Lynn Venhaus

Total Post: 1287

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

‘Bruised’ Pummels With Melodramatic Misery, Cliches

‘Bruised’ Pummels With Melodramatic Misery, Cliches

By Lynn Venhaus

“Bruised” is a cliché-riddled and formulaic sports story that strives to be a “Million Dollar Baby” or “The Wrestler,” but pales in comparison, offering little inspiration and few reasons to care.

Halle Berry took over acting and directing duties as the story switched from a troubled white Irish Catholic woman to a down-and-out middle-aged black fighter, but she doesn’t bring anything new to the genre. She plays a thoroughly unpleasant person who has consistently made bad choices and it is an uphill battle to convince us that this time she is really going to get her life together.

Of course, that is why everyone has counted her out. She has fallen into the gutter on the inner-city streets of Newark, N.J.

Berry won an Oscar nearly 20 years ago for her searing performance as grieving mother Letitia in “Monster’s Ball” and had been on a hot streak, wowing in her Emmy-winning title role in “Introducing Dorothy Dandridge” in 1999. Unfortunately, despite high-profile roles in James Bond’s “Die Another Day,” as Storm in “X-Men” and as DC villainess Catwoman, she has not given another performance remotely close to her Oscar winner since then.

“Bruised” is the kind of gritty, unglamorous role that actresses find irresistible – and to her credit, she met the physical challenge with a ferocity and is believable in fight scenes, although those are poorly choreographed.

In a movie that wastes considerable time, first-time feature screenwriter Michelle Rosenfarb has piled on the melodramatic misery with every possible stereotypical character in tired, predictable situations.

The quick-tempered Jackie, fueled by rage and regret, is a substance abuser, absentee mom, horrible girlfriend, bad daughter, unstable nanny and unsympathetic female who has frittered away opportunities to do better in life.

She boozes and brawls with abusive alcoholic boyfriend-manager Desi (Adan Canto), and gets little sympathy about her life choices and predicaments from her pill-popping mother Angel (Adriane Lenox). Their difficult relationship mostly consists of shouting matches. Oh, and her 6-year-old son is mute from trauma.

So, naturally, her fighting spirit resumes when Manny shows up –using a cute kid for the 800th time in a movie to propel the heavy-handed action. Although Danny Boyd Jr. is adorable, his unfortunate character gets stuck with this hot mess because there is no alternative after the sudden death of his father. It’s practically child abuse watching her screw up so many times – but wait for it – she learns how to be a Mom.

Though, taking the kid to the movies and eating popcorn while music plays does not smooth over what she has put him through — except to soften the story. To wrap up 2 hours and 9 minutes of a mostly bleak and brutal narrative with a gooey-sticky sweet ending is ridiculous but expected.

Those who enjoy Ultimate Fighting Championship bouts may find “Bruised” passable, especially with UFC Women’s Flyweight Champion Valentina Shevchenko playing Lady Killer, whom Jackie faces in the Octagon in the final showdown.

But it would have helped for the writer to create characters that we haven’t seen many times before. For instance, Shamier Anderson plays Immaculate, a fight league promoter, who recruits Jackie, and the grueling training begins. Her shape-up team includes Sheila Atim as Bobbi “Buddhakan” Berroa, a tough instructor with a Zen-like approach and veteran character actor Stephen McKinley Henderson as a grizzled trainer named Pops.

Despite what it might look like on the surface, this raw underdog story is not the comeback vehicle Berry fans might have hoped for – and leaves viewers feeling pummeled.

“Bruised” is a tough film to watch, let alone like.


“Bruised” is a 2020 sports drama directed and starring Halle Berry. It also stars Danny Boyd Jr., Adriane Lenox, Adan Canto, Sheila Atim, Shamier Anderson and Bobbi Berroa. It is rated R for pervasive language, some sexual content/nudity and violence and has a run time of 2 hours, 9 minutes. Lynn’s Grade: D. It is in selected theaters Nov. 19 and streaming on Netflix beginning Nov. 24.

Single Tickets to ‘Hamilton’ at the Fox Go On Sale Nov. 29

Single Tickets to ‘Hamilton’ at the Fox Go On Sale Nov. 29

Producer Jeffrey Seller and the Fabulous Fox Theatre announce today that single tickets for HAMILTONwill go on sale to the public on Monday, November 29 at 10:00 a.m. at MetroTix.com or by calling 314-534-1111. The Fox Box Office will be open from 10:00 a.m. – 2:00 p.m. on Monday, November 29, but is not open daily on a regular basis. Tickets will be available for all performances April 12 – May 15, 2022.   

There is a maximum purchase limit of eight (8) tickets per account for the engagement. When tickets go on sale, prices will range from $49 to $179 with a select number of premium seats available from $199 for all performances.  Once Hamilton opens, there will be a lottery for 40 $10 seats for all performances. Details will be announced closer to the engagement.

Jeffrey Seller notes, “It’s tempting to get tickets any way you can. There are many sites and people who are selling overpriced, and in some cases, fraudulent tickets. For the best seats, the best prices and to eliminate the risk of counterfeit tickets, all purchases for the St. Louis engagement should be made through MetroTix.com.”

HAMILTON is the story of America then, told by America now.  Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. 

With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.

The HAMILTON creative team previously collaborated on the Tony Award®-Winning Best Musical In the Heights.

HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by The Telsey Office, Bethany Knox, CSA, and General Management by Baseline Theatrical.

The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.

The HAMILTON Original Broadway Cast Recording is available everywhere nationwide. The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.

For information on HAMILTON, visit:

●        HamiltonMusical.com

●        Facebook.com/HamiltonMusical

●        Instagram.com/HamiltonMusical

●        Twitter.com/HamiltonMusical

‘tick, tick…Boom!’ Brims With Vitality, Celebrates the Creative Process

‘tick, tick…Boom!’ Brims With Vitality, Celebrates the Creative Process

By Lynn Venhaus

In the loving hands of director Lin-Manuel Miranda, the world will know Jonathan Larson’s name as more than the creator of “Rent,” one of the big-bang bursts in musical theater history, because of this enthralling origin story “tick, tick…Boom!”

Brimming with vitality, this brilliant gem shines spotlighting the creative process and the importance of pursuing your dreams. It is the best musical adapted from the stage since 2012’s “Les Miserables.”

Collaborating with many gifted artists, Miranda, in his feature film directorial debut, broadens this early work to appeal to the dreamer in all of us. We can relate to Larson as a visionary full of doubt, anxiety, and drive, who had a unique voice that was meant to be heard. Filled with passion, he pushed on, despite many obstacles in his way.

The young composer revolutionized theater with “Rent,”, but tragically, did not live to see the first Off-Broadway preview performance, because he died that day, Jan. 25, 1996, suffering an aortic dissection. He was 35. Five years earlier, he was writing a musical called “Superbia,” loosely based on George Orwell’s “1984” and full of angst about turning 30. He turned that experience in a rock monologue, “30/90,” which was later renamed “Boho Days” and finally “tick, tick…Boom.”

In this adaptation of that autobiographical musical, Jon (Andrew Garfield) is waiting tables at a New York City diner in 1990, and feeling pressure from his dancer-girlfriend Susan (Alexandra Shipp), his best friend Michael (Robin de Jesus), who traded in an artistic life for one of financial security, and people helping him put on a showcase of his work.

Meanwhile, a community is being ravaged by the AIDS epidemic. With the clock ticking, Jon is at a crossroads. He wonders what he is meant to do with the time he has.

In his most revelatory screen performance to date, Tony winner and Oscar nominee Garfield displays Larson’s virtuosity and bravado. He embraces the music numbers with abundant zest and connects with Alexandra Shipp as his exasperated girlfriend and Robin de Jesus as his frustrated friend.

The sharp script was written by Steven Levenson, who won a Tony for “Dear Evan Hanson.” The adage “write what you know” is a running theme – and one can see Larson’s style evolving, and his various influences throughout.

“30/90” deals with his feelings about growing older without much to show for his songwriting efforts. Envious of his friend’s luxurious life, he and Robin de Jesus have fun with “No More.”

In one of the musical’s stand-out pieces, “Sunday,” as conducted by Jon, is both an homage to revered composer Stephen Sondheim and a salute to artistic vision. The legendary Sondheim, who was a tremendous influence on Larson, is deftly underplayed by Bradley Whitford.

Several members of the original cast of “Rent,” as well as performers from Miranda’s masterpiece “Hamilton,” many Broadway legends and Tony winners have a shared moment in a Sunday brunch scene. It’s a “Where’s Waldo?” panoply of talent that you’ll want to stop and rewind over and over.

The film’s ensemble is tight, and several singers have stand-out moments – with Vanessa Hudgens singing her heart out as Karessa in “Come to Your Senses,” the show-stopping song that Larson finally pens after excruciating writer’s block episodes.

Another heart-tugging number is “Why,” when Jon plays an old rehearsal piano at the closed Delacorte Theater in Central Park.

If you are unfamiliar with “Rent,” now being celebrated in a national 25th anniversary farewell tour, this musical about Bohemians struggling with life, love, and AIDS in the East Village, won Larson the Pulitzer Prize and three Tony Awards posthumously. It ran on Broadway until 2008, and is the 11th longest running musical of all-time.

But early versions of “tick, tick…Boom!” came before  — and after. Playwright David Auburn revised it after Larson’s death as a piece for three actors (Jon, Susan, and Michael). It premiered off-Broadway in 2001, with Raul Esparza winning an Obie Award in the leading role. It has been performed in London’s West End, with Neil Patrick Harris, and at many other theaters since it was revamped. An Encores! Off-Center production in 2014 featured Miranda, Leslie Odom Jr. and Karen Olivo.

Miranda, who said seeing “Rent” on his 17th birthday changed his life, was born to direct this. He gets it – kids with dreams, brimming with ideas. He was one of those kids — and went on to win Tony Awards for “In the Heights” and the cultural phenomenon “Hamilton.” (You can spot him, too, at the diner. And his Disney animated musical “Encanto” is out in theaters Nov. 24).

As sad as Larson’s untimely death was, this film is full of joy – a tribute tp one of the great talents of the 20th century. Because his death is believed to have been caused by an undiagnosed Marfan syndrome, more attention has been given to this condition. (And the struggles of low-income folks lacking health care).

Today, the Jonathan Larson Performing Arts Foundation, established by family and friends, provides monetary grants to artists, with a particular emphasis on musical theatre composers and writers.

This support for creative work is now administered by the American Theatre Wing because of an endowment funded by his family and the foundation. Who knows how many fellow starving artists Larson inspired to write the next great American musical?

His memory and his impact lives on – and his “Rent” lyrics eerily resonate: “No Day but Today.”

“tick, tick…Boom!” is a bittersweet rumination on art and inspiration, and Miranda has made it both personal and universal.

“tick, tick…Boom!” is a 2021 Musical Biopic directed by Lin-Manuel Miranda and starring Andrew Garfield, Alexandra Shipp, Robin de Jesus, Joshua Henry, Bradley Whitford, and Judith Light. It is rated PG-13 for some strong language, some suggestive material and drug references and runs 1 hour, 55 minutes. It opened in select theaters on Nov. 12 and started streaming on Netflix Nov. 19. Lynn’s Grade: A.

Cast Aces Williams’ Sisters Rise as Superstars in ‘King Richard’ Biopic

Cast Aces Williams’ Sisters Rise as Superstars in ‘King Richard’ Biopic

By Lynn Venhaus

Anyone’s journey on how we become who we are can be turned into a compelling narrative in the right hands, and while the remarkable life story of tennis superstars Venus and Serena Williams is tailor-made for a Hollywood adaptation, not every inspiring sports champion transfers well to screen.

However, “King Richard” has the right blend of drama and action to be fascinating – and for 2 hours and 18 minutes, that’s quite an achievement.

Richard Williams developed a 78-page plan for his daughters, Serena and Venus, to become championship tennis players. The father coached the girls while he worked as a security guard, and they played on the public tennis court in their Compton​ neighborhood. They would become superstars and dominate the sport.

Making the sisters’ fierce taskmaster and protector father, Richard, the centerpiece was absolutely the right move – and hinges on a deftly modulated performance from Will Smith.

After a disappointing string of box office duds, Smith is back in championship acting form – not just a movie star cavorting in front of green screens. His masterful portrayal of the complicated and driven patriarch is his comeback to awards season discussion, and may result in his third Oscar nomination, not since “The Pursuit of Happyness” in 2006.

He nearly disappears into the obsessively focused dad role wanting a better life for his children, molding his kids through methods he conceived, abrasive about status differentials and always being on the outside looking in as a black man in America. He nailed Richard’s dialect (he grew up in Louisiana) and his shape, gaining weight to physically mimic a big, strong guy.

Richard’s tennis-loving daughters Venus and Serena were eager pupils – and dreamers. Under his tutelage, they learned how to develop minds of a champion, not just the exceptional athleticism.

Young actresses portraying the sisters easily win us over – Saniyya Sidney, 15, as eldest Venus, the family’s first ​competitive and tournament-bound player, and Demi Singleton, 14, as powerful younger up-and-comer Serena.

They capably show us the hearts and minds of the prodigies-turned-pro, and it’s an interesting progression ​into ​to the trailblazers they became.

The sisters’ well-documented steely determination remains impressive. Any casual sports fan knows of the Williams girls’ impact on tennis. The numbers (shown over the credits while Beyonce sings “Be Alive”) are testament: a combined 30 Grand Slam titles, with Serena’s 23 singles titles only one behind the record, and four Olympic medals.

Screenwriter Zach Baylin concentrated in equal measures on family life and competition, and details rising star Venus’ advancement in the sport, leading to her turning pro at age 14. We don’t get past the mid-90s, with Oracene eventually divorcing Richard, ​the girls ​racking up big wins and endorsements, — and is minus any tennis feuds or controversies.

Director Reinaldo Marcus Green adroitly unfolds the challenges the Williams faced from the streets of South Central L.A. to the pristine upper-echelon scenarios and the daunting majors. But he also works in the close-knit family’s playfulness.

The competitive tennis action is ​very​ realistic, making you feel you are getting an authentic depiction of tennis matches on courts in neighborhoods, country clubs, training camps and Grand Slam tournaments. Cinematographer ​Robert Elswit ​handled the challenges superbly – and the young actresses used the Williams’ trademark open stance.

Aunjanue Ellis excels as Oracene “Brandi” Williams, the supportive mom who holds her own with Richard and the kids, as there were ​her ​three other ​daughters Yetunde, Isha and Lyndrea Price). The warm portrayal of the family unit adds a heartfelt element.

As larger-than-life tennis coach Rick Macci, Jon Bernthal lays on a thick New Jersey accent, an intense attitude, and is good at being exasperated by a tough Richard – as they are both hell-bent on doing it their way. Macci runs the tennis academy in Boca Raton, Fla., where the Williams’ trained after moving from California.

Tony Goldwyn portrays the practical Paul Cohen, who coached John McEnroe, Pete Sampras, and other pre-eminent pros, as a straight shooter. Cohen was the first coach who took on the girls after their dad realized they had to reach another level.

Both Cohen and Macci recognized the Williams’ sisters’ talent and groomed them to become pros while tussling with their dad. Their perspective is necessary to key components in the coming-of-age story.

The crowd-pleasing movie has all the beats of a good sports biopic and ​features ​the acting skills to captivate.

“King Richard” reminds us of how much hard work goes into becoming professional athletes and the against-the-odds obstacles the Williams’ faced and overcame. It’s easy to forget all the doors that Venus and Serena opened for other girls – and this film honors their father’s vision.

“King Richard” is a 2021 sports biopic directed by Reinaldo Marcus Green and starring Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn and Jon Bernthal. It is rated PG-13 for some violence, strong language, a sexual reference, and brief drug references and runs 2 hours, 18 minutes. It opens in theaters and streams on HBO Max beginning Nov. 19. Lynn’s Grade: B+

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

By Lynn Venhaus

Just in time to ride an ‘80s nostalgia wave, “Ghostbusters: Afterlife” is a sentimental link to the 1984 blockbuster hit, an opportunity to pay tribute to the late Harold Ramis, and a reason to get the band back together.

In a nod to the film’s enduring connectiveness, director Jason Reitman is the son of Ivan Reitman, who helmed the original. He juggles the comedy, horror, and action with a special fondness for the source material. The wit is there – however, the supernatural plot is a tad sketchy at times, and the go-bigger visual effects are extended too long.

Summerville, Okla., is where Dr. Egon Spengler spent his final days, and after his death, his estranged daughter Callie (Carrie Coon) and her two children, ages 12 and 15, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), arrive to check out the old house that is now theirs. They discover their connection to the “Ghostbusters” parapsychologists who removed ghosts in New York City and learn about the secret legacy Egon left behind.

To make it both sweet and fun, the younger Reitman – who also co-wrote the script, along with Gil Kenan (Oscar nominee for animated feature “Monster House” in 2006) – realizes this is an opportunity for a full-circle moment. He even maintains a retro look when possible.

After all, his father started the franchise off, which includes a 1989 sequel, two animated series (“The Real Ghostbusters” and “Extreme Ghostbusters”), comic books, video games “Extreme Ghostbusters: The Ultimate Invasion” and “Ghostbusters: Sanctum of Slime,” music, and a female reboot in 2016, not to mention logo and merchandise tie-ins.

The elder Reitman formed Ghost Corps with Dan Ackroyd to explore expanding the “Ghostbusters” universe, and both are producers on this second sequel.

The affection for these characters is obvious. It’s a glorious moment to see quippy marketer Dr. Peter Venkman, earnest technician Dr. Ray Stantz and steady ex-Marine Winston Zeddemore strap on the proton packs and help save the day.

As much older versions of their leaner, faster selves, Bill Murray, Dan Ackroyd and Ernie Hudson strike the right tone re-emerging as the characters who helped them become pop cultural legends. Missing their brainy partner Egon is certain to leave some misty-eyed. Although he wasn’t as prominent initially as the trio of doctors, Winston’s growth is noteworthy this time.

Appearances by Annie Potts as former assistant Janine Melnitz and Sigourney Weaver briefly as elegant Dana Barrett add to the heartfelt glow.

The towering Stay-Puft Marshmallow Man is referenced in mini-versions who break out on the shelves of a big-box store. In a standout scenes, the adorable puffs wreak havoc and have unfortunate calamities involving flame-roasting and S’mores.

The Ecto-mobile returns, as do containment units and traps, and other vintage paraphernalia. It’s a sight for sore eyes.

The likable young cast enlivens the old story through fresh eyes and an abundance of energy, with “Stranger Things” actor Finn Wolfhard engaging as skeptical grandson Trevor and Mckenna Grace endearing as smart STEM kid Phoebe, the granddaughter who is a chip off the old block. Grace, a veteran of “Young Sheldon” and “Fuller House,” is a natural actress that draws audiences in to her character.

Supporting cast includes Celeste O’Connor, so memorable in “Selah and the Spades” and “Freaky,” as local carhop Lucky that Trevor likes and Logan Kim is funny as the talkative Podcast, who is both a sleuth and a science whiz, that makes friends with Phoebe.

As the leads, the revered Carrie Coon, more known for serious stage and screen work (like Weaver was before the original), is Egon’s abandoned daughter and struggling single mom Callie. She and newly crowned “Sexiest Man Alive” Paul Rudd, who plays teacher Gary Grooberson, are thrown together in a dating scenario that’s a stretch. Comic gold Rudd, with his appealing boyish charm, is the lazy summer school faculty who pops in VHS tapes of old scary movies.

Their respected skills help them turn into the gatekeeper and the keymaster, Zuul and Vinz, although this element gets ridiculous rather quickly. The demonic dogs do the bidding of Gozer, the shape-shifter destructive enemy from the first one, whom wealthy mine owner and land baron Ivo Shandor (J.K. Simmons) had a cult-like devotion to 37 years ago – and started the whole shebang. He’s entombed in an abandoned mine that’s a haven for paranormal activity.

While he has been gone for eight years, the talents and appeal of Harold Ramis looms large over this production, and modern technology enabled the salute to have sincere emotional pull.

Second City alum Ramis, who not only starred as the intellectual Egon but co-wrote the original, first worked with Ivan Reitman on “National Lampoon’s Animal House” in 1978 and went on to write “Meatballs,” “Stripes” and two “Ghostbusters” that he helmed.

A proud graduate of Washington University in St. Louis who stayed active as an alum, Ramis died in 2014 at age 69 from complications of autoimmune inflammatory vasculitis. He is acknowledged as one of the most gifted comedy writers of his time.

At 2 hours and 4 minutes, the film could have connected the dots better between post-big city Egon and his new saving-the-world mission in the middle of nowhere.

 The dirt farm setting seems an odd choice when New York City was such a major part of the storytelling back in the 1980s. In fact, the original is cited for contributing to the perception shift to a more positive outlook about the Big Apple.

The scientific mumbo-jumbo exposition starts wearing thin when the good and evil forces collide in a battle royale for souls, as dark clouds swirl and electrical currents go berserk. But then, the cavalry arrives.

The joy at seeing Peter, Winston and Ray is palpable, and hearing the effervescent “Ghostbusters” theme song, a chart-topper for Ray Parker Jr., induces warm and fuzzies.

Reitman, a multiple Oscar nominee for directing “Juno” and “Up in the Air” (writing and producing too), has crafted a work from his heart to fellow fans reconnecting with their childhood heroes.

Yet, he has dispensed gluttonous Slimer for corpulent Muncher. Nevertheless, the movie provides a family-friendly vibe and a satisfying throwback – at least enough to make you want a Hi-C Ecto-Cooler.

“Ghostbusters: Afterlife” is a 2021 comedy directed by Jason Reitman and starring Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace, Dan Ackroyd, Ernie Hudson, and Bill Murray. It is rated PG-13 for supernatural action and some suggestive references and runs 2 hours, 4 minutes. It opens in theaters Nov. 19. Lynn’s Grade: B-

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

By Lynn Venhaus
Filled with whimsy and good cheer, “A Year with Frog and Toad” is a delightful example of clever staging and accessible theater for multi-ages.

The innovative Fly North Theatricals is presenting this sweet, sentimental show about friendship for free to all who can show their vaccination card and matching ID at the door. No ticket needed but there is limited seating because of social distancing.

The musical continues this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. at The Marcelle Theatre in the Grand Center Theatre District.

Colin Healy and Bradley Rohlf, two creatives who founded Fly North Theatricals in 2019, are making sensible, affordable art and have established a Theatre for All initiative as part of their mission.

In this make-believe adventure, they are doing double-duty as the two amphibious leads. Rohlf plays the popular perky Frog while Healy is the grumpy worry-wart Toad as they journey through four seasons.

They are joined in their woodland by a Snail, Turtle, Bird, Mouse, Mole and several other frogs. The young actors playing these characters sing and dance in musical numbers that recall vaudeville and merry make-believe.

The students of Fly North, who take voice and/or dance lessons, are cast members who bring a youthful energy to the production: Claudia Taylor, Trey Perlut, Ella Penico, Aislyn Morrow, Sarah Brown, Aiden Gildehaus and Julie Harris.

Earnestly directed by Alicia Like with a young audience in mind, she keeps the 85-minute show bright and breezy. Music Director Jermaine Manor smoothly kept the focus on entertaining all ages.

Their year begins in the Spring, as they wake from hibernation. They plant gardens. They swim in the Summer, rake leaves in the Fall and go sledding in the Winter.

As the two best friends celebrate their differences that make them unique and special, they learn life lessons along the way. In a non-cloying way, they tackle anxiety and fears – blissfully free of corny cheesy jokes.

The musical, based on the beloved children’s book series by Arnold Lobel, was nominated for three Tony Awards in 2003, including Best Musical. Because of its success, it was heralded as mainstreaming a children’s production as “regular” theater.

An enchanting score by brothers Robert and Willie Real is brought to life by conductor Jeremy Jacobs, also on keyboards, who leads the four -piece band with aplomb. Luke Mankovich is on reeds, Jacob Mreen on bass and Matthew Clark handles percussion.

Choreographers Angela Brandow and Carly Niehaus used a light touch in the peppy numbers to keep the show up-tempo and fun.

Stellar work is evident from light board operator Mason Hagarty and sound board operator Matthew Garrison, with fine lighting and strong sound without any difficulty.

Lauren Perry has designed the simple set with imagination in mind while costumer Sam Hayes mixed 19th and 20th century outfits and included animal accoutrements, like turtle shells, when necessary. Old-timey hats complete Frog’s and Toad’s appearances well.

An appealing romp for those young at heart who see imagination as a wide canvas, “A Year with Frog and Toad” is a good way to ease back into bringing young people to the theater. And watching such a cheerful presentation will make you smile underneath your mask!

To support their “Theatre for All” initiative, find out more: https://www.flynorthmusic.com/theatre-for-all

And/or attend their VIP fundraising brunch on Sunday, Nov. 14. Doors open at 11 a.m., and each ticket comes with one reserved seat for the closing performance of “A Year with Frog and Toad.”

The brunch will include a Breakfast Taco Bar from The Fifth Wheel of the Bailey’s restaurant family, bottomless mimosas and coffee and performances from cast members. The Studio Open House will be at 3617 Grandel Square in St. Louis.

Tickets are available on their website and all proceeds go toward future productions and resources for FNT students. Single tickets are available for a $100 minimum donation.

Part of FNT’s mission of promoting education through performance is to involve the students of its private voice and dance studio on and off stage in every show. This production has students work alongside their teachers to produce something wacky, fun, formative, and memorable. For more information, visit www.flynorththeatricals.com

NOTE: In accordance with the Kranzberg Arts Foundation’s recent COVID policy update, all attendees of “A Year with Frog And Toad” must show proof of COVID-19 vaccination or a recent negative test conducted less than 72 hours prior for admittance.

Lottery Announced for ‘Rent’ 25th Anniversary Tour at Stifel Theatre Nov. 17

Lottery Announced for ‘Rent’ 25th Anniversary Tour at Stifel Theatre Nov. 17

Stifel Theatre announced today that seats in the first rows of the orchestra section will be available for $23 (inclusive of facility fee) for the Wednesday, Nov. 17 performance of RENT, the Pulitzer Prize and Tony Award-winning musical.

The $23 tickets are available for in-person purchase at the Stifel Theatre Box Office, located at 1400 Market Street, on the day of the performance only, starting two hours prior to the show – 5:30 p.m. The $23 tickets are limited to two tickets per person.

The tradition of these tickets began in 1996 in New York when the show moved to Broadway after a sold-out run in a small downtown theatre. The producers of the show are committed to continuing the tradition of offering these orchestra seats in each city the show will play.

RENT performs at Stifel Theatre Wednesday, Nov. 17 at 7:30 p.m. 

For general ticket information, call the Stifel Theatre Box Office at 314-499-7600. The Stifel Theatre Box Office is open on event days only. For guests wanting to purchase tickets outside of the RENT Rush offer, they may do so at the Enterprise Center Box Office Monday – Friday, 10 a.m. – 5 p.m. or .https://www.ticketmaster.com/event/06005B359474349F

For more information, visit: www.rentontour.net

Facebook/RentOnTour  | Twitter.com/RentOnTour | Instagram.com/RentOnTour

Documentary ‘Ferguson Rises’ on PBS Nine Nov. 8 Preceded by Town Hall

Documentary ‘Ferguson Rises’ on PBS Nine Nov. 8 Preceded by Town Hall

The documentary, Ferguson Rises, shines a spotlight on the town that inspired a new global civil rights movement and chronicles a father’s journey as he grapples with the pain of losing a son. 

Ferguson Rises, winner of the Tribeca Film Festival Audience Award, makes its U.S. broadcast premiere on Independent Lens, November 8, at 9 pm, on Nine PBS. Viewers can join the conversation on Twitter using hashtag #FergusonRisesPBS and a virtual town hall takes place before the premiere (see details below). The film will also be available to stream free after broadcast on the PBS Video App for a limited time.  

The film explores the depths of the protests following Michael Brown Jr.’s killing in August 2014 through the eyes of his father, Michael Brown Sr., and other voices in the community: residents, police officers, business owners, and activists who took to the streets in protest for more than 400 straight days.  

Strikingly different perspectives come to the forefront of the film. In interviews with both opponents of the Black Lives Matter movement and the activists leading it, audiences see a glimpse of the polarizing emotions that are still ingrained in justice reform conversations today. At the center of the documentary is Michael Brown Sr., who talks about his son’s death and the ways he overcame the pain that engulfed him and his family in the years that followed. 

“I hope that through the stories of Michael Brown Sr. and the community of Ferguson, we can learn not to judge things and people on a surface level. And, perhaps most importantly, I hope the film reminds America of all that they can learn from Black people when it comes to resilience, strength, and faith. With this mindset, we can then stop harping on the pathologies of Black Americans and, rather, focus on honoring their contributions,” says filmmaker Mobolaji Olambiwonnu. 


Help provide a local perspective on the national conversation around this film by joining our Twitter chat during the broadcast of the film using #FergusonRisesPBS.
Monday, November 8, 9 pm
Watch on PBS and the PBS Video app starting at 10/9c.

Register for Virtual Town Hall before the Premiere
Join Michael Brown, Sr., film director Mobolaji Olambiwonnu, and a constellation of changemakers to discuss how communities can help mend the wounds of racialized violence. Trained facilitators will share tools for communicating across differences to explore our common humanity. The virtual town hall culminates with a special appearance by Grammy-winning artist Aloe Blacc performing “Other Side,” whose single is featured in Ferguson Rises.
Monday, November 8, 6–7:45 pm

https://www.eventbrite.com/e/finding-purpose-within-pain-ferguson-rises-virtual-town-hall-tickets-178856553767

he documentary Ferguson Rises charts Michael Brown, Sr.’s emotional journey to find purpose within pain after a Ferguson, Missouri police officer killed his teenage son Michael, Jr. in 2014. In the film, we witness what happens when a Black father and an entire community grapples with the hard and urgent work of seeking accountability.

Leading into the PBS premiere of Ferguson Rises on Independent Lens, join Michael Brown, Sr., film director Mobolaji Olambiwonnu, and a constellation of change makers to discuss how communities can follow Mr. Brown’s footsteps along a path toward purpose—and help mend the wounds of racialized violence along the way.

Trained facilitators will share tools for communicating across differences as we explore our common humanity and shift entrenched narratives that stoke cycles of trauma. Throughout the town hall, we’ll view scenes selected from Ferguson Rises that spark conversation around topics that include:

  • How can we build trust across differences?
  • How can documentaries shape the conversation on racial violence in America?
  • Getting in touch with unconscious bias as a way to limit harm
Alyssa Grinder photo

The virtual town hall culminates with a special appearance by Grammy-winning artist Aloe Blacc performing “Other Side,” his single featured in Ferguson Rises.

Register here. Instructions on how to join the virtual town hall will be emailed to you two days prior to the event.

ASL interpreters will be present during the panel discussions and film clips will be closed captioned.

Speakers:

  • Sherry Simpson, ITVS, Sr. Director of Engagement & Impact Innovation (moderator)
  • Mobolaji Olambiwonnu (filmmaker, Ferguson Rises)
  • Michael Brown Sr. (Chosen For Change)
  • Reverend Osagyefo Uhuru Sekou (Organizer)
  • Theopia R. Jackson, Ph.D (Past President, The Association of Black Psychologists, Inc. and Chair, Clinical Psychology Degree Program, Saybrook University)
  • Reverend Renita Marie Green (Former Pastor, St. John A.M.E. Church)

Special appearance by:

  • Aloe Blacc
  • Resistance Revival Chorus

The Film

Ferguson Rises explores the depths of the aftermath and protests following Michael Brown Jr.’s killing through a wide range of community members: from Black and white residents to police officers, to business owners, including those who chose to say “enough is enough” by taking to the streets for a record 400 days straight. This varied chorus of perspectives is interwoven with an intimate portrayal of a Black father’s grief and resilience that bears witness to the human capacity to find purpose within pain.

Ferguson Rises premieres on Independent Lens Monday, Nov. 8.

About Nine PBS 

As an essential community institution, Nine PBS exists to enable access to information, knowledge, and learning opportunities for all. We tell stories that move us. We meet people where they are the most comfortable consuming content. Nine PBS’s platforms include four distinct broadcast channels (Nine PBS, Nine PBS KIDS®, Nine PBS World, and Nine PBS Create), ninepbs.org, social media, the free PBS Video App, streaming services, live and virtual events, and the Public Media Commons. Since 1954, Nine PBS has accepted the community’s invitation into their homes, schools, and businesses. 

About Independent Lens 

Independent Lens is an Emmy® Award-winning weekly series airing on PBS Monday nights. The acclaimed series, with Lois Vossen as executive producer, features documentaries united by the creative freedom, artistic achievement, and unflinching visions of independent filmmakers. Presented by ITVS, the series is funded by the Corporation for Public Broadcasting, a private corporation funded by the American people, with additional funding from PBS, Acton Family Giving, the John D. and Catherine T. MacArthur Foundation, Wyncote Foundation, and the National Endowment for the Arts. For more visit pbs.org/independentlens. Join the conversation: facebook.com/independentlens and on Twitter @IndependentLens. 

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

By Lynn Venhaus
Trying to save the world shouldn’t be boring, but “Eternals” is one big giant yawn — and easily the worst film in the Marvel Cinematic Universe.

Eternals are immortal beings from the planet Olympia, who came to Earth 7,000 years ago, shaping history and civilizations—but are not to interfere with any conflicts or alter human events — unless it’s their nemesis, the Deviants, so says their creator, Arishem, a Celestial.

After what transpired in “Avengers: Endgame” in 2019, these ancient aliens, who have been living in secret, must come out of the shadows and reunite to battle Deviants, their ancient ferocious winged enemy that they thought was vanquished but has reappeared, more vicious than ever. The lines blur between who is good and who is evil.

A cumbersome, confusing, and unexciting plot sets up a battle for world domination, attempts to explain why this course of action is necessary and tries to assert itself in a superhero world.

Question: if they didn’t help when Thanos wreaked havoc, but name-drop Avengers, then why aren’t any of our beloved ‘other guys” there? As they zip around through time, space and continents, The Eternals explain their places and fix things, as rivalries and romances emerge. However, it’s a lot to absorb, and are we caring by now?

The story is based on comic book characters created by Jack Kirby in 1976, and follows the same trajectory of the familiar debates of destiny and free will, and is living forever a blessing or a curse – or both?

The main problem, besides this overblown spectacle feeling average, is a too-large unnecessarily complicated cast that appears based on Greek gods, with riffs on those names. Sersi not Circe, Ikaris not Icarus, Ajak not Ajax — get it?

These generic characters, in various shades of virtuousness and villainy, are created from a grab bag of qualities and mass produced in a comic book assembly line. To its credit, Marvel has assembled its most diverse cast yet, including a gay character who is in a same-sex marriage.

While the ensemble has some very talented and interesting performers – including the versatile Brian Tyree Henry as Phastos, a genius scientist, and the poorly used Barry Keogan, so creepy in his breakout role in “The Killing of a Sacred Deer,” as a very crabby Druig whose superpower is mind control, several are under-utilized. 

Angelina Jolie seems like a waste of money as window dressing playing Thena, who can wield a sword and a spear very well in intense combat but has memory issues. And I couldn’t figure out Selma Hayak’s Ajak, for she is set up as the leader but mystery ensues about her intentions.

While others took on more than they could handle: Gemma Chan is one-note as omnipotent Sersi, who is desired both by her British professor boyfriend  Dane (Kit Harrington aka Jon Snow in “Game of Thrones,” barely in it) and her former lover Ikaris (Richard Madden, also a “Game of Thrones” alum), who is in full swagger mode.

Nevertheless, a few charmed in their roles, including a buff Kumail Nanjiani humorous as Kingo, a Bollywood superstar and Lia McHugh as the shapeshifter Sprite. Don Lee has fun as the hulking Gilgamesh, who has turned into a skilled chef/homebody taking care of Thena.

Phastos’ son Jack is winningly played by Esai Daniel Cross, and Lauren Ridloff is pleasant as the deaf Makkari.

Despite the gifts of Oscar-winning director Chloe Zhao, known for her visual style and was so distinct in “Nomadland,” this film has an undistinguished look. Sure, there are shots of beautiful landscapes, but we’re globe-trotting so much that it begins to look like stock footage advertisers use to entice us on vacations.

She was part of the screenwriting team too, that included Patrick Burleigh and Ryan Firpo. Complex and unwieldy, the script features lots of exposition inserted in between the customary superhero banter.

The soundtrack has some unusual ‘on-the-nose’ choices, including good use of “Time” by Pink Floyd but really, Skeeter Davis’ “The End of the World”?

The computer-generated graphics are repetitive, the battles are bloated, and two hours and 37 minutes later, I could not wait for it to end (and with a Foreigner song?). But you have to stay for the obligatory revelation scene during the credits.

Filmmakers promise that the Eternals will return. I wouldn’t be so presumptuous about that.

“Eternals” is a 2021 action-adventure-sci-fi-fantasy directed by Chloe Zhao and starring Gemma Chan, Richard Madden, Brian Tyree Henry, Angelina Jolie, Barry Keogan, Kumail Nanjiani, Selma Hayak, Kit Harrington, Lia McHugh, Don Lee and Lauren Ridloff. Rated PG-13 for fantasy violence and action, some language and brief sexuality, its run time is 2 hours, 37 minutes. It opens in theaters on Nov. 5. Lynn’s Grade: D.

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

The Muny announced the exciting seven show lineup for its 104th Season in 2022 Thursday.

Joining the previously announced “Disney and Cameron Mackintosh’s “Mary Poppins” and Stephen Sondheim’s masterpiece “Sweeney Todd,” will be the 2021 show “Chicago” cut short and the second premiere, “The Color Purple,” in addition to three fan favorites.

The triumph of the 2021 season returns when six-time Tony Award-winning Chicago kicks of 2022 (June 13 – 19). The salacious turns enchanting with Lerner and Loewe’s Excalibur-sharp classic Camelot (June 22 – 28). Fulfilling two 2020 commitments to the Muny audience: all-time family favorite Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13) will finally soar over The Muny (July 5 – 13), followed by the long-awaited Muny debut of Stephen Sondheim’s spine-tingling musical masterpiece, Sweeney Todd (July 16 – 22). The fabulously fun award-winning musical Legally Blonde (July 25 – 31) bounces back to the Muny stage for its
first production in 11 years. Making its Muny debut, the landmark musical The Color Purple (August 3 – 9) bears a Grammy Award-winning score and moving tale of love, faith, resilience and sisterhood. Closing out the 104th Season is Tim Rice and Andrew Lloyd Webber’s multi-colored family favorite, Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

The seven shows are: Chicago (June 13 – 19), Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd (July 16 – 22), Legally Blonde (July 25 – 31), The Color Purple (August 3 – 9) and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

“Last summer was extraordinary for so many reasons,” said Muny Artistic Director and Executive Producer Mike Isaacson, “and now we will return with our full seven show season, and this extraordinary line-up of shows.”

“More than ever, we are so grateful to be a place where the community gathers each summer,” said Muny President and CEO-elect Kwofe Coleman. “For what will be my first season as President and CEO, I am excited for us to produce a season that reflects the breadth of musical theatre and welcomes audiences from far and wide.”

Season ticket renewals will begin in December, with new subscriptions on sale in March 2022. Muny gift cards for the 104th Season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

Information about auditions for the 2022 Muny season can be found at muny.org/auditions.


Show Descriptions:

Chicago
The triumph of the 2021 Muny season returns! Audiences and critics went “Whoopee!” for last
season’s thrilling production of Chicago. Following an abbreviated run and early close to the
2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater
Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the
town! So re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!

Camelot
The Broadway legend returns for its first Muny production in 13 years! Come re-discover this
powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one
brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a
lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk
Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an
unforgettable (k)night at King Arthur’s Round Table.

Mary Poppins
Based on one of the most popular films ever, Disney and Cameron Mackintosh’s Mary
Poppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking
dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious,
magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love.
With winds in the east and mist coming in, your heart will soar for this enchanting show – and
yes, Mary Poppins will fly over The Muny!

Sweeney Todd
Muny premiere! The spine-tingling American musical masterpiece makes its long-awaited Muny
debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world
with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.
Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award-
winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at
The Muny


Legally Blonde
“Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows
the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law
graduate. Her journey of determination, self-discovery and finding true love receives its first
Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is
ready to “Bend and Snap” for a great time!

The Color Purple
Muny premiere! Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s
landmark film, The Color Purple makes its long-awaited Muny debut! Featuring a Grammy
Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a
testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016
Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of
courage, hope and healing.

Joseph and the Amazing Technicolor Dreamcoat
Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and
the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved
shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor® adventures of Joseph
features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph”
and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a
night of big Muny family joy – with, of course, a megamix!

Muny Mission

The Muny’s mission is to enrich lives by producing exceptional musical theatre,
accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest
outdoor musical theatre, we produce seven world-class musicals each year and welcome over
350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis,
The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.or