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.
“Eenie Meanie” is the latest Quentin Tarantino-Guy Ritchie wannabe that is derivative of “Baby Driver,” “Drive,” “Fast and Furious” franchise and other pedal to the metal adrenaline rush movies heavy on blood-splattered action and light on logic and depth.
First-time director Shawn Simmons has assembled a recognizable cast headed by charismatic Samara Weaving, but the rest of the characters woefully lack any thoughtful development and are not interesting enough to spend an entire film with – and the main conflict is repellent.
It’s as if this cast is plopped straight into a B-movie heist plot without any indication if they are either the good or the bad guys, mostly idiots and all caricatures. And each actor seems to be in a different movie.
Weaving is Edie, nicknamed Eenie Meanie, first shown as a glum, nervous teen with awful parents, who later endured a harsh life of foster homes and has a criminal past as a getaway driver.
Samara Weaving and Karl Glusman in “Eenie Meanie”
She’s a very good driver, nevertheless. After the opening scene, depicting how irresponsibly foolish her parents are (Steve Zahn, Chelsey Crisp), the film fasts forward to 14 years later.
Now a single bank clerk going to community college, her roommate is a longtime supportive friend Baby Girl (Kyanna Simone). Edie, spinning her wheels, has a loser boyfriend, among other tough-life dramas. Therefore, given choices, she usually goes with the wrong one.
John, the dippy bad luck-magnet boyfriend, is played by Karl Glusman. They are on-again, off-again, and she’d be much better off without him, because all indications are he’s a Bad Idea.
Gusman, part of ensemble casts in “The Bikeriders,” “Civil War,” and “Greyhound,” among others, tries to make John have some redeeming qualities, but the part is a screw-up, so…
He has screwed up a casino heist scheme by her old boss Nico (Andy Garcia wasted in tough-guy mode). Reluctantly, it’s Edie to the rescue – because she is always cleaning up everyone’s messes.
Marshawn Lynch is a getaway driver, so is Samara Weaving in “Eenie Meanie.”
She finds out she is pregnant, compounding the situation, so she helps the doofus avoid getting beaten to a pulp. They take off on the run, squealing tires in zippy car chases where they mostly escape danger that keeps popping up.
The couple, who have some interesting exchanges, click on screen as they are pursued by an assortment of cliched quirky characters that are standard in these types of films.
Because of that, the screenplay is less thrilling because it’s a cluttered, clustered mishmash. Is she destined not to get anything she wants in life? That’s very sad.
Her new path is on hold while she deals with these peculiar, mostly unsavory, people. They are all in a never-ending toxic cycle – and why should we care? You feel for Edie because life has given her a big bag of lemons, and she can’t seem to make lemonade, no matter how hard she tries.
Randall Park is misused in a brief, persnickety role, while ex-pro running back Marshawn Lynch appears in a flashier but tiny part as another driver for Nico.
Hopefully, Weaving will have a better choice of roles in her future. Without a fresh spin, “Eenie Meanie” can’t rise above its hackneyed plot and trite characters, unable to cross the finish line.
“Eenie Meanie” is a 2025 action-crime thriller directed by Shawn Simmons and starring Samara Weaving, Karl Glusman, Andy Garcia, Marshawn Lynch, Jermaine Fowler, Kyanna Simone, Steve Zahn, Chelsey Crisp, and Randall Park. It is rated R for violence/bloody images, pervasive language, nudity, some sexual material and brief drug use, and run time is 1 hour, 46 minutes. It started streaming on Hulu Aug. 22. Lynn’s Grade: C-.
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.
A dour, dismal retelling of a 1930s island utopia that goes horribly awry, “Eden” is supposed to be high-stakes drama where people build a better society, but it turns comical– not in a good way — then the inevitable blood-spilling happens.
Based on a factual account of a group of outsiders who settle on a remote uninhabited island only to discover their greatest threat isn’t the brutal climate or deadly wildlife, but each other. They abandon modern society in search of a new beginning.
Jude Law, Ana de Armas, Vanessa Kirby, Daniel Brühl, and Sydney Sweeney see their utopian dream unravel as tensions mount and desperation takes hold. Facing a brutal climate, deadly wildlife, and lack of resources, the colony descends into chaos when a twisted power struggle leads to betrayal, violence and deaths.
Worst of all, Ana de Armas and Vanessa Kirby, two Oscar-nominated actresses, are at their worst, with ridiculous over-the-top performances. Jude Law is not that much better as an increasingly unhinged doctor-turned-philosopher.
It was an embarrassment for the whole cast but faring better were a nearly unrecognizable Sydney Sweeney and sturdy German actor Daniel Bruehl, who worked with director Ron Howard on “Rush,” but it’s not their task to carry the whole film.
Bruehl’s accent is authentic – the others, not so much.
Sadly, most of this lethargic film is painful to watch for 2 hours and 9 minutes. Because these people don’t want to be on the island with each other, why should we invest ourselves in their drama?
Based on a true story, director Ron Howard’s misfire unfortunately doesn’t give us a clear point of view because he took two conflicting published accounts of what happened and tried to blend them. He co-wrote the screenplay with Noah Pink, and the result is confusion as to what really occurred — and provides few answers.
Disillusioned Dr. Friedrich Ritter (Jude Law) and his equally peculiar wife, Dora Strauch (Vanessa Kirby), left civilization behind for Floreana in the Galapalos Islands, a province of Ecuador.
Suffering from multiple sclerosis, Dora hoped the island air would help her physically while Ritter’s radical philosophies are inspiring others with his letter-writing that is being published in Europe. He believes society is doomed and becomes more disturbing as he types his manifesto, obsessed with his crackpot ideas.
That leads to other ‘outsiders’ being lured there, not realizing how hostile the environment would be, and unaware they won’t be welcomed by the disdainful duo.
First to arrive are industrious Heinz and Margret Witmer (Bruehl, Sweeney) in 1932. Hard-working and kind, they are accompanied by Heinz’s obedient son Harry (Jonathan Tittel), who has tuberculosis.
They are good people, but the next to arrive isn’t. Self-absorbed, deceitful and haughty, the ridiculous Baroness Eloise Bosquet de Wagner Wehrhorn arrives with an entourage (lovers). Her goal is to build a luxury hotel on the beach for only millionaires.
She manipulates the men around her, flaunts her hedonistic lifestyle, and treats the Witmer’s as hired help. The detached Ritters dismiss her as a frivolous party girl, until she surprises them with a devious legal maneuver.
De Armas, exerting over-the-top theatricality, schemes, fumes and uses everyone for her own selfish gains. Her soap opera’s villain character becomes tiresome, and her rottenness infects everyone. As an actress, de Armas seems to rely more on her sexuality in films, risking becoming a caricature.
Heinz, who fought in World War I, builds a new life for his family, despite setbacks and de Armas’ sabotage attempts. Margret, a young dutiful homemaker, discovers she is pregnant.
Sweeney has the film’s most physical and harrowing scene as she’s in labor, alone, afraid and surrounded by danger, including a pack of wild dogs. She’s also revealed to be one smart, resourceful woman.
After Law’s impressive performance last year as an FBI agent in “The Order,” he returns to being streaky again with his choices, and here he’s flamboyantly scenery chewing. Spouting Nietzsche and baring all, Law is extremely unlikable as this megalomaniac who believes in his own delusional providence.
Kirby, last seen as the kindly but fierce mother figure Sue Storm in “Fantastic Four: First Steps,” adds aloof bitter shrew to her repertoire.
Shot in Australia, the film premiered at last year’s Toronto International Film Festival and is being released now.
This disappointing effort from Howard joins his other misses, “Hillbilly Elegy” in 2020, “In the Heart of the Sea” in 2015, and “The Dilemma” in 2011.
The story gets darker and drearier, no thanks to Hans Zimmer’s dirge-like score nor Mathias Herndl’s stark cinematography. As the film disintegrates along with the characters – each seem to be in their own different movie – it hints at a “Lord of the Flies” scenario.
The pace, already sluggish, becomes interminable with the inevitable showdown and wrap-up. “Eden” is a disastrous survival story that has little optimism. I’d want to be voted off the island immediately.
“Eden” is a 2024 psychological thriller directed by Ron Howard and starring Jude Law, Vanessa Kirby, Ana de Armas, Danel Bruehl, Sydney Sweeney, Felix Kammerer, Richard Roxburgh, Jonathan Tittel, and Toby Wallace. It is rated R for some strong violence, sexual content, graphic nudity and language,.and its runtime is 2 hours, 9 minutes. It opens in theatres Aug. 22. Lynn’s Grade: D
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.
“But the first time the four of us made that sound, our sound, when everything dropped away and all there was, was the music…that was the best,” – Frankie Valli
With its focus on the driven, determined and dynamic brotherhood who became the enduring superstar quartet The Four Seasons, their lively legacy lives on in the Muny’s crowd-pleasing rolling ball of thunder “Jersey Boys.”
A celebrated smash hit around the world, the smartly constructed Tony winner is a can’t-miss bio-jukebox musical because of its vibrant staging, captivating storytelling and unforgettable sound.
Not only featuring a substantial collection of hits, the charming combination of showbiz spectacle and personal struggles connect with generations authentically, garnering empathy, and the group’s hard-won success resonates.
The rags-to-riches true stories of Frankie Valli (Pablo David Laucerica), Bob Gaudio (Andrew Poston), Tommy DeVito (Ryan Vasquez) and Nick Massi (Cory Jeacoma), blue-color kids from a tough Italian neighborhood in Belleville, New Jersey, are detailed in Marshall Brickman and Rick Elice’s straight-shooting documentary-style book.
Pablo David Laucerica, Andrew Poston, Jerry Vogel_Photo by Phillip Hamer
By presenting four different points of view, they also broke the Fourth Wall, where characters talk directly to the audience, and each one narrates their version. Being wise street guys, their salty dialogue is peppered throughout the two acts. They sure were entertaining, on stage and off.
The writing pair deftly integrated the group’s tough times and glorious moments in between 34 songs, their placement depending on recordings timeline or a means to emphasize real events.
With lead singer Valli’s unmistakable falsetto, songwriter/keyboard player Gaudio’s catchy melodies, De Vito’s guitar, and Massi’s bass, their signature sound sold 175 million records and was an essential cultural touchstone of the 1960s-1970s.
The quartet features three strong actors making their Muny debut. Indefatigable Pablo David Laucerica is a dynamo as legendary Valli, acting “Like that bunny on TV, I just keep going and going and going. Chasing the music. Trying to find our way home.”
Flashing a radiant smile often, Laucerica pours his heart and soul into the songs, and while he superbly delivers upbeat pop and moving ballads equally, one of his best numbers is the heartbreaking “Fallen Angel” about the tragic death of his daughter at 22. Frankie convincingly wrestles with his desire to perform and the need to spend more time with his family.
From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
Poston is appealing as boyish Gaudio, the self-assured songwriting wizard, while Jeacoma adds some fine-drawn heft to his Massi characterization, more than just a quirky figure eliciting laughs as the self-proclaimed “Ringo.” He’s an accomplished ‘Jersey Boys’ veteran (as is Laucerica).
In his second Muny appearance after his scene-stealing turn as the sadistic dentist in “Little Shop of Horrors” in 2023, Vasquez provides the braggadocio and is an imposing figure in his intense portrayal of slick sharp-tongued troublemaker DeVito. It’s a noteworthy muscular performance.
While they took a while to find their rhythm in the musical numbers, the four eventually clicked, their silky-smooth 4-part harmonies gelling along with their snappy movements. In their passionate portrayals, though, they established a fine rapport with each other for an immediate close-knit feeling.
First-time music director Paul Byssainthe Jr. cohesively conducted the 25-piece orchestra, emphasizing a sensational horn section that shines in the upbeat numbers.. The actors playing musicians exhibit some stylish moves.
Choreographer William Carlos Angulo’s larger dance numbers are appropriately peppy, but there is one puzzling dance interlude during a Valli solo, after his daughter’s passing. Nevada Riley, a young female dancer, enters alone, and dances in the dark, no illumination whatsoever – so how many people saw it? Could shadows have been more effective?
Wouldn’t lighting designer Rob Denton have enhanced that? Denton, one of the best in the business, has dramatically illuminated music scenes and intimate interactions effectively here. truly stunning work establishing the scenes..
Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
The Muny’s creative team transports us to the 1960s, from the smoky clubs to humble digs, to a fabled Brill Building recording studio, taping of “American Bandstand,” “The Ed Sullivan Show,” and other milestones in the 1970s and 1990. Set designer Krit Robinson has crafted a simple grid for all the moving pieces, some gritty, some finer quarters.
Costume designer Leon Dobkowski conjures up attractive vintage period pieces and status outfits, with glitzy dance and singing attire getting fancier as the gigs get bigger.
The creative eye-popping video designs by Kylee Loera and Greg Emetaz immerse us in the music business and frame the times. They incorporated hand-held cinema verité footage of interviews with the older Four Seasons, played by Drew Battles, Michael James Reed, and Jerry Vogel. The smooth, seamless integration is some of their best work.
For the Rock Hall induction scene, some members of the audience appeared confused, thinking that the older actors were the real Four Seasons when they came on stage in tuxedos. They stood up cheering, snapping photos. Unfortunately, only two of the actual members are living – Gaudio and Valli, and they were not present. (However, Gaudio did make an appearance in 2018, being introduced one night to the Muny crowd.)
From left: Tristen Buettel, Nevada Riley and Stephanie Gomerez in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | MaryKatherine Patteson
For anyone that considers these timeless songs part of the soundtrack of their lives, this is a nostalgic boogaloo down memory lane. It’s not only Boomer bliss, or for fans only, but other generations can appreciate the universal themes of ambition, friendship, love, disappointment, heartbreak and making your dreams come true.
Director Maggie Burrows presented the major music numbers with panache, especially the back-to-back hits “Sherry” (their first hit in 1962), “Big Girls Don’t Cry,” “Walk Like a Man,” and “Ragdoll.” The ‘earworm’ tunes keep coming in robust fashion — “Let’s Hang On,” “Working My Way Back to You,” “C’mon, Marianne” and “Stay” among them.
Standing out are thrilling interpretations of “December 1963 (Oh, what a Night)” – their last no. 1 hit in 1976, “Can’t Take My Eyes Off of You,” and “Who Loves You,” a rousing finale that had the crowd on its feet – and singing and clapping along to the forever hummable “December 1963” encore/curtain call.
The iconic “Can’t Take My Eyes Off of You,” released in April 1976, has a fascinating backstory that gets its deserving Muny moment. After being turned down, the embattled song was among his biggest hits, earning a gold record and reaching No. 2 on the Billboard Hot 100 for a week, making it Valli’s biggest solo hit until he hit No. 1 in 1975 with “My Eyes Adored You.” Solid gold first time out of the gate as a solo artist.
With an extended ovation and loud cheers for Laucerica’s virtuoso rendition, that reaction indicated it was an audience favorite. And the staging, with its silhouetted horn section, was a nifty touch.
Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily Santel
In fine support are Shea Coffman as record producer and lyricist Bob Crewe (but saddled with an ill-fitting wig), John Leone – who was in the original Broadway cast — as business leader, family man and fixer Gyp de Carlo, Mike Cefalo as Joe Pesci (yes, that Joe Pesci), and Tristen Buettel as Frankie’s first wife, Mary Delgado.
Of course, the ensemble seamlessly plays multiple roles. D’Marreon Alexander, Matt Faucher, Stephanie Gomerez, Reina Guerra, Jimin Moon, Ben Nordstrom, Matt Rivera, and Fernando Trinidad III complete the ensemble, with Kaley Bender and Noah Van Ess as swings.
Currently, the 13th longest-running show on Broadway with 4,642 performances, “Jersey Boys” ran for 11 years from Nov. 6, 2005, to Jan. 15, 2017. In 2006, it won four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design.
As the first theater to present it after the Broadway run, residence companies and national tours, The Muny featured it as a world regional premiere during the 100th year centennial season in 2018, and the joint was jumping.
While this production could have been tighter and crisper (under-rehearsed, affected by oppressive heat, perhaps?), overall, it is a rollicking, entertaining evening.
Members of the company of the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
This quintessential American Dream tale hasn’t lost its luster. Come for the classic hits, enjoy the laughter, delivered vigorously. Humor abounds, so do emotional tugs through their relatable journey navigating the pitfalls of fame and money.
Leaving with enough good vibes to remain uplifted, I haven’t been able to get the songs out of my head since I exited the outdoor Muny stage Tuesday for the final show of the redefining and memorable 107th season.
How lucky we are to be alive right now, connecting with each other through the time-honored tradition of sitting under the stars and seeing Broadway-quality shows Muny-style. Onward and upward for next summer!
The Muny presents “Jersey Boys” from Aug. 18 through 24 at the outdoor stage in Forest Park. It is 2 hours, 20 minutes and has an intermission. This has adult content. For tickets, go to: www.Muny.org or call the box office at 314-361-1900, located at 1 Theatre Drive in Forest Park, or MetroTix at 314-534-8111.
From left: Andrew Poston, Ryan Vasquez, Cory Jeacoma and Pablo David Laucerica in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
The 108th Season
The Muny will announce the seven shows in its 2026 season on Dec. 1, which happens to be Cyber Monday. The invitation-only live event will be livestreamed for virtual participation. Time will be announced later.
For the first time, subscribers can renew current tickets or secure new season tickets when they unveil the season 108 lineup.
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From left: Andrew Poston, Cory Jeacoma, Ryan Vasquez and Pablo David Laucerica with the company of the 2025 Muny production of “Jersey Boys.” Photo by The Muny | Emily SantelFrom left: John Leone, Shea Coffman, Drew Battles, Michael James Reed and Jerry Vogel in the 2025 Muny production of “Jersey Boys.” Photo by Phillip Hamer
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.
After two sold-out shows at New York’s Carnegie Hall in February 2025, LA LA LAND in Concert is coming to The Fabulous Fox in St. Louis on Saturday, November 1 at 8:00 p.m. Audiences revisit the multiple Academy Award®-winning 2016 Lionsgate film LA LA LAND, written and directed by Damien Chazelle, with this swoon-worthy live-to-film concert experience. The show features a full orchestra and jazz band performing the famous soundtrack live in synchronization while the film is being shown on a big screen.
LA LA LAND showcases the captivating story of a promising pianist and aspiring actress who cross paths and fall in love, while attempting to harmonize their career journeys in the city of stars. Tickets are $59, $69, $79, $89, $99, $109, $129 (plus applicable fees) and available at www.fabulousfox.com starting on Friday, August 22 at 10:00 a.m.
LA LA LAND was composed by Justin Hurwitz who graduated from Harvard University where he studied music composition and orchestration. He has composed the music for all of Damien Chazelle’s films including WHIPLASH, LA LA LAND, FIRST MAN, and BABYLON, earning two Academy Awards®, four Golden Globes®, three Critics’ Choice Awards®, two GRAMMY Awards®, and a BAFTA®.
Oscar winner Emma Stone and Oscar nominee Ryan Gosling in “La La Land.”
About Metropolitan Entertainment:
Metropolitan Entertainment is a preeminent producer of world class live entertainment. One of the most respected independent concert promoters in the U.S., Metropolitan Entertainment has been presenting a wide range of concerts and events across New York, New Jersey and beyond since 1971. For more information, please visit metropolitanpresents.com or follow Metropolitan Entertainment on Instagram @metropolitanentertainment.
About Hurwitz Concerts:
Hurwitz Concerts was founded in 2022 to produce live concerts of Justin Hurwitz’s film scores, including worldwide performances of LA LA LAND IN CONCERT, WHIPLASH IN CONCERT, and other festival appearances.
For more information, please visit www.hurwitzconcerts.com or follow Hurwitz Concerts on Instagram @lalalandinconcert and @hurwitzconcerts.
About Lionsgate Studios:
Lionsgate Studios (Nasdaq: LION) is one of the world’s leading standalone, pure play, publicly traded content companies. It brings together diversified motion picture and television production and distribution businesses, a world-class portfolio of valuable brands and franchises, a talent management and production powerhouse and a more than 20,000-title film and television library, all driven by Lionsgate Studios’ bold and entrepreneurial culture. For more information, please visit https://www.lionsgate.com/ or follow on Instagram @lionsgate.
Jazz musician and aspiring actress -,gone is the romance that was so divine. “La La Land.”
Cover Photo: “Another Day in the Sun.” Photo by Dale Robinette.
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.
A refreshing breeze is blowing through the cozy confines of the Tower Grove Abbey in Stray Dog Theatre’s ambitious youth opera, “The Second Hurricane,” and it’s a breath of fresh air.
An earnest, well-rehearsed ensemble – 12 youth choir members and 11 adult choir members accompanied by a 12-piece orchestra, are unified in song and spirit in this rarely performed piece by Aaron Copland, flawless in their harmonies and heartfelt interpretation.
The remarkable young performers are as poised and polished as the adults are, and the entire effort is impressive. Director Gary F. Bell and Music Director John Gerdes strived for the highest level of excellence of all involved, and their dedication shows.
Copland is known as the Dean of American Music for his distinct musical identity that evokes the American landscape and spirit. One of the most influential composers of the 20th century, he wrote this opera, his first, in 1937, specifically for schoolchildren.
During a career that spanned 60 years, Copland incorporated jazz, folk and classical music in his traditional themes, shaping an American voice, and connecting deeply with audiences.
The dynamic dozen – the mighty musicians of “The Second Hurricane.” Photo by Stray Dog Theatre.
Perhaps you’ve heard “Fanfare for the Common Man,” a 1942 orchestral piece commissioned as a tribute to World War II soldiers; “Rodeo,” a 1942 ballet choreographed by Agnes de Mille honoring the American West that includes the very recognizable “Hoe-Down” (Remember the “Beef. It’s What’s for Dinner” ad campaign?); and his symbolic 1944 ballet “Appalachian Spring” that features the iconic “Simple Gifts” melody. He won an Oscar for the film score to “The Heiress,” among other accolades.
Bell, a longtime fan, was part of the opera’s revival in 1985 for the composer’s 85th birthday celebration. Then a 21-year-old artist living in New York City, Bell was honored to be cast in the production at the Henry Street Settlement, its original site, and met Copland, who died five years later.
His impact on Bell was significant, and the SDT artistic director said this opera is very personal to him.
Inspiring this ensemble to achieve their full potential was important, and Gerdes, a respected local musician and educator, also attained new artistic heights with the choirs and conducting the superb orchestra. They both carried this off with precision and perseverance.
The entire creative cast and crew executed Stray Dog’s first opera splendidly with an appreciation of the material, and emotional storytelling that resonates. An unmistakable feeling of community and its American essence is apparent.
The libretto by poet Edwin Denby was written specifically for young people and set during the Great Depression. It’s succinct and matter of fact, without frills or flourishes.
The accomplished adult choir. Photo by Stray Dog Theatre.
The program notes describe the time and place as: “A small Middle West town following a devastating hurricane in the 1930s. We start in a local high school and move to a rise in ground in a waste country near a great river.”
Inspired by a true story, a group of enthusiastic high school students volunteered to help with delivering supplies to victims of a recent hurricane. Little do they realize the dangers involved, for they are in harm’s way as the weather forecast predicts the possibility of a second hurricane.
With their different personalities and social hierarchy, the students tussle with each other, not agreeing much on duties and strategies. But faced with another natural disaster, frightened and with little resources as they’re stranded on a remote island, they learn to work together, cooperating and demonstrating courage and tolerance.
It’s a terrific lesson on teamwork. The six students on the rescue mission include Nadja Kapetanovich as top of the class Queenie, Bryn Sentnor as determined Gwen, Jabari Boykin as brainy Lowrie, Soren Carroll as new kid Butch, Wesley Balsamo as bully Fat, and Ben Hammock as Gyp, Fat’s younger brother. Cece Mohr plays Jeff, a country boy they discover living in a rural area.
Nadja Kapetanovich performs “Queenie’s Song.” Photo by Stray Dog Theatre.
They are bolstered by new friendships and a sense of belonging, and there’s tangible relief and gratitude from the parents.
The other expressive, self-assured students that shine in the chorus include Eliana Bryson, Margot Carroll, Abby Donald, Sydney Fendler, Sierra Hale and Ava Hettenhausen.
Demonstrating substantial technical skill, the adult choir includes Madeline Black, Leah Bryson, Jacob Cowley, Gansner, Rebecca Hatlelid, Lizzie Klemm, Brittany Kohl, Jess McCawley, Chris Moore, Jan Niehoff and Terrell Thompson. Kohl acts as the school principal and Niehoff as an aviator, Miss Maclenahan (she’s nearly unrecognizable, swallowed up in a cumbersome coat and hat).
From a first-row perch, Gerdes guides the 12 accomplished musicians to create a stirring sound and passionately interpret Copland’s music.
Jabari Boykin, Soren Carroll, Bryn Sentnor, Wesley Balsamo, and Ben Hammock. Photo by Stray Dog Theatre.
The cohesive musicians, behind the singers on stage, are– Helen Bednara, bassoon; Mo Carr, violin 2; Andrea Clark, flute; Jill Hamill, viola; Bill Howells, trombone; Michaela Kuba, double bass; Emily Mehigh, clarinet; Paul Rueschhoff, cello; G Schmiedeke, violin 1; Brandon Lee Thompson, oboe; Deborah Thuet, percussion; and Chris Dressler and Larry Levin each play trumpet at select performances.
Costume designer Colleen Michelson collected numerous print dresses for the period looks, and some of the boys wear overalls to reflect their rural life. Sarah Gene Dowling designed wigs for several singers. Tyler Duenow designed the lighting and Justin Been again created impeccable sound, simulating weather and making the music fill the theater.
Ava Hettenhausen, Sierra Hale, and Sydney Fendler
The two-act musical is only an hour, and the numbers are mostly presented as choral pieces, but four youngsters deliver moving and memorable solos.
Displaying clear, crisp and confident tones, Wesley Balsamo, Ben Hammock, Nadja Kapetanovich and Cece Mohr are affecting in their songs, simply titled with their characters’ names. Their stage presence is notable, too.
“The Second Hurricane” appears to be a rewarding collaborative experience, where everyone seemed to bring out the best in each other.
Stray Dog Theatre presents the Aaron Copland opera “The Second Hurricane” Aug. 7 – 30, Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. on Aug. 10, Aug. 17 and Aug. 24 at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or for tickets, visit the website, www.straydogtheatre.org.
Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. The opera is 1 hour long, with an intermission.
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.
A bold, ambitious “A Streetcar Named Desire” is the centerpiece in this year’s 10th annual Tennessee Williams Festival St. Louis.
A contemporary interpretation of the playwright’s most iconic work nearly 80 years after his masterpiece stunned Broadway audiences, director Michael James Reed asks us to look at the Pulitzer Prize and Tony-winning drama with fresh eyes. He prefers the term ‘reconstruction’ instead of ‘deconstruction,’ and that is what he delivers.
Already a relic from the past, fading and fragile Southern belle Blanche DuBois arrives at her sister Stella’s doorstep, to stay at her run-down two-room flat. Stella’s brutish working-class husband Stanley Kowalski isn’t aware of her visit and, immediately agitated, locks horns with his attention-seeking sister-in-law.
Over the course of the stifling summer, tempers flare, and Stanley becomes increasingly volatile, his bullying obsessive, while Blanche unravels – her displacement, discomfort and disorders adding to her breakdown. Stanley’s verbal and physical abuse becomes too much, leading to sexual abuse.
Todd D’Amour and Beth Bartley. Suzy Gorman photo.
This doomed power play leaves wreckage from a predator and prey situation, for Blanche appears like a frightened caged animal, her feminine wiles no longer effective.
Her final line, as she clings to a gentle doctor (David Wassilak) escorting her away: “I have always depended on the kindness of strangers” is shattering.
The cast portrays these indelible roles through a lens that is both rooted in Tennessee Williams’ dysfunctional framework and then Reed’s challenge to bring something different to their characterizations.
Some of the choices go outside the lines of our perceptions — with Todd D’Amour’s tightly wound abusive Stanley displaying pathological cruelty, Beth Bartley’s grittier desperate Blanche masking her many indignities, and Isa Venere’s younger Stella enabling and helpless. Think of it as an American horror story in retrospect.
As the local festival has amplified the past 10 years, Williams’ works are about loss in some way – of beauty, love, youth, identity and/or way of life, and this manifests through a range of characters developed during a career spanning 50 years, from the 1930s to his death in 1983 at age 71. After “The Glass Menagerie” made him a rising star in 1944, he opened 14 plays on Broadway from 1947 to 1980.
This is the first time that I really felt Williams’ own torment, of how humiliating it was for him to work with bullies like Stanley at the International Shoe Company during his formative years here, at a time when he was not free to express his sexuality and there was a very specific masculine ‘standard’ in society, not to mention another variation on his beloved sister Rose, mentally challenged at a time it was not understood. His own feelings poured out in these characters.
Looking back today, one sees societal changes colliding in Williams’ most famous work –the new South vs. the past, and women’s evolution regarding gender roles.
Post-war America, during this long, hot summer on Elysian Fields Street, adjacent to the French Quarter of New Orleans, we feel the heat. Sometimes, the atmosphere feels suffocating without any relief, while other times it feels like the tension is so thick and volatile, it could combust.
In that setting, the raw intensity seeps through, revealing harsh truths and emphasizes Williams’ timeless themes of illusion, trauma, power, control, and desire, and when reality hits head-on, how it changes expectations.
Beth Bartley and Isa Venere. Photo by Suzy Gorman.
After the play debuted to a thunderous 7-minute standing ovation on Dec. 3, 1947, it was adapted into an acclaimed Academy Award-winning film in 1951, with three of the four principals reprising their roles– Marlon Brando, Kim Hunter and Karl Malden, but Vivien Leigh as Blanche instead of Jessica Tandy.
Let’s face it, comparisons are inevitable, and “Streetcar” continues to be performed around the globe, never out of view. Andre Previn’s 1998 opera is part of Opera Theatre of St. Louis’ line-up next summer and a 2022 London play revival transferred to off-Broadway earlier this year for a limited run starring acclaimed Irish actor Paul Mescal, who won an Olivier Award as Stanley, and Spanish-British actress Patsy Ferran as Blanche.
The roles are demanding because they can easily go over-the-top into caricatures. After all, their indelible work has been exaggerated into comic archetypes in pop culture for decades.
Bartley’s panicked Blanche reunites with her sister, and Venere’s Stella, goes into caretaker mode, even when she learns that their family estate, Belle Rive in Laurel, Mississippi, has been lost to creditors.
Eric Dean White and Beth Bartley as Mitch and Blanche. Photo by Suzy Gorman.
A traumatized Blanche recalls taking care of their dying relatives without help. She says she has taken a leave of absence from teaching high school literature because her nerves are so frayed. Bartley and Venere share a comfortable chemistry.
Enter suspicious, coarse and crude Stanley. D’Amour isn’t imposing, nor is he articulate. With mumbled lines, he’s hard to understand and harder to relate to, and that’s unfortunate because it throws the balance off.
Stella, caught in the middle, must try to keep the peace between the warring factions, but she is ineffective. She and Stanley share a tempestuous sexual attraction, and his aggressive domestic violence is despicable (never acceptable, no matter what era, but being a batterer fits his offensive personality).
While Stanley seethes, Blanche makes herself at home, languishing in the bathtub, lounging in their shabby quarters, secretly drinking, and putting on her Southern Belle airs.
With her fanciful ways, she attracts an admirer — Stanley’s war buddy and poker-playing friend, Harold “Mitch” Mitchell (Eric Dean White), a bachelor who lives with his ailing mother. A raging Stanley will destroy that tender union after uncovering Blanche’s scandalous secrets back home.
Photo by Suzy Gorman
Trembling like an older, needier Judy Garland, whom she resembles, and acting delusional like the moody narcissistic Norma Desmond in “Sunset Boulevard,” Bartley is heart-breaking living out a fantasy life while she is clearly in decline. Now that we know more about mental health, it’s obvious Blanche has Histrionic Personality Disorder.
It’s a devastating portrait, and she also reveals a skilled manipulator, who has managed to survive using the theatrical tools in her toolbox.
As Mitch, White shows his sweet side, and two lonely people find comfort in each other. She’s flirtatious while she tells tall tales, and he’s smitten. When he confronts Blanche with what he’s discovered about her many liaisons and seductions in her hometown, though, his anger is visible – he’s done with being a nice guy.
The other supporting characters are lived-in examples of the area – top-shelf veterans Emily Baker and Isaiah DiLorenzo are their loud neighbors (and landlords) Eunice and Steve, who live upstairs. DiLorenzo and Wassilak are the two cast members that were in the festival’s award-winning 2018 “Streetcar” production.
Jeremiah King is a young collector, Cedric Leiba Jr. is another poker player, and Gwynneth Rausch is a nurse. Offstage, Jocelyn Padilla voices a flower collector. She also served as the intimacy coordinator. Jack Kalan was the fight choreographer.
Both Matthew McCarthy’s moody lighting design and Phillip Evans’ sound design are strong in this production, with dramatic illuminations and a discordant cacophony and jazzy-blues music adding to the atmosphere.
Two elements puzzled me. For a story that emphasizes claustrophobia in such small quarters, the set design did not appear so. Patrick Huber favored a nod to mid-century modern décor, with a neon palette more suited to another era or pre-school, that was stretched out on the Grandel stage.
Shevare Perry’s costume design for most of the cast worked fine, but Blanche’s daytime outfits appeared misfitting and Stella’s pants in the opening scene were jarring. Blanche’s flouncy nightgowns and bright red satin robe were just right.
Perhaps those choices were all in keeping with tossing out pre-conceived notions for this production.
Set design by Patrick Huber, lighting design by Matthew McCarthy. Photo by Suzy Gorman.
“A Streetcar Named Desire” maintains its power in Williams’ vivid poetic realism and lyrical dialogue that continues to captivate. While I prefer more emotionally charged character renderings, which was what Blanche aimed for, instead of a detached one like Stanley and Stella, these were choices made for a different take. In real life, D’Amour and Bartley are married.
Williams’ view of outsiders, of deeply flawed humans, continues to resonate some 80 years later, and that’s worth celebrating.
The Tennessee Williams Festival presents “A Streetcar Named Desire” Aug. 7 – 17 at the Grandel Theatre in Grand Center. For more information, visit www.twstl.org
Blanche DuBois (Beth Bartley). Photo by Suzy Gorman.
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.
Release the serotonin! The Muny goes big with the glitzy, grand feel-good musical “La Cage Aux Folles” that will make you laugh, gasp and cheer as you walk away uplifted.
The ensemble’s ebullience was a joy to behold. Bon Voyage as we head for entertaining escapades in Saint-Tropez.
Over-the-top is the intention of this pizzazzy production — a gleaming spectacle overflowing with vibrant energy, a bonhomie spirit, snazzy style, rousing renditions of composer-lyricist Jerry Herman’s optimistic score, all layered with Harvey Fierstein’s sharp farcical humor.
I’m not sure who was having more fun – the actors on stage or the audience. From the opening introduction on, the crowd was eager to be delighted, its mood palpably upbeat.
I was swept away by two of Broadway’s biggest and brightest stars, Norm Lewis as Georges and Michael James Scott as Albin, who make a dynamic duo, their sumptuous vocals soaring into the full-moonlit night. They appeared to be having the best of times.
Michael James Scott (left) and Norm Lewis in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson
They headline a cohesive cast that’s as committed to excellence as they are – limber in movement, bold and beautiful in appearance, and luminous in song and dance.
Directed with poise and finesse by Marcia Milgrom Dodge, this musical appeals not only in richly textured vocals, but visually with its mélange of Vegas showgirl looks, nods to Moulin Rouge, broad comedy, and dazzling French Riviera setting.
The “Guess Who’s Coming to Dinner?” premise starts with suave Georges, who owns a drag club in the South of France and is in a committed relationship of 20 years with the flamboyant Albin, who is the club’s star drag queen, Zaza.
Georges’ anxious son Jean-Michel (Mason Reeves) pops in for a big favor – he asks that his father pretend to be straight for one night, and his mother figure hidden away, because his fiancé’ Anne (a posh, likable Cameron Anika Hill) has parents that are ultra-conservative. He has invited them to visit.
The priggish future father-in-law Edouard Dindon (Terence Archie) is a well-known right-wing politician opposed to the LGBTQ+ community, and his uptight wife Marie (Allison Blackwell) is all about status. Exposing the same-sex couple could lead to the headline-making shutdown of La Cage Aux Folles (French translation: “The Cage of Madwomen.”)
From left: Troy Iwata, Cameron Anika Hill, Mason Reeves, Terence Archie and Allison Blackwell in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson
The virtuoso Lewis, who commands any stage with his deep baritone, is silky smooth in his tender solo ballads – the reflective “Song in the Sand” and heart-tugging “Look Over There.” A renowned Broadway veteran, he’s also starred in films, TV and on global stages.
Scott, a graduate of The Conservatory at Webster University who is currently playing the Genie in “Aladdin” on Broadway, is a comedic gem as Albin, radiating theatricality and deep devotion to his family, doting on Jean-Michel.
So, he is hurt by having to pretend he is not gay because he proudly accepts himself. As the initial plan falls apart, he shows he’s willing to compromise, a selfless gesture.
Scott brings down the house with his defiant declaration “I Am What I Am,” a powerfully sung anthem that closes Act One with a flourish. The ovation was deafening.
In another signature song, “The Best of Times,” he solos and leads the group in a sing-along that expands from the actors to the audience, about living happily in the present, a catchy, melodic tune with hopeful meaning that closes the show.
Meghan Murphy in the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | Emily Santel
Nevertheless, chaos escalates, and hilarity ensues. No matter how many times I’ve seen the movies or the musical gales of laughter are unleashed, and this time was no exception.
The “Masculinity” sight-gag number where Albin tries to act macho, as coached by Georges, is side-splitting, and as the charade eventually collapses in precise physical comedy “Dishes (Cocktail Counterpoint)” provides more belly laughs.
Herman, the legendary composer behind “Hello, Dolly!” and “Mame,” wrote songs that combined humor and heartfelt emotions.
The show features sweet and sentimental moments, with passionate emphasis on acceptance, people trying to hold on to their dignity while others would like to strip it away, and what it means to be a family.
At first sight, I fell in love with the original 1978 French film “La Cage aux Folles,” which was adapted from the same-titled farce by Jean Poiret in 1973. So, when director Mike Nichols teamed up with his old comedy partner Elaine May for a 1996 American remake starring Robin Williams and Nathan Lane, they struck comedic gold with “The Birdcage.” The beloved film has made nearly $200 million at the box office.
The lavish Broadway musical first appeared in 1983, ran for 1,761 performances over more than four years, and was nominated for nine Tony Awards, winning six. It also won for its bigger, bolder revivals in 2004 and 2010.
The Muny premiered the larger-than-life romp in 1986, and now, 39 years later, it’s back with the elaborate splash the largest outdoor theater masters so well.
For her 10th Muny show, Dodge, who imbued a vintage vaudeville vibe to her “Anything Goes” production last summer, leans into the comic calamities in Fierstein’s script, and benefits from a game supporting cast with slapstick expertise.
Norm Lewis (left) and Michael James Scott in the 2025 Muny production of “La Cage aux Folles.” Photo by BreAnna Kay Creative
Troy Iwata, a scene stealer as clog-dancing Ogie in last summer’s “Waitress,” again stops the show with his laugh-out-loud hijinks as Jacob, the couple’s temperamental butler who identifies as the maid. His physical comedy, particularly with the guests’ luggage, combined with his zesty one-liners, are highlights.
Also adept at crisp comic timing is Michael Hartung, who is the nightclub stage manager Francis. This is his 12th Muny show.
In her Muny debut, vivacious Meghan Murphy is chic restaurateur Jacqueline, working the sequins, and providing a solution for a potential scandal. Also making their Muny debuts are the pair playing the pompous Dindons, and Archie and Blackwell dive into their characters’ transformations with glee.
The sparkling ensemble features Leah Berry, Patrick Blindauer, Michael Di Leo, Kylie Edwards, Julia Feeley, Aaron Graham, Cory Hammond, Owen Kent Ing, Madison Johnson, Brian Liebson, Michael Milkanin, Kaylee Olson, Vincent Ortega, Gordon Semeatu, Duncan B. Smith, Cooper Stanton, Kodiak Thompson, YaYa Vargas, Kyle White, Jonah D. Winston –that includes the sensational Les Cagelles, along with the Teen Ensemble Jayden Jones, Keira Leung, Adaeze Loynd, and Jack Mullen.
The company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson
Richard J. Hinds’ inspiring choreography is the cherries on top of a banana split, with flashy promenades and an eye-popping can-can. The dozen “Les Cagelles” are the super-deluxe gender-bending showstoppers – in their rainbow-hued extravagant costumes and glittering headdresses designed by Bobby Pearce, who evidently knows how to make an entrance.
Their looks were enhanced by Tommy Kurzman’s wig designs and makeup designer Heather Aurora Hardin’s bright palette choices.
Music Director Darryl Archibald elegantly conducted the largest Muny orchestra of the season, and their lush sounds captured the score’s emotional resonance as well as its optimistic fervor. Jim Tyler is credited with the orchestrations, and Don Pippin supervised music and arranged vocals. G Harrell arranged dance music.
The stellar creative team collaborated on a 42-year-old show that could be considered an old-fashioned traditional musical – but its freshness and lively interpretation is everlasting. Matthew Buttrey’s scenic design featured ornate risque décor and an austere church-like atmosphere for deep contrasts, while Jason Lyons’ colorful lighting design added glamour, and Kylee Loera and Greg Emetaz video designs filled in locale flavor
Terence Archie and the company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | MaryKatherine Patteson
With its thoughtful themes of family, acceptance and tolerance, this warm and wonderful show is not just flashy fluff, but also shines with authenticity..
In a world that doesn’t always value diversity in families, this musical amplifies real family values. After all, love is love is love is love.
The Muny presents “La Cage Aux Folles” from Aug. 8 to 14 nightly at 8:15 p.m. on the outdoor stage in Forest Park. Its runtime is 2 hours and 30 minutes with a 15-minute intermission. With its adult themes and situations, it is considered suitable for adults and teenagers. For more information, visit www.muny.org.
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The company of the 2025 Muny production of “La Cage aux Folles.” Photo by The Muny | Emily Santel
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.
With words of wit and strong female leads, “Austen’s Pride” has promise to fulfill its potential, coinciding with the literary world’s preparations to celebrate Jane Austen’s 250th birthday on Dec. 16.
In its pre-Broadway tryout at Stages St. Louis, a charming, refined cast, with shrewd, fluid direction by Igor Goldin, re-imagines Austen’s most acclaimed work, “Pride and Prejudice” as a double narrative.
The music, however, is a mixed bag — with a few emotionally connecting songs, but most lack depth, have unmemorable melodies, and aren’t necessary to advance the story.. It’s the musical’s weakest element. If reworked, the production could be a fine straight drama, laced with humor, of course.
Considered one of the most important and influential novelists in English literature, Austen crafted memorable characters through her use of irony, humor and realism, and critiques of a patriarchal structure during her lifetime.
She died at age 41 and achieved more fame posthumously for her six novels. Her insightful writing about the everyday lives of women in the 18th and 19th centuries has appealed across generations and cultures.
Therefore, distilling her famous characters into a 2-hour, 30-minute musical was an ambitious undertaking. Lindsay Warren Baker and Amanda Jacobs, who wrote the music, lyrics and book, are faithful to her personal growth story arcs, even if they can’t offer more depth and nuance like a novel does.
Dan Hoy as Darcy and Cole Thompson as Charles Bingley. Photo by Philip Hamer.
The musical’s premise is that after the success of “Sense and Sensibility,” the happy publisher wants another work from Austen. At the urging of her supportive sister Cassandra (Dianica Phelan), Jane begins re-working “First Impressions,” which she had already started.
As she writes, the characters spring to life. Austen converses with them and thinks aloud about her process, thus beginning her own journey of self-discovery.
The tag team of an engaging Olivia Hernandez as the whip-smart author and Delphi Borich as uncompromising Elizabeth Bennet are the driving force here.
Their “When I Fall in Love” is a captivating duet, as Borich and Hernandez’s enchanting voices blend beautifully.
Your fondness for Austen’s works may factor into your reaction to this work in progress that’s headed on tour to several American cities, with St. Louis the first stop from July 25 to Aug. 24.
The Bennet Family and Mr. Collins. Photoby Philip Hamer.
In September, the show will travel to Charlotte, N.C.; Memphis, Tenn.; Newport News, Va.; The Villages in Florida; Oxford, Ala.; Owensboro, Ky.; and Waterbury, Conn. More dates may be announced. Right now, there is no timetable for Broadway, but producer R. Erin Craig is working on that goal.
The musical debuted in March 2019 at A.C.T. of Connecticut, then opened that October in Seattle at the 5th Street Theatre, which has developed other Broadway-bound shows, including “Mrs. Doubtfire.” A one-night-only concert version at Carnegie Hall was performed by eminent Broadway veterans on June 29, 2023.
Austen’s timeless themes of love, family and societal expectations, combined with her sly feminist-leaning social commentary, endure.
Women had limited options, so marriage could improve their social standing and economic security. (Keep in mind the historical context, for these characters are products of their time).
Olivia Hernandez as Jane Austen and Delphi Borich as Elizabeth Bennet. Photo by Philip Hamer.
Elizabeth Bennet, the second of five daughters, has an older sister and three younger. Her growing relationship with reserved aristocrat Fitzwilliam Darcy propels the story, while Jane’s romance with the good-natured Charles Bingley, and her younger sister Lydia’s dalliance with disgraced George Wickham, are subplots. Elizabeth rejects the self-important clergyman Mr. Collins’ proposal, thus causing upheaval.
Those not entranced by the Bennet girls’ romantic entanglements and squabbles should be able to grasp the story without a primer.
As the sarcastic and disengaged father, Kevyn Morrow has a fitting solo “Silly Girls.” Critical of others, his favorite is Lizzy. He delivers the best zinger: “Your mother will never see you again if you do not marry Mr. Collins… and I will never see you again if you do.”
Other notable men include a delightful Cole Thompson as the smitten Bingley, Michael Burrell as a charming but untrustworthy Wickham, and Paul Castree as the pompous Collins.
Completing the close-knit Bennet family are Addie Morales as Jane, Sarah Ellis as Mary, Cali Noack as Catherine “Kitty,” and Kate Fahey as Lydia.
Kate Fahey as Lydia. Photo by Philip Hamer.
Mrs. Bennet’s social-climbing pretentious, tactless and foolish ways and the two youngest daughters’ giggly immaturity have always annoyed, and the actresses playfully exaggerate those traits.
Besides Mary, Ellis plays Bingley’s sister Caroline and the Bennet girls’ aunt Mrs. Gardiner, with Castree also Mr. Gardiner. Several other performers have multiple roles, including Noack as Georgina Darcy and Luttrell as Tom Lefroy. The cast assumes all their roles with aplomb.
The well-prepared ensemble includes Travis Anderson, Matt Gibson, Keith Johnson, and Drew Tanabe as Redcoats, Brett Rawlings and Graham Keen (Dance Captain) as swings, and Abigail Isom, Jazmin Gorsline, and Caroline Santiago Turner as standbys.
With Colin Firth forever etched as Darcy in the 1995 mini-series, it was harder to accept Matthew Macfadyen in the outstanding 2005 film, but like Dan Hoy here, he grew on me. Because of Darcy’s aloof and arrogant demeanor, it takes awhile to warm up anyway.
Darcy, Jane and Lizzy. Photo by Philip Hamer.
As for the music, the lack of steady catchy melodies is problematic. Most are indistinguishable from each other.
However, that’s not to say that there aren’t a few songs that stand out, for Hoy gorgeously sings Darcy’s “Fine Eyes,” and he poignantly duets with Hernandez on “The Portrait Song.”
In “My Poor Nerves,” Sally Wilfert displays her skills as a nimble comedienne. She also doubles as the insufferable Lady Catherine de Bourgh.
But Lydia’s flirty “I Can’t Resist a Redcoat” must be cut. OK, in that era, girls married in their early teens, but a 15-year-old singing it nowadays is cringey.
So dubbed the Regency era in British history, which spanned 1795 to 1837, that period is often romanticized as a time of elegance and social refinement. Costume designer Emily Rebholz created sumptuous vintage apparel, with impressive ballroom finery. Tommy Kurzman’s hair and wigs designs further illustrated the 19th century look.
Ballroom dance. Photo by Philip Hamer.
Choreographer Lisa Shriver’s authentic ballroom dances are a high point as well. Music director Sheela Ramesh emphasized the elegance in Jacob’s orchestrations. She conducted a 9-piece orchestra: Reagan Casteel on keyboard, Fiona Brickey on violin, Eileen Burke on oboe, Marcia Erwin on cello, Lea Gerdes on woodwinds, Stephen Hanrahan on French horn, Adam Anello on bass, and Chris Traylor on drums and percussion, with Ramesh on keyboard and Carrie Benton Smith filling in on keyboard at certain performances.
The distinctive style in architecture and art is depicted simply by scenic designer Josh Zengen, more of a suggestion, with minimal objects representing the Bennet country estate Longbourn House, Darcy’s Pemberley and Charles Bingley’s residence Netherfield Park. The video backgrounds augment the minimalist set, showcasing the lush countryside.
Jason Lyons’ lighting design and Phillip Peglow’s sound design are integral to the overall effect, crisp and precise. The director, choreographer, scenic and lighting designers were all attached to the 2019 version, too.
Despite being technically proficient, the show lacks the consistent spark a musical should produce, mainly because it’s too long and has too many songs that sound the same.
For the love story to succeed, Darcy must overcome his pride, and Elizabeth must overcome her prejudice. That’s good advice for everyone moving forward, no matter what generation, fact or fiction.
Photo by Philip Hamer.
.Stages St. Louis presents “Austen’s Pride” from July 25 to Aug. 24 at the Kirkwood Performing Arts Center. For more information on Austen’s Pride, please visit StagesStLouis.org
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.
By Lynn Venhaus Spotlighting attitude and intrigue, a still-vivacious “Madam” has been nipped, tucked, and excised into a promising female-forward musical focused on womanhood’s advancement in this third go-round.
At the center is a fascinating account of Eliza Haycraft, one of St. Louis’ most notorious businesswomen, who ran a brothel and was known for her philanthropy in the late 19th century.
Born in 1820, Haycraft arrived destitute in St. Louis at age 20. She couldn’t read or write. Eventually, she bought commercial and residential property, then rented it back out.
A champion of ordinary folk, she was loved by the public, helping the poor and offering financial aid. During and after the Civil War, she supported widows and orphans affected.
The opening song, a statement, “Empire” touts her achievements building her business, and Haycraft became the wealthiest local woman during the Reconstruction Era. The tribute is the show’s catchiest earworm and emphasizes modern sensibilities.
“Madam” takes place during the last year of her life – Haycraft died in 1871 at age 51. She still had enough gumption to fight to be buried in Bellefontaine Cemetery. (She won, but to date, her grave doesn’t have a headstone).
Kimmie Kidd as Eliza Haycraft. Photo by Cady Bailey.
But despite the passage of The Social Evils Act of 1870 making her business legitimate for a brief time, she was shut out of polite society, even with the town’s upper crust, political bigwigs and business scions her patrons. Ye olde double standard.
In fact, the law was detrimental to the women – denied habeas corpus (unlawful detention) to women arrested for prostitution and had a fee/tax instituted, not to mention unlimited police power to search homes and people. Aren’t we having this discussion now about who has control over women’s bodies?
The women who worked for Eliza that she nurtured and took good care of get more attention this go-round. Their personal experiences are woven in, and Haycraft seems more of a supporting – but integral – role.
As she has in all three versions, Kimmie Kidd owns the role, and commands the stage. Kidd is well-known for her star power on local stages, and she shines here as a smart, pragmatic, trailblazing woman. She has two richly textured solos – “Friends” and “Dinner for One.”
Kidd knows how to sashay and make her mark. She also joins her girls in a robust “The Grateful Imposter” finale.
Taken under her wing are a spunky quartet – Adrienne Spann as gutsy Billie, Lillian Cooper as naïve Tennie, Avery Lux as agreeable Ripley, and Rachel Bailey as jaded Calista bring sass and spirit to the working girls.
Rachel Bailey as Calista. Photo by Cady Bailey.
They are also devoted to Eliza, as their song “It’s Because of Eliza” indicates. Haycraft empowered them by allowing them to refuse service to anyone. She had three simple rules: Respect, Consent and Pay Up Front. She also believed “No debts among women.”
They support themselves through prostitution but assert independence at a time when they have few legitimate rights. Girl power ahead of its time, and this show leans into that.
Adrienne Spann, whose star is on the rise, brings ambitious Billie to vivid life in such songs as “Another Fence” and her solo “Joy.” Her character is a composite of historically strong women, including an escaped slave who disguised herself as a man to fight in the Union Army.
Rachel Bailey has found a niche in playing outspoken, sagacious women, and Calista is a bold version of that. Her spidey sense is revealed in an exchange with Mercy that leads to the new number, “La Fille Evanouie.”
Think of Calista as the tough-love mom with a world-weary view of life, but ever the intuitive and shrewd woman looking out for herself.
With Calista, the feisty group numbers include “Special,” “The Great Imitator,” “It Feels So Good” and “Another Pastime.”
Adrienne Spann sings “Another Fence.” Photo by Cady Bailey.
The young Tennie and Ripley appear to be squabbling, but through their journey, grow up under the ladies’ influence. Their characters are not as distinct as the others, but Lillian Cooper and Avery Lux are energetic, enthusiastic performers.
The new downtrodden kid in town, actress Mercy Jones, is hiding a secret, but Madam takes a shine to her, and she ingratiates herself into the quarters. They all have one thing in common, though – dreaming of a better life.
Jade Cash is mysterious as Mercy – we are kept off-guard but sense her conflicted nature. She announces her intentions in her solos “Man with Money” and “Star.” She joins the working girls for the playful “Love is Work.”
When she has a change of fortune in the second act, she joins the girls in the opener “Mercy’s Empire.”
Unbeknownst to the other girls, Mercy is the sister of The Benefactor, an over-the-top villain modeled after dastardly vaudeville archetypes. In a departure from his usual likable protagonist roles, Dustin Petrillo oozes unctuousness, no scruples detectable.
He lusts after the downtown property so he can amass more power through the St. Charles Street real estate, and resorts to nefarious tactics. Petrillo is dynamic – and depraved — in “All the Money in the World” and duets with Kidd in the power play “All of This Goes Away.”
Dustin Petrillo as The Benefactor. Photo by Cady Bailey.
Accomplished composer Colin Healy and his dedicated creative partner, multi-faceted Bradley Rohlf, have rewritten, reworked and re-mounted the musical at their Greenfinch Theater and Dive Bar for Fly North Theatricals.
It’s Healy’s sixth original musical, and he not only wrote the music, infusing the score with St. Louis-flavored blues and jazz, but also the lyrics and book.
After a workshop at COCA, the musical was staged in 2019 at the Bluff City Theater in Hannibal, Mo., which commissioned the work. Fly North mounted it here in January 2020 at the .Zack.
This update has slashed six songs and reconfigured others to make the show tighter. While the vocalists harmonize well, one of the drawbacks was the sound was too loud for the space during Saturday, July 26, presentation.
That, and this current reliance on singers trying to be powerful when in fact it becomes a cross between screaming and belting, or ‘screlting,’ to the detriment of pleasant-sounding melodies.
The repetitive nature of this new direction detracts from the likable performers’ commitment to their parts, not to mention strain on voices.
The streamlined musical numbers also benefit from Cady Bailey’s choreography, with an exceptionally skilled Lux standing out as a well-trained dancer.
While the songs have strong rhythmic hooks and clever lyrics, the book could still use some tweaking. A few plot threads are muddled, including Calista’s illness (real or fake?) , what is so attractive about Eliza’s location and some unanswered questions in a desire to wrap the show up.
Jade Cash as Mercy Jones. Photo by Cady Bailey
In the two previous versions, Mercy and The Benefactor were husband and wife. This version is stronger by making them siblings.
For this production, director Sam Hayes keeps the pace brisk, the women alert and enabled, and makes sure each has moments to shine.
As costume designer, too, they also adorned the characters in eye-catching finely textured outfits and finery that enhances the show’s visual appeal.
Healy is the musical director and Rohlf is the technical director and lighting designer. Both worked on the set design, which created a homey, cozy feel with a parlor and bedroom for Calista in the intimate space.
Katie Orr painted the set with its intricate stencil work, Kel Rohlf gathered the period props, and Dizzy Funke was production and stage manager, with Dereis Lambert production assistant and light board operator. Aslyn Damerval was the dramaturg and Rhiannon Creighton the intimacy coordinator.
Shining a spotlight on a prominent but little-known 19th century woman, “Madam” is an alluring musical that draws potency from its modern parallels. The one-of-a-kind Haycraft is worth researching to find out more about a well-lived life.
A lovingly crafted piece presented with sincerity and obvious talent, one hopes it finds a way to flourish and prosper, much like the title character deserved.
Fly North Theatricals presents “Madam” from July 25 to Aug. 10, with performances at 7:30 p.m. Thursday through Saturday and 2 p.m. Sunday at the Greenfinch Theater and Dive Bar, 2525 Jefferson Avenue. For more information, visit www.flynorth.org.
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.
