for Stan “The Man” Musial?

May 2, 1954. Stan Musial slammed five home runs and drove in nine in a doubleheader against the Giants in St. Louis. The Cardinals won the first game 10–6 but lost the nightcap, 9–7. Musial also set a record with 21 total bases in the two games. He went 4-for-4 with a
walk in game one and 2-for-4 with a walk in game two.

Eight-year-old Nate Colbert was in attendance that day. In 1972, Colbert would become the only other player to hit five homers in a doubleheader.

Those are just two fun facts out of hundreds in Joe Sonderman’s new book, “This Day in St. Louis History.”

A longtime radio host and traffic reporter, Joe enjoys fun facts about his hometown so much so that he’s been in search of interesting nuggets of information nearly his entire life. His fascination with our region has led to him publishing “The remarkable, the outrageous, the spectacular, and everything in between.”

The book, published by Reedy Press, arrives on area bookshelves on Aug. 31. He has book signings scheduled for September and October too. It’s his 18th book.

His answer to the most St. Louis of questions is: “Hazelwood West, 1980.”

Joe said he always loved researching history and trivia, and clipped “Through the Years” feature in the old St. Louis Globe-Democrat, which led to more library research that eventually turned into a database. On the air, he started doing a Day in History feature, which led to a project in 2002 called “St. Louis 365.”

Once he started a Facebook page called “Vintage St. Louis,” he posted daily, and it was so popular with followers that he dug back into research. And ta-da! Now a book.

“So what we have here is what I thought to be an interesting cross section of St. Louis history and trivia. It ranges from the important events to the trivial and pop-culture oriented,” he said.

The colorful book is laden with photographs, magazine covers and other interesting sites.

“The goal is not to present a serious historical work but to provide things you may not know about St. Louis history, personalities, historic
buildings, institutions, roads, bridges, TV and radio, and sports. I hope you find it interesting, no matter where you went to high school,” he said. (And for the record, Academy of Notre Dame, Belleville, Ill., 1972)

His first signing is Saturday, Aug. 31, from 1 to 3 p.m. at the Eugene Field House Museum, 634 S. Broadway, St. Louis.

You may also be familiar with him as “The Route 66 expert” and he was a major contributor to the Missouri History Museum’s comprehensive Route 66 exhibit in 2016, “Route 66: Main Street Through St. Louis.”

His other books on Route 66 include:
Route 66 in St. Louis (Images of America)
Route 66 Missouri
Route 66 in Illinois (Images of America)
Get Your Pics on Route 66: Postcards from America’s Mother Road
Route 66 in the Missouri Ozarks (Postcards of America)
Route 66 Roadside Signs and Advertisements
Travel Route 66: A Guide to the History, Sights, and Destinations Along the Main Street of America

See more books by Joe on Amazon. He wrote about the 1904 World’s Fair in St Louis, more postcard books, and books on other Midwestern cities.


Take Ten Questions and Answers with Joe Sonderman

1.What is special about your latest project?

“It’s the culmination of decades of collecting dates, facts and trivia about St. Louis. I started collecting dates when I was a kid.”

2. Why did you choose your profession?

“It was a love of music radio as it was. I grew up listening to the great top 40 jocks of the 1970s on KXOK, KSLQ and then when KHTR signed on in 1982, it was like a lightning bolt.”

3. How would your friends describe you?

“A perfectionist. Almost to a fault. I want every thing from a traffic report to a book to be just perfect.”

4. How do you like to spend your spare time?

“Driving Route 66 in my pride and joy, a 1957 Chevrolet Bel Air. But it currently is giving me a little difficulty. Old cars can be cantankerous and I think mine needs a little work. I also collect Route 66 memorabilia and have a collection of over 5,000 postcards from Route 66 on line at www.66postcards.com.”

5. What is your current obsession?

“That’s hard to say. In the winter, I would say I am obsessed with our Blues. Over the summer, it’s writing and collecting. And of course, work!”

6. What would people be surprised to find out about you?

“That’s a tough question. I think people might be surprised to discover we do traffic reports for cities all across the Midwest. I also do reports during the day in Kansas City, Des Moines and Springfield, MO. Technology makes it all possible.”

7. Can you share one of your most defining moments in life? 

“Meeting my wife Lorraine. She is my rock. We met while working at the old Flaming Pit Restaurant in Village Square, Hazelwood.”

8. Who do you admire most?

“That’s hard to say right now. I hate to get political but I admire Kamala Harris a great deal. Also Barack Obama.”

9. What is at the top of your bucket list?

“I really want to travel more…..I think I would like to take my wife to Europe one of these days.”

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The effect of the pandemic years was to cause me to appreciate working with people more. I missed not coming into the office as much. Even now, when we are not required to come in every day, I still try to come in as often as I can because I like working from the office better than setting home alone. I think radio was affected in that we became even more isolated from the audience than we already were because of consolidation etc. We have to get that connection back somehow or our business is done for.”

11. What is your favorite thing to do in St. Louis? 

“Blues hockey!”

12. What’s next?
“I haven’t given it much thought. I am going to take a break from writing for awhile because this is my 18th book and I still edit the Route 66 Association of Missouri’s magazine, which really takes a lot of my time.”

“Route 66: Then and Now” is one of Joe’s books.

More Information about Joe Sonderman:

Name: Joe Sonderman
Age: 62
Birthplace: St. Louis
Current location: Hazelwood
Family: Wife Lorraine (Married since 1982). Two daughters, Cathy and Kim.
Education: St. Louis Community College – Florissant Valley
Day job: Traffic anchor at Iheartmedia
First job: Dishwasher, Flaming Pit 1978
Favorite jobs or work in your medium? I loved being a DJ and I also miss the days when traffic reporters were airborne. But those days are gone forever I am afraid.
Dream job/opportunity: My happiest times were on KHTR in the 1980s. I wish it could be like that again.
Favorite quote/words to live by: Each day is a gift. Live like it
A song that makes you happy: I would have a hard time picking just one. It would probably be 1980s pop though, something like “Walking on Sunshine” (By Katrina and The Waves”

Joe and his classic car, 1957 Chevrolet Bel-Air.

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

Forever Fresh ‘Anything Goes’ Is Frothy Fabulous Fun at The Muny

By Lynn Venhaus

A glorious, glamorous, and grand gem of a good-time show, “Anything Goes” celebrates everything I love about musical theater – big splashy dance numbers, sophisticated songs, light-hearted comedy and dreamy romance.

And it’s everything Muny audiences have become fond of over the years, reminding us why this 106-year-old institution is a source of civic pride and family tradition in St. Louis.

With inspired choreography by Jared Grimes, sharp-witted direction by Marcia Milgrom Dodge, sumptuous musical direction by Ben Whiteley, and many shining standouts in a beguiling cast, its charms are limitless.

While Cole Porter’s beloved breezy romp has been a crowd-pleasing show five times before, since its local 1940 debut, this fresh interpretation is a spectacular introduction – or re-introduction – to one of the all-time greats of the American theatre.

It’s been 25 years since it was here. “You’re the Top,” “Friendship” and “I Get a Kick Out of You” remind us of Porter’s legendary wit and cultural impact. And that showstopping title song that closes out Act One? That’s the pinnacle every creator strives for, and Muny magic made Grimes’ vision happen with lots of happy feet and sweat equity. Kudos to sound designers John Shivers and David Patridge for the rat-a-tats and more.

From left, George Abud, Kimberly Immanuel, Jay Armstrong Johnson, Lara Teeter and Ann Harada. Photo by Phillip Hamer.

Simply put, the laugh-out-loud experience made people happy – smiles abounded, and a spring was in our step as we exited for the last time this summer of 2024. Talk about a jovial way to chase the blues away!

Not only did the weather provide a beautiful night for the season’s frisky finale, but even the super blue moon cooperated with a special moonglow. It was if we were all aboard the S.S. American, a luxury ocean liner bound for London, forgetting our troubles and being whisked away to a time of technicolor Hollywood musicals filmed on an MGM lot.

The escapist setting – as reinforced through stunning hues of azure, blue, aqua and turquoise – is 1934, post-Great Depression and post-Prohibition. It is also a period where headline-hogging criminals were treated as celebrities (Public Enemies!), and evangelists were also media darlings. Hence, some barbed social satire zingers.

The creative team’s impeccable attention to detail might be the most impressive takeaway of the evening. Each artisan’s handiwork is indelibly noted in the clever construction on every crevice of that expansive stage.

Adrianna Hicks and the company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

This classic’s vitality was showcased in everything from Rob Denton’s resplendent lighting design — a thunder-and-lightning storm! — to Tristan Raines’ luxe costume design, with innovative video designer Kylee Loera’s exquisite art deco nods meshing splendidly with award-winning Edward E. Haynes Jr.’s transporting scenic design.

An extraordinary ensemble broadly delivered high-seas hijinks with the zesty cheekiness of the Marx Brothers and the grace of Fred Astaire and Ginger Rogers, balancing lush vocals with peppy dance routines and snappy repartee. Grimes’ steps seemed to have an extra flair added to the choreography, which was striking in execution. Another special nod to production stage manager Kelsey Tippins for the show’s zippy flow.

The performers couldn’t be more endearing — as if you’re watching a marathon on Turner Classic Movies, only it exhilarates like only live theater can produce.

Credit is overdue for the casting choices by associate artistic director Michael Baxter, who worked closely with the Telsey office (Jimmy Larkin and Alex Cortinas), and artistic director and executive producer Mike Isaacson, because these are noteworthy smart decisions, everyone well-suited for the roles from chorus to principals.

The refurbished book by Timothy Crouse and John Weidman keeps the wacky framework first established by P.G. Wodehouse and Guy Bolton in 1934 and revised by Howard Lindsay and Russel Crouse in 1962 but erases problematic cultural stereotypes without missing a beat.

Jay Armstrong Johnson and Kimberly Immanuel in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Timothy Crouse, an American journalist and writer, wrote the new book that was used in the acclaimed 1987 (Patti LuPone) and 2011 (Sutton Foster) revivals that both won Tony Awards. The Muny is using his 1987 Lincoln Center version. He is the son of playwright Russel Crouse.

Dodge, who imbued a vintage vibe like mashing up “A Night at the Opera,’ “Duck Soup” and “The Court Jester,” leaned into the comic chaos of mistaken identities and pesky entanglements. The performers obliged with quick-witted quips, silly slapstick and actual belly laughs. (Hilarity ensued with Moonface Martin and a missing dog “Cheeky” – you just must see it.)

Newcomer Kevin Chamberlin’s Moonface impressed mightily as his considerable comic gifts became apparent. A three-time Tony nominee, he has a long list of film and television credits, including as the butler Bertram on the Disney Channel’s sitcom “Jessie.”

He was a terrific scene partner for Adrianna Hicks, who sparkled as gun moll Erma. Making a vivacious debut, she was exuberant in her solo “Buddie, Beware.” Hicks played Sugar in “Some Like It Hot” and Aragon” in “Six” on Broadway.

Kimberly Immanuel personified sweet and conflicted Hope Harcourt, a debutante who has fallen for Billy Crocker, who is trying to be respectable working on Wall Street but is something of a rake. She’s an elegant dancer and polished in delivering ballads.

Jeanna de Waal and George Abud in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Immanuel paired beautifully with romantic hero Jay Armstrong Johnson, who has vividly brought to life iconic roles at the Muny like Jack Kelly in 2017’s “Newsies,” Barnaby Tucker in 2014’s “Hello, Dolly!” and Billy Lawlor in 2016’s “42nd Street.”

His accomplished dancing, singing and acting skills illustrated Billy Crocker’s personality well, not unlike what you expect in Gene Kelly.

Their “Easy to Love” and “All Through the Night” were wistful and touching, while “It’s De-Lovely” showed off a merry side.

While the talent has multiple triple threats, perhaps the performer making the most of his stage time was a delightful George Abud as Sir Evelyn Oakleigh, a stuffed shirt royal who quickly warms up to American customs. His befuddled but gallant Oakleigh is reminiscent of both Danny Kaye and British comic actor Terry Thomas.

Anchoring this crisp and snappy group was Jeanna de Waal as the saucy and cosmopolitan nightclub singer-evangelist Reno Sweeney. She could belt, she could swagger, she could wisecrack – and she could spellbind with dazzling tap-dancing moves.

Last seen in the title role of “Mary Poppins” here in 2022, she revealed new strengths. And looked mighty fine in designer Kelley Jordan’s stylish blonde wig and Raines’ glittery garb. She looked and moved like Carole Lombard.

Fan favorites Lara Teeter wildly exaggerated inebriated Ivy League businessman Elisha J. Whitney and Ann Harada was swift in feigning outrage and nimble physicality as the social climbing socialite Mrs. Evangeline Harcourt.

Eric Jordan Young in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Eric Jordan Young, a dandy Cogsworth in last summer’s “Disney’s Beauty and the Beast,” was the ship’s captain, recalling Gavin MacLeod’s Captain Stubing on “The Love Boat.”

Kristen Grace Brown, Candace Hatakeyama, Bethany Ann Tesarck and Danielle Jackman strutted superbly as Reno’s Angels – Purity, Chastity, Charity and Virtue, as did Carina-Kay Louchiey as trumpet blower Gabriel.

As the lively scallywags Spit and Dippy, Spencer Jones and Joe Capstick were a memorable addition.

Portraying sailors and other roles were C.K. Edwards, Michael Harp, Colin Bradbury, John Manzari, Cole Newburg, Lamont Brown, Alaman Diadhiou, Ryan Lambert, and Alex Hayden Miller. Lauralyn McLelland was tasked with playing “Woman in Bathchair.”

“Anything Goes” is both the icing and the cherry on top of an outstanding Muny season that’s been marked by an overwhelming sense of joy and community in every musical this 106th season.

As everyone bid adieu in a bittersweet farewell, a rousing curtain call summed up what’s singular about the Muny: it’s a communal feeling that can’t be duplicated and only happens under the stars, right here in St. Louis.

Kevin Chamberlin (left) and Colin Bradbury in the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

The Muny presents Cole Porter’s “Anything Goes” Aug. 19 – 25 at 8:15 p.m. nightly on the outdoor stage at Forest Park. For more information: muny.org.

The company of the 2024 Muny production of “Anything Goes.” Photo by Phillip Hamer

Uninspired ‘Blink Twice’ Tackles Abuse of Power By Wealthy Men

Uninspired ‘Blink Twice’ Tackles Abuse of Power By Wealthy Men

By Lynn Venhaus
Neither original nor groundbreaking, “Blink Twice” is a logic-free revenge tale that fails to convince in its twist-filled horror-suspense scenario.

Populated by pretty people playing vapid characters that are woefully underdeveloped, the film’s intent is a good one, but it is so poorly executed that by the time you understand what’s going on, it still leaves gaping holes in any kind of realistic plot.

When tech billionaire Slater King (Channing Tatum) meets catering waitress Frida (Naomi Ackie) at his fundraising gala, sparks fly. He invites her to join him and his friends for a fantasy vacation on his private island.

No worries on not having underwear or toothbrushes, all is provided at this extravagant luxe resort – the women will all be wearing the same white sarongs and swimsuits. And same perfume. Hmmm…

What “King” does or how he made his billions is vague, as are his reasons for stepping away from the business (eluding to a #MeToo incident but no specifics). The film is always light on specifics.

The sketchy, skimpy plot involves some scientific know-how, so is that one of his skills? Don’t ask too many questions, because we’re just supposed to watch, not understand – or be drawn in by any sort of character revelation.

Debut director Zoe Kravitz, who wrote the screenplay with E. T. Feigenbaum, has opted for a trouble-in-paradise story that quickly wears out its welcome. In trying to emulate “Get Out” and “Promising Young Woman,” this mystery-thriller reminds us how very special Jordan Peele and Emerald Fennell’s Oscar-winning original screenplays were (key word ‘original’).

Lacking that game-changing acuity, Kravitz has created a tropical paradise setting a la “White Lotus” – or “The Menu,” with nods to the “Knives Out” franchise. However, it does look beautiful and enticing, and the director, a savvy actress, favors close-ups amply provided by cinematographer Adam Newport-Berry.

It’s 24/7 party people, an endless parade of fun in the sun, where champagne flows non-stop and wild nights involve drug-taking (“with intention”!?!). Until it’s not – like a bad hangover that keeps pounding away. There are nasty-looking snakes slithering around the island – a metaphor, perhaps?

When the reality check takes place – and no spoilers here – the conclusion feels unearned. Head-scratching plot twists abound.

Naomi Ackie, who was terrific as Whitney Houston in the 2022 biopic  “I Wanna Dance with Somebody,” is the sweet but transparently ambitious waitress with stars-in-her-eyes, tantalized by the reckless abandonment she’s a part of, along with best friend Alia Shawkat as Jess (a fine turn).

She befriends the snobby and cynical reality TV star Sarah – feistily played by Adria Arjona – and they become an army in the darkness. (I will say that’s believable, for sisterhoods happen in the strangest places.)

Geena Davis is Slater’s scatterbrained sister Stacy who is always carrying an armful of red giftbags and mumbling things. Hmmm…Her ditzy presence is odd and unexplained, as is Kyle MacLachlan as Slater’s therapist. He has an air of mystery – and deviousness – but that’s not explored either.

The male cast plays mostly characters who work for Slater. There’s the tech whiz kid Lucas, portrayed by Levon Hawke (son of Ethan Hawke and Uma Thurman, brother to actress Maya); Simon Rex embodies chef Cody who takes great delight in preparing Michelin-starred restaurant cuisine for the guests; Haley Joel Osment is a nondescript Tom, a pleasant-enough go-along; and Christian Slater is Vic, not really sure of his status but he seems like a right-hand man.

Things don’t add up, tables turn, things fall apart. End of story. Or is it? So much is crammed into the final third act that it’s dizzying – and ludicrous — in its so-called resolutions, but they don’t wrap up plot points raised or add any more reasoning to characters that are hard to accept, let alone connect to in any way. Hedonism is not enough of a reason to watch.

Cue the “Twilight Zone” theme song. Again, reminding us of much better movies and social satires aimed at the ruling class and their conspicuous entitlement, not to mention casual disregard to treat people as human beings.

“Blink Twice” is all surface glamour turned grisly, a stunning picture-postcard of a film that is ultimately unsatisfying if you are looking for more than girls gone wild, and kicks gone wrong.

“Blink Twice” is a 2024 horror-mystery-thriller directed by Zoe Kravitz and starring Channing Tatum, Naomi Ackie, Alia Shawkat, Christian Slater, Haley Joel Osment, Simon Rex, Geena Davis, Adria Arjoni, and Levon Hawke. It is 1 hour, 42 minutes and rated R for strong violent content, sexual assault, drug use and language throughout. It opens in theaters Aug. 23. Lynn’s Grade: D+.

St Louis Symphony’s Free Community Concert in Forest Park Sept. 19

St Louis Symphony’s Free Community Concert in Forest Park Sept. 19

Denève leads the SLSO in its annual concert for the community in works by Ludwig van Beethoven, Hector Berlioz, Edvard Grieg, Scott Joplin, Hugh Martin, W.A. Mozart, John Philip Sousa, Pyotr Ilyich Tchaikovsky and John Williams, with guest vocalist Kennedy Holmes

Celebratory opening of SLSO’s 145th season includes food trucks on Art Hill and concludes with fireworks display over Forest Park’s Grand Basin

Led by Music Director Stéphane Denève, the St. Louis Symphony Orchestra marks the beginning of its 2024/2025 season with the return of its free concert in Forest Park at 7:00pm CDT, Thursday, September 19, on Art Hill. Since its inaugural Forest Park concert more than 50 years ago, the SLSO has performed for thousands of people each year as a community celebration of music and the kick-off of the SLSO’s season.

A portion program serves as preview for the orchestra’s 145th season and Denève’s sixth as The Joseph and Emily Rauh Pulitzer Music Director. Selections include favorites from symphonies by Ludwig van Beethoven, W.A. Mozart, and Pyotr Ilyich Tchaikovsky. The orchestra brings a local flair to the concert with performances of St. Louis-native Scott Joplin’s The Cascades—written for the 1904 World’s Fair—and a tribute to St. Louis’ turn hosting the 1904 Olympics with John Williams’ Olympic Fanfare and Theme.

The orchestra will be joined by guest vocalist, St. Louis native Kennedy Holmes, a finalist on NBC’s The Voice, for performances of “The Trolley Song” from Meet Me in St. Louis—also a nod to the World’s Fair—in her third appearance with the SLSO. A close collaborator of the inimitable film composer John Williams,

Denève programmed selections of Williams’ score from E.T. the Extraterrestrial, which the orchestra will play in its entirety September 21-22 at Stifel Theatre. The festivities end with a show-stopping fireworks display following John Philip Sousa’s patriotic anthem The Stars and Stripes Forever.

Performed in memory of longtime SLSO supporter Mary Ann Lee, this concert marks the 56th anniversary of the first Forest Park concert in 1968. Attendees are encouraged to come early, bring chairs and blankets, and enjoy food trucks at the top of Art Hill. Designed to engage families with children, the SLSO’s Education and Community Partnerships team will host a family fun zone at the top of Art Hill from 6:00 to 7:00pm, engaging children through musical activities, including music creation and conducting members of the St. Louis Symphony Youth Orchestra.

Annual Forest Park community concert. Photo courtesy of St. Louis Symphony Orchestra.

SLSO staff and volunteers will hand out glow sticks for children to join Denève in conducting the orchestra. Local vendors at the concert will include Angie Burger, ByJack, Cajun Seduction, Delicious Delights, Doggie Mac’s Food Truck, Falafel Saha Food Truck, Fire and Ice Cream Truck, Go Gyro Go, Grace Meat + Three, Holy Crepe, Honey Bee Tea, Picture Perfect Panini, Ron Ron’s Black Fried Rice, Scoops of Joy, STL BarKeep, Takozz Real Mexican Food, The Popcorn Bar, and Urban Chestnut Brewing Company. Food and drink vendors will be available starting at 5:00pm.

Audiences can sign up to receive updates about the concert, including information about food trucks, parking, and shuttles, at slso.org/forestpark.

Following the opening of the season in Forest Park, Denève leads the orchestra in performances of the complete score to E.T. the Extraterrestrial, with music by John Williams, at Stifel Theatre as the film plays (September 21-22). The orchestra’s first classical concerts of the season, September 27 and 29, welcome violinist and friend of the SLSO Gil Shaham for performances of Mason Bates’ Nomad Concerto alongside Hector Berlioz’s Symphonie fantastique.

As the transformational expansion and renovation of the orchestra’s home—Powell Hall—enters its final year, the SLSO will perform throughout the St. Louis region, most notably at the Touhill Performing Arts Center at the University of Missouri–St. Louis and Stifel Theatre.

Tickets for all 24/25 season concerts are on sale now and can be purchased at slso.org or by calling the SLSO Box Office at 314-534-1700.

Thursday, September 19, 2024, 7:00pm CDT
Stéphane Denève, conductor
Kennedy Holmes, vocals

John Stafford Smith                           The Star-Spangled Banner
Arranged by Adam Maness

J. Rosamund Johnson                    “Lift Every Voice and Sing”
Arranged by Hale Smith
Ludwig van Beethoven                   Molto vivace from Symphony No. 9
Hector Berlioz                                    “Hungarian March” from The Damnation of Faust
W.A. Mozart                                         Allegro from Symphony No. 31, “Paris”
Edvard Grieg                                        Selections from Peer Gynt Suite No. 1
Pyotr Ilyich Tchaikovsky                               Finale from Symphony No. 5
Various                                                  Armed Forces Salute
Arranged by Hayman/Kessler
Hugh Martin                                         “The Trolley Song” from Meet Me in St. Louis
Arranged by Salinger/Russ
Scott Joplin                                          The Cascades
Arranged by Virgil Barstad
John Williams                                     Olympic Fanfare and Theme
John Williams                                     Flying Theme from E.T.
John Philip Sousa                             The Stars and Stripes Forever

This concert is performed in memory of Mary Ann Lee.

About the St. Louis Symphony Orchestra

Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 145th year with the 2024/2025 season and its sixth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.

The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.

Take Ten with Eric Dean White

Take Ten with Eric Dean White

By Lynn Venhaus

When you see actor Eric Dean White’s name in a cast, you know that he will deliver an authentic performance. His latest role as Gooper, the resentful and ruthless son of Big Daddy, who schemes to control his family’s fortune, in “Cat on a Hot Tin Roof,” is a fine example of his commitment to a character.

Displaying a big chip on his shoulder because his handsome and athletic brother Brick was favored by his parents, White is smooth and shrewd in the supporting role.

This delectable story of big drama, big money and big lies, presented by the Tennessee Williams Festival St. Louis Aug. 8 – 18, is a Southern Gothic excursion into an American dysfunctional family, 1950s style, that won a Pulitzer Prize for Drama in 1955, and Williams considered it his favorite.

From left: Kari Ely, Eric Dean White, Roxanne Wellington, J Samuel Davis, Peter Mayer, Kiah McKirnan, and Brian Slaten in “Cat on a Hot Tin Roof.” Photo by Suzy Gorman.

White is thrilled to be in this ensemble.

“Simply put, ‘Cat’ is one of the greatest American plays by one of the greatest American playwrights, and it’s just an honor to be part of it,” White said. “We have a fantastic cast, and we are being led by director Michael Wilson, who is a renowned Tennessee Williams expert…It has been an honor and a pleasure to work with this team.”

White’s love for the material is evident, and he has previously been part of the Tennessee Williams Festival St. Louis, from its first year, performing in “The Rooming House Plays” in 2016, and in “Small Craft Warnings” in 2017.

Eric Dean White as Satan, with Courtney Bailey and Carl Overly Jr. in “The Last Days of Judas Iscariot.” Photo by Ann K. Aurbach

Throughout his career, he has moved easily between hero and villain roles, showing his versatility, and becoming a reliable fixture of the professional regional theater community. He is a member of Actors’ Equity Association and SAG-AFTRA.

Relishing a unique opportunity to play the most evil villain of them all, he won a St. Louis Theater Circle Award as an arrogant calculating Satan in “The Last Days of Judas Iscariot,” presented by Mustard Seed Theatre in 2018.

He has been nominated four other times, his first nod for playing Felix Turner, the doomed New York Times fashion reporter and activist Ned Weeks’ lover who succumbs to AIDS, in “The Normal Heart” at HotCity Theatre in 2014, which also won the award for outstanding production of a drama.

His other nominations show his impressive range. Earning three nominations in a row, he played a brash guy whose encounter with a stranger on a walk leads to more conversations in “The Kiss” at Upstream Theatre in 2015; Daisy’s exasperated son Boolie in “Driving Miss Daisy” at the New Jewish Theatre in 2016; and recognized as a conflicted fundamentalist Christian minister in the puppet comedy “Hand to God” at St. Louis Actors’ Studio in 2022.

Eric Dean White with Colleen Baker in “Hand to God at STLAS. Photo by Patrick Huber.

Earlier this year, he stood out in dual roles in The Black Repertory Theatre’s “Hold On!” as hot-headed intolerant bigots Alabama Gov. George Wallace and Dallas County Sheriff Jim Clark. The play was about the landmark Voting Rights Act of 1965 after the Selma to Montgomery March organized by civil rights activists.

He has played a cruel racist before, as impresario Stephen Price in “The African Company Presents Richard III” at the Black Rep in 2022, and as a Hitler apologist in Neil LaBute’s one-act “The Fourth Reich” that was presented in 2018 during the LaBute New Theater Festival and off-Broadway in January 2019. (He’s been a frequent contributor in the LaBute Festival).

His work in “Hold On!” was in January, soon after delighting audiences as a seasoned radio announcer in The Repertory Theatre’s triumphant comeback “It’s a Wonderful Life! – A Live Radio Play” in December.

With his mellifluous voice, he played Freddie Filmore and amusingly delivered commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and other St. Louis notables.

Eric Dean White and J Samuel Davis in “It’s a Wonderful Life – Live Radio Play” at The Rep. Photo by Jon Gitchoff.

This fall, he returns to The Rep in their season opener, the classic mystery “Dial M for Murder.” He will play the eccentric but thorough Inspector Hubbard. In announcing the cast, they described him as a “Rep favorite.”

The play, to be directed by Melissa Rain Anderson, who deftly helmed “The Play That Goes Wrong” in 2019, will run Sept. 18 – Oct. 13 at the Loretto-Hilton Center on the campus of Webster University.

He joins the cast that includes Jenelle Chu as Margot, Jordan Coughtry as her former tennis pro husband Tony, Jayson Heil as their friend Max, Ethan Dunne Stewart as police officer Thompson and David Diaz Weynand as Lesgate, Tony’s old schoolmate.

Frederick Knott’s play, which inspired Alfred Hitchcock’s 1954 cinematic thriller, combines passion, blackmail and revenge into an edge-of-your-seat murder mystery when a gold-digging husband’s perfect crime misfires, trapping all parties in a sinister and dangerous web of lies.

He is home on The Rep’s mainstage, for he appeared as the Ghost of Christmas Future in “A Christmas Carol” and as Mrs. Bennett’s brother Mr. Gardiner in “Pride and Prejudice.”

With John Flack in “The Normal Heart” at HotCity Theatre.

He has also performed in other regional theaters around the country, including Houston and Arkansas. He appeared on an episode of “Chicago Fire” in 2015, and has acted in locally shot films, including “Finch,” “Penitentia,” “Cringe” and “Belleville.”

For White, keeping busy in an industry in flux is gratifying. When he’s not working on stage or off, he’s husband to Wendy and dad to daughters Payton and Cassidy.

Take Ten Q & A with Eric Dean White

1.Why did you choose your profession/pursue the arts?

“That’s a very good question and I ask myself that all the time. It’s almost absurd in a way how difficult it is to work professionally in any form of the arts. The rejection and inconsistency of work takes its toll on you. But the simple fact is I love it and maybe more importantly, I’m fascinated by it. Plus, people keep hiring me, so I keep saying yes!”

Eric Dean White in “The Fourth Reich” by Neil LaBute. Photo by Patrick Huber.

2. How would your friends describe you?

“Eric Dean White?  Never heard of him.”

3. How do you like to spend your spare time?

“What is this “spare time” you speak of?”

4. What is your current obsession?

(This was asked before it concluded). “The 2024 Summer Olympics in Paris! Specifically, men’s and women’s soccer and women’s gymnastics.”

5. What would people be surprised to find out about you?

“I’m extremely sensitive to — and irritated by — certain sounds and noises. Often to the point that I have to leave the room.”

6. Can you share one of your most defining moments in life?

“Meeting Wendy.”

At the St. Louis Theater Circle Awards in 2017, with Jason Contini, J. Samuel Davis, and his wife Wendy.

7. Who do you admire most?

“I’m hesitant to place too much admiration on individual people. I’m very moved by acts of selflessness and grace — especially when no one is watching.”

8. What is at the top of your bucket list?

“I’d like to travel more in the coming years.  Haven’t been able to do much of that as of late.”

9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

“The pandemic was terrible for the live arts. There is no way to sugar coat it. I’m not sure if we will ever get back to where we were before the pandemic. There is very little interest in public funding of the arts via state and federal governments and corporate funding has also dried up. I don’t know what the path forward is.  There are arts leaders much smarter than me doing all they can to try and figure out a path forward. I wish them luck.  I encourage individuals to buy tickets to see live theatre and other performances.” 

10. What is your favorite thing to do in St. Louis?

“I love going to Cardinals, St. Louis City SC and Blues games.  I love going to all of our parks and museums. I love all the various art, food and cultural festivals we have.  Oh – and St. Louis has a fantastic theatre and music scene!”

“The Kiss” with Lisa Tejero at Upstream Theater. Photo by Peter Wochniak.

More About Eric Dean White:

Age: 49
Birthplace: Sikeston, Missouri
Current location: St. Louis (City),
Family: One wife, two daughters, one pit bull

Education:  Studied marketing at the University of Missouri and acting at The American Academy of Dramatic Arts (New York City campus)
Day job:  Visitor and Member Services at the Saint Louis Art Museum
First play or movie you were involved in or made: I didn’t do any acting of any kind until I was about 24 years old. I think my first was a production of the play “June Moon” by George S. Kaufman and Ring Lardner during my first year at The American Academy of Dramatic Arts in New York.
Favorite jobs/roles/plays or work in your medium?  I’m just lucky to keep getting cast.  That’s all that matters.
Favorite quote/words to live by: “Did it ever occur to you that no one ever asked us to do this?” – Jack O’Brien at the 2024 Tony Awards.
A song that makes you happy: First one that came to mind was Eddie Vedder’s cover of “Save It for Later” that was recently featured in season 3 of “The Bear” (episode 2). Also check out the original version of the song by The English Beat – great as well!

LaBute New Theater Festival in 2016, with Ryan Foizey. Photo by Patrick Huber.

Cover photo with Kari Ely in “Cat on a Hot Tin Roof” by Suzy Gorman.