This is an “Alien” built on fan service, from its loop of greatest hits to recycling the original’s most famous lines to repurposing familiar tropes. Face huggers? Chest busters? You got it.
The “Romulus” sequel does feel aimed at young viewers new to the franchise, so if you are a longtime fan seeking something fresh and different, “Romulus” may disappoint.
Since Ridley Scott blazed a trail with his terrifying “Alien” science fiction-action-horror film in 1979, three sequels and two prequels have broadened the franchise built on space travelers’ suspenseful encounters with an extraterrestrial species.
These grotesque ooze-dripping creatures called “Xenomorphs” look like a large head atop a giant insect-reptile hybrid spin on the “Creature from the Black Lagoon,” and they remain as terrifying now as when the original just teased the look as the creepy invader of the Nostromo.
Fun fact: Swiss artist H.R. Giger known for his biomechanical style, created the adult form ‘Alien,’ inspired by his painting “Necronom IV,” and won an Oscar in 1980 for being part of the visual effects team.
The image is still the frightening gold standard. Director Fede Alvarez goes much bigger, ramping up the gore and the goo. He focuses on repetitive graphic depictions of these hostile lifeforms in all their stages of growth, multiplying them, showing their gnarly sharp teeth in close-ups and face-to-face encounters.
Scott returns as a producer, after directing two prequels “Prometheus” (2012) and “Alien: Covenant” (2017), handing off directing duties to Alvarez, who displayed strong horror-genre skills with “Don’t Breathe” (2016) and “Evil Dead” (2013), a remake of Sam Raimi’s classic 1981 film.
Cailee Spaeny
“Romulus” takes place between the original’s time and the 1986 sequel “Aliens,” so it’s about mid-22nd century. The story follows a grungy group of intergalactic colonists who want to raid a space station for valuables, but instead discover it is infested with hideous invasive creatures who begin hunting them. Blood spurts, body parts are severed, and the classic Agatha Christie template “And Then There Were None,” kicks into high gear.
Cinematographer Galo Olivares has created an atmosphere that is dystopian-future bleak, and everything’s grimy and dark – and claustrophobic. The young adults have been working at the Jackson Star Colony Mine, on a planet with no sunlight, and it’s a miserable prison-like existence. No wonder they want to escape for space travel.
You surmise as soon as they enter what they think is an abandoned out-of-service spaceship that it’s a bad idea, and most of these savvy techies/space cowboys will either become a host to the endoparasitoids, or shredded to smithereens, suffering elaborate grisly deaths.
While the visuals dominate, there isn’t much character depth in the screenplay by Alvarez and his “Don’t Breathe” writing partner Rodo Sayagues. Instead, they emphasize scare tactics and dangerous situations that the cast must either flee from or figure out a better way for survival.
The movie takes too long to set up, is confusing, and doesn’t quite know how to stick the landing. So, it’s hard to connect with any of them other than the two leads, Rain (Cailee Spaeny) and Andy (David Jonsson), a synthetic android she considers her brother.
The roles are physically demanding because everyone is in fight and flight mode 24/7 and running a lot. Aileen Wu is Navarro, Spike Fearn is her boyfriend Bjorn, Archie Renaux is Tyler and Isabela Merced is his younger sister Kay. Ian Holm, who was in the first movie as Ash, reappears here digitally as an android, but as Rook (note: Holm died in 2020).
In addition to the life-threatening creatures overwhelming the colonists, we are reminded that the megacorporation Weyland-Yutani Corporation is always up to no good. They care more about profits than people, and have been a manipulative villain thread through the series.
Archie Renaux as Tyler and Cailee Spaeny as Rain.
Spaeny, who made a splash last year as the title role in Sofia Coppola’s “Priscilla” and this year in “Civil War,” is in the Ellen Ripley mold of rising to the occasion and becoming the tough and determined heroine. Rain is resourceful, resilient, and compassionate – all the qualities that make for a good protagonist.
Jonsson, who played Gus in the HBO series “Industry,” has the more nuanced, difficult role, and he stands out as the most compelling – switching personalities from a docile, guileless, glitchy “synth” to a smart android who suspiciously knows more than he divulges.
The third act goes on for far too long, and even though the film is 2 hours, it feels longer. Just when you think it’s over, not so fast, and there is one plot twist that’s not just ridiculous, but disgusting and disturbing.
One of the film’s most admirable qualities is that, like “Godzilla Minus One,” they went old-school with the visual effects. Instead of making mostly a heavy green-screen movie, Alvarez employed members of the special effects crew from the 1986 “Aliens” to work on the creatures. They developed animatronics, miniatures and used ‘a guy in a suit’ wherever possible.
The Alien franchise has also spawned video games, a television show “Alien: Earth,” and a crossover series “Alien vs. Predator,” so its staying power is undeniable.
Buried underneath the repulsive monsters and the gruesome situations is a story that needed further investigation. It would have boosted the likability to provide character backstories, and not just rely on nostalgia for what’s gone on before as the driving force.
“Alien: Romulus” is a 2024 science fiction-actor-horror movie directed by Fede Alvarez and starring Caely Spaeny, David Jonsson, Archie Renaux, Spike Fearn, Isabela Merced, Aileen Wu and Ian Holm. It is rated R for bloody violent content and language, and the runtime is 1 hour, 59 minutes. It opened in theatres Aug. 16. 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.
A big-hearted love letter to roots and the people who shape us, “In the Heights” sizzles with a refreshing spark that lights up the expansive Muny stage. You feel the joy.
In an exciting and much-anticipated Muny premiere, this 2009 Tony-winning musical bursts with high-spirited performances and exuberant, inventive choreography that combines salsa, hip-hop, jazz, ballet and Afro-Cuban moves.
Using all the exceptional production tools available at America’s largest outdoor theater, this “In the Heights” will wow the unfamiliar and satisfy its devotees. You can feel a connection form as the show unfolds for the first time in this environment.
While honoring his Latin heritage and traditions, creative force of nature Lin-Manuel Miranda’s inspirational scenario, lyrics and music about people chasing their dreams related in such a universal way that it ushered in a directional change in music theater storytelling.
Miranda, who went on to worldwide acclaim with the cultural phenomenon “Hamilton” and the smash hit Disney film “Encanto,” conceived the musical while still in college, wrote the songs, and originated the lead role, but the book was written by Quiara Alegria Hudes.
From left: Alysia Velez, Marlene Fernandez and Darilyn Castillo in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Hudes has included strong women characters, which is rare and impactful. Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009 (the show was nominated for 13 awards), and his influence continues to grow. He breaks barriers, and the Muny is mindful of marking historic milestones too.
Set in the Washington Heights neighborhood in New York City, where he grew up, the story takes place over three days during a blistering summer heat wave in the barrio. This is a neighborhood on the brink of change – businesses face economic uncertainty, tensions rise.
This ultimately jubilant celebration of Latin heritage and identity includes family ties to the Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, and a highlight is when the cast displays flags from their characters’ countries of origin.
In the vigorous opening title number, we are introduced to the personalities and places that are woven together in this corner of the world. The Muny has been transformed by the colorful sights and sounds as the characters deal with everyday realities hoping for a better day.
In a warm, welcoming debut, Benji Santiago endears as lovable hard-working Usnavi de la Vega, who operates the corner bodega. A community hub, he sells coffee, sodas, snacks and lottery tickets while he dreams of moving to somewhere tropical where he thinks he can find happiness. When his store is notified a winning lottery ticket has been sold, things may change.
Usnavi describes himself as “a streetlight, chillin’ in the heat/ I illuminate the stories of the people on the street!”
Benji Santiago and Nancy Ticotin in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
The appealing young performer is nimble in guiding the action as we move from store to Rosario’s car service to Daniela’s beauty salon, homes, balconies and the bustling streets – on a nifty gritty grid design by Arnel Sancianco that captured the distinct ambiance and sleekly used the asset that is the monstrous turntable for deft transitions. He was the set designer for last year’s “Rent” and the year before’s “The Color Purple.”
Usnavi’s devotion to his family and friends is evident throughout, even when he’s grumbling. Santiago masterfully anchored this show that seems to be perpetually in motion, and he is joined by an equally dynamic ensemble, all but two new to the Muny..
Nancy Ticotin is a sensational Abuela Claudia, Usnavi’s beloved confidante, who is heart-tugging in “Paciencia y Fe (Patience and Faith)” and “Hundreds of Stories.” She’s everybody’s ‘grandma,’ dispensing love and advice.
Ariana Burks as sweet Nina, a standout student who feels she has let everyone down by dropping out of a prestigious college, gains sympathy by explaining her sad situation in “Respira (Breathe).” She is soulful in her tender ballad “Everything I Know” (tissue time) that’s a tribute to Abuela Claudia.
In a romantic arc, she pairs well with earnest Benny, and Alex Joseph Grayson is likeable from his introduction number “Benny’s Dispatch.” They are affecting in “When You’re Home,” which maps out their long-distance relationship, and the Act Two opener “Sunrise.” And Burks robustly leads the group in “When the Sun Goes Down.”
Ariana Burks and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Alysia Velez is a memorable Vanessa, Usnavi’s crush who is striving for a better life and planning to move to Manhattan. She’s an ebullient presence with Usnavi and Sonny in the charming “It Won’t Be Long Now” that addresses aspirations while they go through daily tasks, and has fun in the “Champagne” duet with Usnavi.
Martin Sola and Karmine Alers are strong in portraying Kevin and Camila Rosario, who are Nina’s parents and own the limo service. They both have knockout numbers – he “Inutil(Useless)” and “Atencion,” and she pours out her soul in “Enough” and “Siempre (Always).” The ballads help define the characters’ uncertainty and hopes. The pair were in the Muny’s dazzling “On Your Feet!” in 2021, and Sola, who played Gloria Estefan’s father Jose, originated the role on Broadway.
While poignant moments, such as the sad, sentimental “Alabanza (Praise),” and the calamitous “Blackout” that ends first act, bring everyone together, so do the animated dance numbers “The Club” and “Carnaval del Barrio,” and the catchy earworm “96,000.”
Several amusing characters each have moments to shine – including the vivacious hairstylists Daniela (Darilyn Castillo) and Carla (Marlene Fernandez), who join Vanessa in “No Mi Diga (You Don’t Say!)” and lead the raucous “Carnaval” number.
Miguel Gil is delightful as Usnavi’s goofy cousin Sonny, so are Eddie Martin Morales as the Piragua Guy and U.J. Mangune as Graffiti Pete.
From left: Karmine Alers, Martín Solá and Alex Joseph Grayson in the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
William Carlos Angulo, serving as director and choreographer, has achieved a laudable synergy, creating a swirling kaleidoscope of movement and rhythm, performed with contagious joie de vivre.
Angulo, who has previously choreographed three Muny shows – the electrifying “On Your Feet!”, “Legally Blonde” and “Little Shop of Horrors,” shows his mettle in managing such a big-deal premiere. He has authentically represented three generations with spry staging and engaging characterizations.
The high-energy numbers alternate with the more intimate scenes of relationship conflicts and resolutions for people at crossroads, and he finds a suitable balance.
His collaboration with associate choreographer Shani Talmor, a world-renowned performer and choreographer, is ingenious. Special shout-outs to dance captain Emily Madigan, production stage manager Jhanae K-C Bonnick, and assistant stage managers Hope Michelson, Kentrell Jamison and Alycia Martin for their brisk navigation skills.
The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
The ensemble kept the tempo lively, bringing the heat and the heart: Marissa Barragán, Angelica Maria Beliard, Ixchel Cuellar, Ralphie Rivera De Jesús, Adriel Flete, Reyna Guerra, Emily Madigan, Sebastian Martinez, Eddie Martin Morales, José J. Muñoz, Matthew Rivera, Kiana Coryn Rodriguez, Francisco Javier Thurston and Alora Tonielle. They were joined by the Muny youth and teen ensembles.
Music Director Roberto Sinha’s dexterous conducting of the 25-piece orchestra added a brightness to the pulsating score, which is a hybrid of Latin, urban, hip-hop and salsa beats. They elevated the music’s rich texture.
The Muny’s outdoor setting was ideal for this modern story, with brilliant bursts of fireworks for the July 4th celebration enthralling. The creative team leaned into this new landscape, and Rob Denton’s lighting design, affecting shades of day and night, and Leon Dobkowski’s bright and bold costume design expertly reflected the location’s contemporary outfits. Kelley Jordan’s wig design was unobtrusive. John Shivers and David Patridge’s layered sound design included the cacophony of the urban tableau.
The company of the 2024 Muny production of “In the Heights.” Photo by Phillip Hamer
Much has been said about the themes of community in each of the Muny’s shows this season, and you feel the audience embrace that connection in “In the Heights.” After the isolation of the pandemic, and struggles in a dark time, the urge to find comfort and examples of our humanity is tangible.
When I first saw this on its national tour at the Fox Theatre in November 2009, I was struck by its universality, the unique new voice in the creative genius that is Lin-Manuel Miranda, and its ability to create deeper meanings through its emotional connection. I still feel this way, after seeing other regional professional theaters undertake it, and Miranda’s subsequent extraordinary works. It’s been on my list for each Muny season survey for years, and was ecstatic to learn of its inclusion this year.
The timing is right, the message is clear, and the wave of hope and dreams it inspires makes it a special experience.
To get that many people in an audience unified is remarkable, and you could feel the uplift in real time during the performance. For 15 years, “In the Heights” has reinforced the enduring theme “There’s no place like home.” And whatever that means individually and collectively vibrantly echoed through Forest Park on Saturday.
The Muny presents “In the Heights” at 8:15 p.m. nightly, Aug. 9-15, on the outdoor stage in Forest Park. The musical is 2 hours and 23 minutes, with one 15-minute intermission. Tickets are on sale at muny.org, by calling MetroTix at (314) 534-1111 or at the Muny Box Office in Forest Park.
From left: Benji Santiago, Alysia Velez and Miguel Gil in the 2024 Muny production of “In the Heights.” 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.
Avarice, malice and mendacity. Those words that Tennessee Williams used so eloquently to imply grown-ups behaving badly in “Cat on a Hot Tin Roof” demonstrate his brilliant command of the English language. His way with words, referred to as “poetic realism,” is always the most enduring part of his staged plays.
“Living with someone you love can be lonelier than living entirely alone if the one you love doesn’t love you,” says Margaret, aka Maggie the “Cat.”
And thus, Williams struck an abundant gold vein with his reflections on loss and longing, and how we cling to illusions to survive.
In a delectable story of big drama, big money and big lies, Williams has tightly woven a web of deceit, a Southern Gothic excursion into an American dysfunctional family, 1950s style.
At the plantation home of cotton tycoon Big Daddy (Peter Mayer), the Pollitt family is gathered for his 65th birthday celebration. He and his wife, Big Mama (Kari Ely), think he’s free of cancer but the real diagnosis is dire. Things unravel from there, with secrets and revelations in rapid succession over the course of an evening.
The mood is a seething, simmering stew of sexual desire, spurned affection, power trips, greed, toxic relationships and lies they tell each other.
One of Williams’ most popular works, “Cat on a Hot Tin Roof” won the Pulitzer Prize for Drama in 1955 and has received multiple revivals on Broadway over the years, including a 2013 staging with Scarlett Johansson as Maggie, and a 1990 version with Kathleen Turner.
Times change, rendering some of his subjects quaint and old-fashioned, but his characters always make a lasting impression even when the social mores he highlights are no longer as consequential or controversial. With his unmistakable vivid writing, he captures a specific time and place like few have.
Williams turned his short story, “Three Players of a Summer Game,” into this classic gem, which supposedly was his personal favorite. The play was adapted into a 1958 film starring Elizabeth Taylor and Paul Newman that earned six Oscar nominations including Best Picture. Granted, they cast a big shadow.
Photo by Suzy Gorman.
In a unique approach by director Michael Wilson, the narrative unfolds as a deliberately theatrical setting.
He has created a prologue where local treasure J. Samuel Davis appears in the audience as “The Writer,” telling of a young Tom “Tennessee” Williams’ early years working at the International Shoe Company in St. Louis and taking the ‘stairs to the roof’ (the name of his first play) to write his short stories.
The ensemble, dressed in black as stagehands, brings the set pieces on stage, and the play begins as they return as the troubled Pollitts.
Not that I know this for certain, but Wilson appeared to pay homage to the way Williams worked with his longtime director-collaborator Elia Kazan, in what they described as “plastic theatre,” in which they heightened awareness of events to open the audience to more abstract ideas.
James Wolk’s evocative set seems dream-like on the fringes, and nightmarish in the claustrophobic bedroom. Williams did allude to ghosts, and people who lived there before – as evident in a hanging portrait. Lighting designer Matt McCarthy adds to the ethereal mood.
The epochal Maggie is a smart, scrappy, stunningly beautiful debutante who grew up poor and married into a family of money. She has been hardened by the in-laws’ power-grabbing chess games, but she has learned to swim in a sea of sharks and will fight for what she thinks she deserves.
Her handsome all-American football hero husband Brick has decayed into a numb alcoholic who doesn’t care about anyone or anything.
Reeling from his best friend Skipper’s suicide, Brick is consumed by despair, regrets and rumors. He appears repulsed by his wife, which seems to aggravate her desire for attention. His busybody family knows every detail of the childless couple’s personal life – or think they do.
Photo by Suzy Gorman.
In a long scene that establishes their marital discord, Maggie prattles on, trying to engage her distant husband in conversation, but we can tell this is going to be a fruitless attempt. Resembling a young Natalie Wood (who starred in Williams’ film adaptation “This Property Is Condemned), actress Kiah McKirnan rushed through her opening lines and was difficult to understand.
However, she gets more forceful in acts two and three as tension mounts, and she needs to make her moves to secure her future.
Wearing the provocative iconic white satin slip recreated by costume designer Teresa Doggett, and moving gracefully, McKirnan appears to be the archetypal Maggie.
Slaten’s Brick doesn’t say much or move like a former athlete, but with a broken ankle and one crutch, he capably navigates the bed-sitting room, his hobbled body betraying him, and his pain palpable.
His outbursts are well-timed for maximum impact. This is a difficult role because of calibrating external and internal conflicts, and while Slaten doesn’t look like the stereotypical golden boy turned disappointment, he delivers the intensity.
Once upon a time, the couple must have been like the idealized bride and groom figurines on top of a wedding cake. But those days are long gone – and they both realize it, which tinges this play with sadness.
When Mayer arrives on stage as the bombastic Big Daddy, the show kicks into high gear. He throws his whole body into this role with impressive gusto. The interactions between the blustery braggart and his favorite son are the best in this production, and his profane rants against family members are welcome comic relief.
Surprisingly, he has tender advice for Brick: “One thing you can grow on a big place like this more important than cotton—is tolerance—I have grown it.” There appears to be real affection between the two.
Slaten and Mayer. Photo by Suzy Gorman
Mayer is matched in intensity by Kari Ely as Big Mama, adding more emotional depth than the role is written. It’s a pleasure to see such local legends play off each other on stage – as they are married in real life.
Ely, who has been unforgettable as tough women Martha in “Who’s Afraid of Virginia Woolf?”, Regina in “The Little Foxes,” and Violet in “August: Osage County,” all at the St. Louis Actors’ Studio, makes this role her own, bringing out the heartbreak and strength of a character that had been easily dismissed before. Their performances are the chef’s kiss of this production, and set the rhythm in motion.
Eric Dean White, whose consistent professionalism makes him a terrific addition to any local stage, is superb as the calculating, scheming Gooper, a slick lawyer who tag teams with his devious wife Mae, aka “Sister Woman,” to block out his brother Brick and Maggie from inheriting Big Daddy’s massive estate. His delivery is smooth and shrewd.
Roxanne Wellington nails the vindictive and insincere opportunist Mae, conveying an ugly sanctimonious streak. She must get this crack in: “He never carried a thing in his life but a football and a highball,” adding a fake laugh.
They are the indulgent parents of the notorious “no-neck monsters” that get on Maggie’s last nerve. Youngsters Kate Koppel, Tatum Wilson, and Cooper Scheessele are lively in their portrayals of three of their five children (and one is on the way).
Maggie displays some humor too, retorting: “Dixie, Trixie, Buster, Sonny, Polly! —sounds like four dogs and a parrot … animal acts at a circus.”
Photo by Suzy Gorman
Davis returns as a doctor and a minister in supporting roles.
Wilson, who is reverent regarding Williams, directed the acclaimed Cicely Tyson-starring “The Trip to Bountiful” on Broadway in 2013, and the subsequent film a year later. He benefits from a potent ensemble who understands the defining message is that people are better together than apart.
Unfortunately, in a play that talks so much about communication, the Grandel’s sound system was a hindrance on the left side, so I recommend sitting right or center. None of the performers are wearing microphones in that small thrust stage space. Sitting on the left side, in the seventh row, on opening night, I had difficulty hearing, especially because the cast is often staged in profile.
The sound issues have happened before at The Grandel, as a production of “Kinky Boots” last summer by Tesseract Theatre Company, was marred. This is always a shame because obviously much attention went into the production details. Perhaps sound designer Phillip Evans can crack the code.
In a conscientious retelling of one of Williams’ best works that emphasizes his compassion for misfits and fragile souls, we are reminded of his impact on storytelling and our broader view of the world.
In their ninth year, the Tennessee Williams Festival St. Louis furthers their commitment to celebrate the artistry and influence of the playwright who called St. Louis home during his formative years.
Photo by Suzy Gorman
The Tennessee Williams Festival St. Louis presents “Cat on a Hot Tin Roof” from Aug. 8 to Aug. 18 at The Grandel Theatre in Grand Center, with performances at 7 p.m. Thursday through Saturday, and Sunday matinees at 3 p.m. Tickets are on sale through Metrotix. Additional information and Festival event details can be found at twstl.org.
Post-show commentary will be conducted by Resident Scholar, Tom Mitchell, on Sunday, Aug. 12 and Thursday Aug.15.
Parking: Guest parking is available at the Fox Garage for $5 (3637 Washington Ave, St. Louis, MO 63108). Please, tell the attendant you are with the Tennessee Williams Festival to receive a discount.
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.
On an enchanted evening at local parks, you’ll be swept away to a far-off island, where mischief, magic and mayhem will ensue. This is a brave new world, where puppets are part of the storytelling and lovely music enhances the experience.
It’s one of those gratifying adventures that you will remember long after the summer’s heat has faded.
St. Louis Shakespeare Festival’s TourCo annual traveling show is a 90-minute adaptation of the Bard’s dramatic-tinged romantic comedy “The Tempest,” which is free each evening beginning at 6:30 p.m. at 24 parks in Illinois and Missouri from July 30 – Aug. 25.
Featuring a merry band of spry performers who appear to be constantly in motion, the six take on multiple roles. They will introduce themselves and their characters, and draw you into this tale of family squabbles, revenge, betrayal — and sorcery. Maybe it’s not exactly Paradise Island, but it is accessible Shakespeare.
The fine-tuned ensemble includes Joy Christina Turner as Prospero, the Duke of Milan who is a wizard too. He escaped to a remote island with his infant daughter Miranda (Daisy Held) years ago, because his deceitful double-crossing brother Antonio (Reginald Pierre) took over his dukedom with the help of Alonso (Alex Daspit).
Prospero has two very quirky servants – Caliban (Isaiah Di Lorenzo) and Ariel (Aliyah Jacobs) that carry out his schemes. He is determined to get his territory back and conjures up a storm so that his brother’s boat is shipwrecked, leaving Antonio and Alonso stranded.
Alonso’s son Ferdinand (Alex Daspit) is also there, as is Prospero’s trusted minister Gonzalo (Isaiah Di Lorenzo). Ferdinand is heir to the throne and Prospero puts him together with his now 15-year-old daughter, hoping a royal marriage is in their future.
The king’s jester Trinculo is played by Daisy Held and his head servant Stephano is played by Reginald Pierre, and they are a daffy duo. Held is also a spirit and Jacobs is a boatswain.
There are plans to thwart, people who must change their ways, a young couple to keep innocent, and meddling spirits.
Directed by Tom Ridgely with a big splash of whimsy, he favors broad strokes for the performers to play to whatever size crowd has assembled – and deal with whatever kind of conditions that spring up outdoors.
Ridgely is the festival’s producing artistic director, and under his guidance, they have shaped summers quite imaginatively the past few years post-pandemic – with its revered annual month-long offering in Forest Park; Shake in the Streets, where they take a hand-crafted show and bring it to a festive neighborhood setting; and this touring company, which has grown into delightful flights of fancy adapted for various park locations.
With such an esprit de corps, players are reminiscent of an old-timey troupe (think “Rosencrantz and Guildenstern Are Dead” and ‘The Fantasticks”) immersed as these strolling troubadours.
The addition of songs and puppets really enrichthe production values, and the stagecraft is exceptional in elevating the experience. Because the show’s presentation is focused on mobility and makeshift exteriors, the costumes, props and scenery are not hidden backstage, but placed off to the side, for folks to witness the process. Breaking the fourth wall, so to speak.
The clever costume designs by Sam Hayes consider the flexibility needed and differentiate the multiple characters, outfitting the females in airy, ethereal textures and the men in flamboyant brocaded jackets.
This play involves a masque, which was a popular technique in Renaissance England to combine music, dance and drama, so this is where the puppets come in, and they are effective in advancing the plot.
Puppet designer Ryan Marshall and puppet fabricator Taylor Abs created three tall imposing figures that mimic goddesses and smaller marionettes you find in puppet theater. They created dogs ready to attack, too. Abs also managed the props.
Stage Manager Britteny Henry kept everything moving without any glitches on the evening I went, and they have an admirable system in place.
The show was created for audiences of all ages, so pack a picnic, grab some chairs or a blanket, and experience a communal adventure that is a singular sensation.
SCHEDULE
July 30 – Spring Church, Grand Center July 31 – Old Post Office Plaza, St. Louis Aug. 1 – Metter Park, Columbia, Ill. Aug. 2 – Schroeder Park, Manchester, Mo. Aug. 3 – Carondelet Park, St. Louis Aug. 4 – Frank Holten State Park, East St. Louis Aug. 6 – Tower Grove Park, St. Louis Aug. 7 – Lot at St. Ann & Augusta St., Normandy, Mo. Aug. 8 – O’Day Park Amphitheater, O’Fallon, Mo. Aug. 9 – Cortex Commons, St. Louis Aug. 10 – 14th & St. Louis – Old North, St. Louis Aug. 11 – Shaw Park, Clayton, Mo. Aug. 13 – Brussels Heritge Park, Brussels, Ill. Aug. 14 – Chesterfield Amphitheatre, Chesterfield, Mo. Aug. 15 – Ivory Perry Park, St. Louis Aug. 16 – City Park, Edwardsville, Ill. Aug.17 – January-Wabash Park, Ferguson, Mo. Aug. 18 – Bellevue Park Bandstand, Belleville, Ill. Aug. 20 – 370 Lakeside Park Pavilion, St. Peters, Mo. Aug. 21 – Fairground Park, St. Louis Aug. 22 – Tisch Park at Washington University, St. Louis Aug. 23– Love Bank Park, St. Louis
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.
‘Sticking it to the man’ is a familiar theme in narrative and nonfiction works, but the Fly North Theatricals’ original musical “Big Machine” is not ordinary in any way.
With its multiple moving parts, this is a dense historical story based on true events in the 1920s, and by their own findings, largely forgotten.
This tale of two “Ethyls” – Ethyl alcohol fuel and Ethyl leaded gasoline, which were touted as anti-knock fuels in the 1920s, may need a tutorial about its rise and fall, and the harm inflicted. (By all means, Google it.)
Part “Mad Men,” part revisit of the first ‘Red Scare’ of communism (not to be confused with the later hysteria fanned in the 1940s and 1950s), and overall, a shocking news-making corporate scandal of putting profits above the public’s safety.
This controversy requires utmost attention, and while trying to connect the dots, it is easy to be distracted by workplace issues that don’t seem to be a necessary component.
Fly North has been working on this project for a long time, first commissioned by COCA in 2022. With revisions over the past two years, and a staged reading this April, the company finally mounted this ambitious, mature work that is clearly a labor of love. The effort is there, but the outcome can’t surmount the overstuffed narrative issues.
Al Bastin with the Ethylettes. Photo by Ian Gilbert.
It is the star headline event in the St. Louis Fringe Festival, with performances Aug. 2-18.
Colin Healy wrote the music and lyrics, which display an intricate and intelligent knowledge of music storytelling. A devotee of Stephen Sondheim, his flair for rhyming is admirable, and his orchestrations give the score a rich, layered sound.
He has directed an impressive band: Fiona Brickey and Mo Carr on violins, Christopher Bachmann on cello (Aug. 2-4) and Marie Brown on cello (Aug. 8-18), Josh Baumgartner and Joseph Hendricks on reeds, Jacob Mreen on bass, Joe Pastor on percussion and Healy on keyboard and guitar besides conducting.
His colleague and business partner Bradley Rohlf deftly directed the deeply committed cast, which has devoted much time to this production, and it’s staged on a broad canvas.
Healy, who has written three other original musicals, including “Gringo,” “Madam,” and “Forgottonia,” founded his company in 2019, and has worked both as a musician and educator. He and Rohlf are fearless in tackling challenges and inspire a creative collaboration with new and veteran artists.
In this show, the loyalty to what Fly North is attempting is tangible, and the performers exude concern for the material they are presenting. Yet, Healy’s libretto has confusing multiple storylines that complicate the subplots, especially if viewers are unfamiliar with the historical content.
The action mostly takes place at an oil refinery in Bay of Fortune, Indiana, a division of the General Motors Chemical Company. Caleb Long’s efficient set design includes multiple parts that double as the workplace, backroom shelves, and the Olsen home.
Commanding attention is Al Bastin as an animated villain, aka “The Man Who Harmed the World the Most,” and their talents are considerable. They play Thomas Midgely Jr., who was vice president of General Motors Chemical Company and a chemical engineer who introduced a new “miracle product” that they hoped would boost declining auto sales.
A powerful vocalist, they seize control of this ethically challenged executive in an opening number, “It Works,” giving off a carnival barker vibe. Their expert salesmanship is on display in a very funny production number, “The Miracle of Corn,” in the second act, and his desperate attempt to prove the naysayers wrong in “Another Miracle.”
Photo by Ian Gilbert.
Midgely winds up a sad, pathetic figure by the time his number “Alone” closes the show. Bastin has poured their heart and soul into this role, a star-making turn.
It is unusual for a pegged ‘bad boy’ to be the lead, but not unheard of – think “Sweet Smell of Success,” “Jekyll & Hyde,” the psychotic boyfriend in “Heathers the Musical,” and even the obsessed “The Phantom of the Opera.”
But the odious character isn’t balanced by other decent characters that resonate. A widowed father, Ernest (Parker Miller), is flawed – bad employee, bad dad, alcoholic and unstable. It’s difficult to connect to him and the neglect of his sweet genius daughter, Grace (Maliah Strawbridge), is reason enough not to care.
Father and daughter sing “Can You Imagine” as an introduction to their characters. Grace, a child prodigy, has fiddled with an engine – but even that is hard to figure out.
They seem to be making excuses in his musical numbers, such as “I Never Imagined…” and “Alone, Together.” Miller’s singing voice is much stronger than his acting, for it’s hard to generate sympathy for the character because of all his bad decisions.
A romance with “Ethyl” is murky, and Mack Holtman, coyly playing this mysterious character, is clothed in black (Angel of Death?).
Parker Miller as Ernest Olsen. Photo by Ian Gilbert.
The timeline is wobbly, but here goes: Workers at the oil factory are shown as disgruntled laborers trying to get by, with Rosie (Lili Sheley) and Gilda (Corinna Redford, a spunky standout) the disrupters. They sing “The Communist Manifesto.”
A corporate ‘yes’ middleman, Methuselah (Christopher Plotts) is assured he’ll get a promotion if he rats out Communists in the work force. After the Russian Revolution of 1917, fear of anarchy and leftist radicals spread, and labor strikes were on the rise. This was framed as immigrants trying to bring down the American way of life, so corporations tried to identify workers who criticized the government.
Plotts, another character whose ‘woe is me’ attitude is ineffective, displays a soulful voice in the number “Pity the Middleman’ that further prolongs the inevitable corporate crash.
Disgruntled workers, plus labor unrest, plus corporate greed are the bulk of the action – and Ernest wasting time not working. We go back five years to a couple GM board room scenes. And a strange number “Crazy (A Brief History)” involves a bizarre Greek-chorus of a centurion (Marcus Agrippa), Queen Elizabeth I, her courtiers and reporters that add another layer of tedium.
The ensemble plays various characters – refinery workers, GM board members, dancing corn, and chorus girls: Michael Reitano, Langston Casey, Carly Fock, Dereis Lambert, Jordan Woods, Chelsie Johnston and Emma Giltner. Fight choreographer Morgan Clark handles a workers’ brawl.
Act 1 culminates in an energetic dance number, “Big Machine,” which is skillfully choreographed by Jordan Woods.
Christopher Plotts as Methuselah. Photo by Ian Gilbert.
If the first act raises many questions, the second act has too many loose ends to adequately tie everything together. In resolving how Midgely’s ambitions crashed, a parallel story is how a workplace accident involving Ernest’s daughter settles to his advantage. While we root for Midgely’s comeuppance, Ernest’s resolution is not earned.
Eileen Engel’s costume design fits the period and the characters, Kel Rohlf’s prop design includes a bathtub, and Tony Anselmo’s lighting design effectively sets the atmosphere.
Phillip Evans’ sound design is blaring, with characters trying to be louder than the performers they are interacting with, or next to on stage. This may be overcompensation because of recent issues Tesseract Theatre Company had at the Marcelle last month.
While the music score has promise, the story is unsatisfying and far too complicated to invest in, despite performers trying very hard to sell it.
Fly North Theatricals presents “Big Machine” in two acts with one 15-minute intermission, and the run time is 2 hours and 15 minutes. Performances are at 7:30 p.m. Aug. 9-11 and Aug. 13-17, with 2 p.m. matinees on Aug. 17-18, at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, in the Grand Center. For more information or tickets, visit www.flynorthmusic.com
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 An important message about domestic violence in “It Ends with Us” is diluted by the film adaptation’s shallow, superficial trappings that favor a glossy lifestyle magazine approach to a serious issue.
Based on Colleen Hoover’s 2016 bestselling romance novel, this is the story of Lily Bloom (Blake Lively) who opens her dream floral shop in Boston. She marries the brother of her best friend Allysa (Jenny Slate), a handsome neurosurgeon Ryle Kincaid (Justin Baldoni, who also directed).
But she is reminded of her father’s abusive treatment of her mother when her controlling husband’s jealousy escalates. She becomes a victim herself once her first love, Atlas Corrigan (Brandon Sklenar), reappears. She has tough decisions to make about her future.
Hoover’s bestselling novel has been faithfully adapted by screenwriter Christy Hall, according to people who’ve read the novel (a book club favorite), but the contrived cookie-cutter romance lacks any whiff of authenticity. Oh, the movie characters have been aged as compared to the book — Lily was 23 and Ryle 30, and the actors are 35 and 39 in real life.
The illogical soap opera unfolds with flashbacks to Lily’s childhood, where she befriends Atlas, a fellow high school student down on his luck. Their younger selves are convincingly portrayed by Alex Neustaedter, who was in the Jeff Daniels’ series “American Rust,” and a striking naturalistic Isabela Ferrer.
Despite gauzy impressionistic snapshots, they swiftly establish a believable connection that continues in the adult portrayals of Lily by Blake Lively and Atlas by Brandon Sklenar. Their genuineness sharply contrasts with the adult Lily-Ryle relationship that feels too forced, straining credibility.
While limited in their acting ranges, Lively and Baldoni are very attractive people, but the film’s poor editing choices rely too much on repetitive close-ups. Their rapid courtship, which shouldn’t involve this much eye-rolling, mostly focuses on their mannequin physiques.
When that pairing quickly erodes once they marry, the obvious red flags make any feelings seem manufactured between the supermodel-looking couple.
Baldoni, who also directed, played Rafael for five seasons on the TV series “Jane the Virgin,” and directed the high-concept romantic drama “Five Feet Apart” in 2019.
Without spoiling character development, his inability to emote other than steamy kissy-face scenes result in improbable actions and silly scenarios as the hotshot doctor. The shot selection opts for a designer cologne commercial look, which makes it difficult to relate to the main characters in any sincere way.
When the choppy, clumsy storytelling finally zeroes in on the truth-revealing conflicts, the reliance on quick-cut violent outbursts lessens the impact of what they are trying to achieve.
Because physical abuse is mostly implied than pictured (except for one harrowing but badly executed and confusing scene), Lively’s minimal facial injuries are easily covered up by make-up.
By barely resembling honest situations, the film drops the ball on what should have been motivating advocacy.
Quirky Jenny Slate is appealing as offbeat Allysa, who starts as Lily’s employee but becomes her best friend and trusted advisor. She seems to be tasked with the heavy lifting. Her character’s devoted husband Marshall is humorously played by Hasan Minhaj of “The Daily Show,” but he’s primarily a vehicle for comic relief.
The flimsy character development is a hindrance for Sklenar as Atlas, who now, after serving eight years in the Marines, is a renowned chef with his own hit farm-to-table restaurant, Root. It’s the hotspot in Boston, which drives Ryle over the edge.
Pegged to be the knight in shining armor, Sklenar, who played Spencer Dutton in the “Yellowstone” prequel “1923,” is reduced to long, loving, piercing gazes at Lively. And he’s used awkwardly.
The revered character actress Amy Morton’s lack of identity regarding Lily’s mom Jenny wastes her talent and whatever meaningful voice the character could have contributed as a victim who chose to stay.
Costume Designer Eric Daman, who worked with Lively on TV’s “Gossip Girl,” has chosen puzzling lumberjack-style outfits that seem odd choices for Lively, although he occasionally pulls out all the stops for dazzling party attire and stylish shoes (that seem very out of budget for the fledgling florist, but he did work on “Sex and the City” and we know how reckless Carrie was with the money spent on designer shoes). The baggy ensembles look odd when Lively walks down busy streets.
“It Ends with Us” could have shed more light on signs of domestic abuse, behavioral patterns to recognize, and ways to get help, other than a mere tagline in the credits while some overwrought pop song plays.
That was a missed opportunity, in favor of a Lifetime-quality movie with shiny pretty people making its only point that affluent, well-educated adults can hide destructive secrets.
One line delivered feebly: “I can get help” isn’t followed with any action, so any serious intentions to raise awareness are abandoned, which is unfortunate.
With its triggering scenes treated so cavalierly, the effort’s inept approach diminishes its effectiveness, and turns out to be an exasperating waste of time.
“It Ends With Us” is a 2024 romantic drama directed by Justin Baldoni and starring Baldoni, Blake Lively, Brandon Sklenar, Jenny Slate, Isabela Ferrer, Amy Morton, Alex Neustaedter and Hasan Minhaj. The film is rated PG-13 for domestic violence, sexual content and some strong language,.and the runtime is 2 hours, 10 minutes. The film opened in theatres on Aug. 9. 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.
A pair of farce specialists aim for over-the-top in spectacular style in “Ruthless! The Musical,” a kitschy, campy stage mom-showbiz melodramatic throwdown that emphasizes big – in ambition, voices, and stylistic flourishes.
Very funny Sarah Gene Dowling and Sarajane Clark trade wits as the clashing divas who challenge each other in this small-scale musical spoof. It features an all-female cast and a scheming fame-obsessed jazz-hands kid.
This is the first pairing of the Stray Dog Theatre favorites – think Bea Arthur and Angela Lansbury in “Mame,” and they easily affect an exaggerated form of movie-star acting that’s part early soap opera, part “Saturday Night Live” and “The Carol Burnett Show” sketch imitations.
The silliness is carefully controlled chaotic fun, deftly directed by veteran Justin Been, as Stray Dog continues its penchant for broad comic material resembling the Charles Busch plays that they’ve previously produced: “Psycho Beach Party,” “Red Scare on Sunset,” “Die, Mommy, Die!” and “Vampire Lesbians of Sodom.”
Dowling, looking like she stepped out of the pages of “Ladies’ Home Journal,” is stereotypical ‘50s housewife Judy Denmark, who answers her always-ringing landline by identifying herself as “Tina’s Mom.”
Any similarities with super moms of that golden era – Donna Reed, Harriet Nelson, Jane Wyatt and Barbara Billingsley — is intentional.
Sarajane Clark, Sarah Gene Dowling and Laura Kyro in ‘Ruthless!” Photo by John Lamb.
In scenic designer Rob Lippert’s carefully appointed mid-century modern home decked out in canary yellow, Judy keeps it spotless by her obsessive house-cleaning. Judy professes to be content, and a running gag is her affection for Pledge furniture spray.
But when a mysterious talent agent, Sylvia St. Croix, rings her doorbell, things are going to take a few turns. As Sylvia, Clark, who can out-Joan Crawford anyone, conjures bygone Hollywood glamour through stunning black-and-white outfits, complete with matching hats and turbans.
Costume designer Colleen Michelson has assembled an outstanding panoply of Audrey Hepburn-worthy ensembles for Clark, and Dowling’s retro floral print dress is perfection.
But some of the other women’s dresses are too short or ill-fitting, such as Eve’s tight emerald-green dress that she keeps tugging at while she’s flitting about.
You know this is going to be a wacky romp by reading the program: “Please Note: This production contains smoke effects, replica firearms, loud noises, and children doing very bad things. Viewer discretion is advised.”
In a daffy debut, Finley Mohr is poised as chipper “8-year-old” Tina, who won’t let anyone stand in the way of her becoming a star. When she isn’t cast as Pippi Longstocking in her school musical, hell hath no fury like a sociopathic stage brat spurned.
Is she another “The Bad Seed” who looks like Little Orphan Annie? For she takes aim at her rival, Louise Lerman, played with comedic flair by Sarah Lantsberger as a far less talented kid. Louise’s parents secured her the lead through third-grade teacher Miss Myrna Thorn, and nimble performer Anna Langdon is the very dramatic instructor who is also a conniving and frustrated actress.
Laura Kyro goes all in as haughty Lita Encore, a self-important theater critic who hates musicals – and pours her loathing, Ethel Merman-style, into an “I Hate Musicals” number. When she shows up to review “Pippi in Tahiti,” we learn she has ties to the Denmarks. Dun dun duuun!
Sarah Gene Dowling and Finley Mohr. Photo by John Lamb.
These bizarre six degrees of separation are revealed at various times, giving the feeling of whiplash, and old-timey melodramas that once were staged on showboats. The plethora of plot twists are a mix of destiny and flimsy fictional tropes.
Before the first act wraps, we discover Judy is the daughter of Ruth Del Marco, a Broadway star who supposedly took her own life after a scathing review by Lita. Turns out the talentless Judy discovers her gifts and becomes a very different character in the second act.
The book and lyrics by Joel Paley and music by Marvin Laird are a blend of John Waters snark, Douglas Sirk 1950s ‘women’s pictures’ and nods to “All About Eve,” “Gypsy,” and other show-bizzy tales.
The show debuted off-Broadway in 1992, then was revised in 2015 into a streamlined 90-minute version without an intermission. This production is performed in two acts, with a 10-minute intermission, and is more than 2 hours’ long, which drags out the jokes.
The second act takes place in a New York City penthouse, where vainglorious prima donna Ginger Del Marco (Dowling) is ensconced with her manipulative assistant Eve (Lantsberger).
Del Marco is free of the constraints of being a wife and mother, for Tina has been sent away to the Daisy Clover School for Psychopathic Ingenues. Ginger has won a Tony Award and has become devious and insufferable in her narcissism.
The supporting women come and go, playing various characters – and it’s best to be surprised by the identities and ensuing shenanigans.
The six females are all belters and have big Patti LuPone moments to sing out, mostly tongue-in-cheek style. Clark’s signature number “Talent” is reprised with the confident Mohr, whose cutthroat showbiz aspirations are the point of “Born to Entertain” and “To Play This Part.” The beaming Mohr can tap dance too, and Sara Rae Womack handled the choreography,
Laura Kyro, Sarah Gene Dowling, Sarah Lantsberger, Finley Mohr, Anna Langdon and Sarajane Clark. Photo by John Lamb.
Dowling and Mohr work well as the mother-daughter duo, and feign affection in “Kisses and Hugs,” “Angel Mom” (with Sylvia) and “Parents and Children.”
Clark teams up with Dowling on “Where Tina Gets It From” and delivers a Cruella de Ville-type number “I Want the Girl.”
Each character has at least one showcase number – Langdon on “Teaching Third Grade,” and Lantsberger on “A Penthouse Apartment” as Eve and “The Pippi Song” as Louise.
Musical director Randon Lane sleekly leads the four-piece band: Mike Hansen on percussion, M. Joshua Ryan on bass, Mary Jewell Wiley on reeds, and he’s on keyboards. Been has doubled as sound designer, and his snippets of swelling-strings movie scores add to the atmosphere, as does Tyler Duenow lighting designs.
“Ruthless!” is brash in its trashy escapades, with pleasing production elements that involved creative collaboration. Designed to tip its hat to the showbiz dreams all theater-loving folks grew up on, the peppery parody is performed with noteworthy zeal by blithe spirits. The sharp six are clearly having a blast playing together in the sandbox.
Dowling, Mohr, Clark. Photo by John Lamb.
Stray Dog Theatre presents “Ruthless! The Musical” from Aug. 1-24 at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. Showtimes are Thursdays through Saturdays at 8 p.m., with additional performances at 2 p.m. Sunday, Aug. 11, and Sunday, Aug. 18. Gated parking is available. For more information and ticket reservations, call 314-865-1995 or visit www.straydogtheatre.org.
Accessible Performances — ASL Interpretation: The 8/2, 8/9, 8/16, and 8/23 performances will be presented with ASL interpretation by students from Southwestern Illinois College. ASL interpreted performances are suitable for audience members who are deaf, deafened, or have hearing loss. They can also be valuable for people who are learning ASL.
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.
Whether you describe her as a grand dame or a beloved veteran, the multi-talented Donna Weinsting is a true all-around champion in local theater who only garners accolades from her peers.
A popular figure on stage, in films and comedy clubs throughout St. Louis for 60 years, she is not resting on her laurels, by any means. She is part of this year’s ninth annual Tennessee Williams Festival St. Louis (Aug. 8-18), as part of the cast of “Life Upon the Wicked Stage.” (And was part of the first, in “The Rooming House Plays” in 2016).
“Life Upon the Wicked Stage” celebrates the Grand Center Theatre District and includes three one-act plays about show business — “In Our Profession,” “The Magic Tower” and “The Fat Man’s Wife.” It will also feature music and is directed by former St. Louisan Brian Hohlfeld. Donna is cast in “The Magic Tower.”
Carrie Houk, the festival’s artistic director, described the piece as a “like a mini-jukebox musical.”
“It features songs from the period to evoke an era of vaudeville and the type of entertainment Tom (Tennessee Williams) would have encountered in his Grand Avenue outings long, long ago,” she said.
Eight performances will take place at 1 p.m. and 4 p.m. on Saturday, Aug. 10 and 17 and Sunday, Aug. 11 and 18, at the Curtain Call Lounge, which is next door to the Fox Theatre, 521 N. Grand Boulevard.
‘Life Upon the Wicked Stage’ at TWStL: From left, Julia Crump, Julie Layton, Donna Weinsting, Dominic DeCicco, Gary Wayne Barker. Photo by Suzy Gorman.
Donna is enthusiastic about the show.
“It’s going to be a treat for Tennessee Williams fans. Interspersed between the three one-acts are musical numbers fitting the times accompanied by the marvelous Tom Clear on piano,” she said. “Brian Hohlfeld is a joy to be directed by and the cast of Julie Layton, Gary Wayne Barker, Julia Crump, and Dominic DeCicco is excellent. I’m happy to be in the mix.”
Weinsting has also been announced as part of the St. Louis Actors’ Studio’s 17th season “Something Old, Something New.” She and Whit Reichert will perform in an original play by Carter W. Lewis called “With,” to be directed by Annamaria Pileggi, set for April 4 – 20, 2025.
“The special thing about this project is just about everything. I’ll be working in a two hander with Whit Reichert written by Carter Lewis and directed by Annamaria Pileggi for Actors Studio. Dream team,” she said.
Donna will play Minnie and Whit will be Clifford, and their world will be humorous, but ultimately heartbreaking, as they navigate a blizzard, a dead son, a rat in the kitchen and worse; in order to hold on to a bit of control over their personal end of life decisions.
The couple enlists their derelict son to obtain Death With Dignity drugs from the state of Oregon, but due to an accident on the highway, the plan goes hysterically and tragically awry. As a result, Minnie and Clifford cling to daily tasks as they slowly get cut off from the world by a blizzard and disconnected utilities. Their enduring love fuels them through an obstacle course of each day’s events.
St Louis Theater Circle Award nominee Donna Weinsting for ‘Unsuspecting Susan.’
She is happy to contribute to the current arts scene.
“I feel invigorated and full of excitement again,” she said.
Earlier this summer, Donna was awarded a Lifetime Achievement Award from the non-profit organization Arts For Life. AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
“I am beyond honored to receive this very special recognition, humbled and excited. I feel that this is a gift — to be acknowledged for something I have had a passion for nearly my entire life,” she said.
Born Donna Collins, she grew up in St. Louis, and while her family moved several times, she landed in Oakville at age 13, and that is where she has lived ever since. She was first in a summer city park production of “Sleeping Beauty,” then a play in junior high.
“The die was cast and a 60-year career in acting and stand-up comedy was launched,” she said.
Donna Weinsting as Big Edie and Debby Lennon as Little Edie in Max and Louie’s “Grey Gardens” in 2016.
A graduate of Mehlville High School, she has never shied away from a challenge, playing leads as well as supporting and brief roles. She has performed in one-woman shows, played characters like Mr. Potter in “It’s a Wonderful Life,” Jabba the Hutt in “Star Wars,” and various animals in WiseWrite plays written by 10-year-olds.
Besides STLAS and TWSL, she has been on the stages of regional professional companies The Repertory Theatre of St. Louis, Max and Louie Productions, New Jewish Theatre, Slightly Askew Theatre Ensemble, Stray Dog Theatre, St. Louis Shakespeare, Upstream Theater, West End Players Guild, and the shuttered Orange Girls, Insight Theatre, OnSite, and others.
She has appeared at the Bluff City Theater in Hannibal, Mo., Ozark Actors’ Theatre in Rolla, Mo., Arrow Rock Lyceum Theatre in Arrow Rock, Mo., Stages Houston and 59E59 Theatre Off-Broadway in New York as part of the LaBute New Theatre Festival.
The community theater organizations she has worked with include Clayton Community Theatre, Theatre Guild of Webster Groves, and the no longer active Affton Players.
Her honors include a Kevin Kline Award for Lead Actress, as Bessie in “From Door to Door” at New Jewish Theatre, St. Louis Theater Circle Award for Outstanding Actress as Iola in “Salt, Root and Roe” at Upstream Theater, and a St. Louis Theater Circle Award for Comedy Ensemble for “Jacob and Jack” at New Jewish Theatre, where she played both Ester and Hannah.
Donna and Amy Loui in “Salt, Root and Roe” at Upstream Theatre.in 2019. Photo by ProPhotoSTL.
She will be shooting a movie in Springfield this fall called “Big Mike’s Cabin,” and has appeared in other locally shot films “Ethan and Edna” and “Doubting Thomas.”
“It is wonderful that we are giving the film industry the incentive to come to Missouri again,” she said..
While awards are a cherry on top, Donna said she is most proud of her family — her two children, five grandchildren, eight great-grandchildren and her 63-year marriage to her high school sweetheart, Mike.
“Being with my amazing family is the absolute joy of my life,” she said.
Donna Weinsting accepting her Lifetime Achievement Award from Arts For Life, June 30. Photo by Don Quon.
Questions and Answers with Donna Weinsting
1. Why did you choose your profession/pursue the arts?
“I didn’t choose the arts, they chose me. I don’t ever remember wanting to be anything but an actor.”
2. How would your friends describe you?
“My friends would all say I’m their funny friend. They support me and make me feel special.”
3. How do you like to spend your spare time?
“I used to fill my spare time with tennis and golf. Lots of tennis and golf. COVID took me away from that and I just got less active. Now my spare time is seeing plays and lots of television.”
4. What is your current obsession?
“My current obsession is binging the really great series you can watch in the comfort of your home. Love Ted Lasso, Outlander, Hacks and many others.”
Donna Weinsting in ‘Nonsense and Beauty’ at The Repertory Theatre of St. Louis in 2019.Photo by Jerry Naunheim Jr.
5. What would people be surprised to find out about you?
“People would probably be surprised to know I have a basement full of archery, tennis and golf trophies.”
6. Can you share one of your most defining moments in life?
“One of my most defining moments in life was entering a talent contest on a cruise and doing stand-up for the first time in my life at 48. It was an epiphany to know I could make 2,000 people laugh just being myself. I can’t explain how overwhelming that feeling of euphoria was.”
7. Who do you admire most?
“I admire the most people who can do it all and do it well. People who can write, perform, direct and produce are superstars. People who devote themselves to the betterment of others is inspiring.”
8. What is at the top of your bucket list?
“Top of my bucket list is to be in a television series. Betty White is gone and can never be replaced but there is a definite need for a sassy old woman.”
Eric Dean White and Donna Weinsting in “The Rooming House Plays” at Tennessee Williams Festival 2016. Photo by Lynn Venhaus
9. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
“The pandemic sort of ended my acting career for a while. I got older and even though I am not a strong singer, COVID took a great deal out of my voice and now I no longer have confidence in it. I got through the pandemic by watching a lot of television and keeping track of the lives of my family. I learned from the isolation that I don’t have the drive I would like to have. I could have used the down time to learn a new language, play the piano, write a play and clean out my closets, instead I watched television and bitched about not being in a play.
“The pandemic was disastrous for the arts. Many small companies closed and some of the big ones were hit with financial hardships. I am encouraged by the fortitude of those in the arts though. New companies are springing up and the talent here in St. Louis is so rich and full of promise.” 10. What is your favorite thing to do in St. Louis?
“My favorite thing to do is be on the stage, but if I’m not, I love to see good theatre and support and encourage our plethora of talent here. I love a good martini and being with old and dear friends too. I’ve been married to my high school sweetheart for 63 years and have a son and daughter, five grandchildren and eight of the most beautiful, smart and intelligent great grandchildren in the world.
12. What’s next?
“In the fall I have been cast in a film being shot in the Ozarks called “Big Mike’s Cabin.”. Then in April of next year I will be doing the play with Whit Reichert. I feel reinvigorated and full of excitement again.”
More About Donna Weinsting:
Age: 82 Born: Arbyrd, Missouri in the bootheel. Currently live: Oakville, Missouri Family: Husband of 63 years, son, daughter, five grandchildren and eight great grandchildren. Education: I have an associate degree from Meramec Community College. Day job: I have been a Real Estate Salesperson for almost 50 years. First job: My first job was working the lunch counter in a Walgreen’s Drug Store when I was 15. First play: My first play was in Sleeping Beauty in a St. Louis park summer production. I was a handmaiden. Favorite Roles: It is hard to choose my favorite roles but the ones that stand out are, “‘Homebody” Off Broadway, ‘ “Salt, Root and Roe”, “Gray Gardens”, ” ‘night, Mother”, “From Door to Door”, and “The Lion in Winter”. I also got a kick out of playing Jabba the Hutt, Mr. Potter and Donald Trump. Dream Role: My dream job is a television series, Broadway play or major film role. Awards: I’ve won a Kevin Kline for Outstanding Lead Role, a St. Louis Theatre Circle Award for Lead Actress in a drama, a St. Louis Theatre Circle Award for Comedy Ensemble and have had several nominations. Words to Live By: My favorite words to live by are never give up. Life can throw unbelievable obstacles in your way and its easy to throw in the towel but working through them and coming out a better and stronger person is so fulfilling. A Song That Makes Me Happy: “Somewhere Over the Rainbow”, beautiful and full of hope.
Donna Weinsting and BFF Kim Furlow at AFL’s Best Performance Awards, Kirkwood’s Keating Center for the Performing Arts, from Lynn Venhaus.
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 Brimming with vim and vigor, Stages St. Louis’ “Disney’s Newsies” pops with personality. Stressing unity in troubled times, it’s a modern message about how harnessing hope can change lives.
Believe! Like the very best underdog sports tales, this David vs. Goliath story based on the Newsboys Strike of 1899 taps into belonging, being of service to others, and making a difference in the world.
Despite the musical being set in the late 19th century, the struggles of a ragtag group of misfits, rebels and street urchins who bring out the best in each other as they fight oppression can resonate in any age, even digital, as fights for rights continue around the world.
Based on the beloved 1992 Disney movie musical that became a cult classic, it wasn’t until 20 years later that it made its Broadway debut, adapted by Harvey Fierstein.
In 2012, it earned four Tony nominations, including Best Musical, winning two for Best Score – Alan Menken’s first-ever Tony for writing the music (after eight Oscars), with lyrics by Jack Feldman, and Best Choreography by Christopher Gattelli.
Phillip Hamer photo.
Trying to survive their harsh conditions one turn-of-the-century summer in Manhattan’s lower east side, newsboys discover rising prices and reduced meager wages threaten their livelihood. The newspaper was the only way to get the news once upon a time.
Organized by orphan Jack Kelly, they protest the practices of the publishing tycoons of the day, namely their greedy employer, Joseph Pulitzer, whose “papes” are the New York World, The Herald and The Sun.
The Muny’s 2017 production was the show’s Midwest regional premiere, after the national tour stopped at the Fox Theatre in 2016.
For its ambitious Stages premiere, it has arrived super-sized at the Kirkwood Performing Arts Center with a big-picture outlook by director Steve Bebout, a grand-scale set design by Ann Beyersdorfer, and turbo-charged acrobatic choreography by Lindsay Joy Lancaster.
Their meticulous work with a fresh-faced cast of triple-threats is dazzling. This unified ensemble of young adults, teens and youngsters shine with a contagious youthful energy – oh if we could only bottle it! — which elevates the elaborately staged pieces.
The exciting signature numbers “The World Will Know,” “Seize the Day,” “King of New York,” and ‘Once and For All” are Menken’s odes to the common man, first heard in the movie.
Menken and Feldman wrote 12 original songs for the movie, which was directed and choreographed by Kenny Ortega of “Dirty Dancing” fame and starred an 18-year-old Christian Bale. While it bombed at the box office, fervent fans grew through watching VHS tapes, DVDs and TV showings. He added seven new tunes for Broadway.
Phillip Hamer photo.
With this expansive bright and buoyant cast, the company’s strength and endurance is noteworthy. They immediately captivate with their winsome characters and cheeky attitudes, singing about “their fine life” in “Carrying the Banner” and have a blast with their new notoriety in “King of New York.”
The dancers’ joy is visible from their first full-throttle appearance to a high-spirited curtain call, where they jump, twirl, kick and twist with abundant glee. In moves that could qualify them for the medal rounds in Olympic gymnastics, they are an earthy full-court press.
PJ Palmer is Race, Noah James Lentini is Albert, Paul Giarratano is Specs, Joah Ditto is Henry, Kyleigh Hegarty is Finch, Philly Kang is Elmer, Giuseppe Little is Romeo, TJ Staten is Mush, Kyle Holmes is Buttons, Carson Hampton Palmer is Tommy Boy and Darcy, Avery Martin is JoJo, Eddie Olmo II is Mike, Ronan Ryan is Ike, Danny Grumich is Wiesel, and James Caposito is Spot Conlon.
Playing Citizens of New York, among other roles, include Lena Matthews, Alyssa Sayuk and Hazel Vogel. Annaliza Canning-Skinner is Pulitzer’s secretary Hannah. (Swings are Brittany Ambler, Jonathan Kwock and Caposito.)
They foster goodwill through relatable heart-tugging personal situations (although the meanie enforcers are brothers Morris (Ryan) and Oscar Delancey (Olmo).
As for the archetype adults, some familiar faces return to Stages – Steve Isom as Bunsen and John Flack as goon Snyder. They are joined by versatile Patrick Blindauer, who is Jacobi’s Deli owner and Governor Theodore Roosevelt, among other small parts.
Taylor Quick and Daniel Marconi. Phillip Hamer photo.
Embodying the charismatic hustler Jack Kelly is Daniel Marconi, making a memorable debut in this demanding role and nailing his wise-guy accent.
However, he has an interesting connection to Stages’ world premiere of “The Karate Kid – The Musical,” for he took part in the NYC staged reading last year of the revamped musical as Daniel LaRusso. He was also in the pre-Broadway tryout of Tony winner “The Outsiders” at the La Jolla Playhouse.
In a star-making turn, Marconi smoothly anchors this band of brothers, taking command with strong vocals and plenty of swagger as the de facto leader, establishing himself as a fast-talking wheeler-dealer who commits to their right-over-might cause. He’s quick with the quips and sincerely tries to be there for the people he cares about.
Although he dreams of going out west for a better life, he’s loyal to his best friend, “Crutchie” (Matthew Cox), a disabled orphan, and falls for the crusading reporter, Katherine Plummer (Taylor Quick).
She exposes the ruthlessness of newspaper magnate Pulitzer and his minions, who don’t care about the newsies’ plight. Together, they have a sweet moment in “Something to Believe In.”
Marconi excels at standing up to the nefarious Pulitzer, played with unrelenting heartlessness by Christopher Gurr, while firing up everyone who wants to “stick it to the man.”
He meets a kindred spirit in go-getter Davey (Richard Spitaletta) and his nine-year-old brother Les (Davin Wade), whom he takes under his wing. Davey’s intelligence and Jack’s street-smarts are an inspiring combo. Both Spitaletta and Wade are engaging performers, comfortable in their roles.
Matthew Cox as Crutchie. Phillip Hamer photo.
Capturing everyone’s hearts is Matthew Cox, who endears as lovable Crutchie. You’ll want to have tissues ready for his “Letter from the Refuge” song, as he details the horrors of being back at the deplorable juvenile reformatory.
Quick, as resourceful Katherine, is another standout. She made her debut earlier this summer as Shelby in “Steel Magnolias,” but here showcases her considerable singing and dancing skills in “Watch What Happens” and “Once and For All.”
Anita Michelle Jackson is an incandescent light on stage, sashaying as sassy and classy theater owner Medda Larkin, who encourages Jack’s artistic ambitions, and looks fabulous in costume designer Brad Musgrove’s divine finery.
A texture specialist, Musgrove worked with period-appropriate garb for the poor-kid cast in mostly subdued earth tones, mixed up with prints, with the rich folk in Gilded Age attire, so the only chance to break out with sumptuous fabrics was with the showgirls.
David Nehls’ savvy music direction is on point, superbly conducting Alerica Anderson on base, Travis Maddison on guitar, Lea Gerdes and JD Tolman on reeds, Ranya Iqbal on cello, Abbie Steiling on violin, Evan Palmer on trombone, Chris Miller on trumpet, and Peter Gunn on drums and percussion, while he played keyboards.
Struck by the work’s timeless can-do American spirit, Bebout said he wanted to focus on young people’s quests to figure out their place in the world. “’Newsies’ reminds us to never doubt the power of a galvanized group of kids who want to change the world,” the director wrote in his program notes.
Christopher Gurr as Pulitzer. Phillip Hamer photo.
The ragamuffin newsies’ efforts bring the city to a standstill – not just a strike for decent wages, but through an ally reporter’s expose about unfair child labor practices in factories, slaughterhouses, and sweatshops are stand-up-and-cheer moments.
An important history lesson, this marked a significant turning point, when the labor union movement gained ground in a new Progressive Era as the country swelled with American Dream-seeking hopefuls who were the workforce for the Industrial Revolution.
Bebout has returned for another knockout, after he directed the comic juggernaut “Clue” last summer, which garnered five St. Louis Theater Circle Awards for Stages’ first play.
His ability to keep the fleet-footed cast swiftly moving through various locations is admirable. (Kudos to stage manager Monica Dickhens too).
The cast fluidly moves pieces of Beyersdorfer’s aesthetically impressive and practical grid set that is, by turns, a newspaper printing plant, bustling streets, makeshift living conditions, and The Refuge, with Pulitzer’s office and Medda’s theater in the mix.
The technical work is exemplary, including Bart Williams’ crisp fight choreography, Sean M. Savoie’s precise lighting design, Saki Kawamura’s adept video projection design, Mike Tracey’s sound design, and Daniel Paller’s shrewd wig and hair design.
Stages’ first foray into presenting a Disney musical in its 38 seasons is a triumph, an uplifting and heart-tugging tale of unlikely heroes that any generation can identify with.
Phillip Hamer photo.
Stages St. Louis presents Disney’s “Newsies” from July 26 to Aug. 25 in the Ross Family Theatre at The Kirkwood Performing Arts Center. For tickets or more information, visit https://stagesstlouis.org
Anita Michelle Jackson as Medda Larkin. Phillip Hamer Photo.
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.
I’ll take a big ol’ slice of Live Your Life pie, please and thank you.
The winds of change were blowing at the Muny this week, a welcome force like the powerful fans cooling the audience. From my vantage point, “Waitress” was a breath of fresh air.
The musical equivalent of comfort food has delivered a tasty combination of love, hope and inspiration since its Broadway debut in 2016.
Blazing trails, the musical’s Muny and Midwest regional premiere opened as an intimate slice-of-life heart-tugger. Scores of young women filled seats, and it was refreshing to see this show’s next generations appeal.
They can be inspired by this show by women about women – and most importantly, believe in their dreams and their voice.
Patrons were greeted with a cozy, comfortable stop on the open road, where down-home folks gathered at picnic tables for eggs, coffee, and a slice of expert baker Jenna Hunterson’s delicious pies, an inviting rustic tableau – complete with cars parked on stage.
With its big heart baked into a buttery shell, the production moves with an appetizing naturalism.
As Jenna made magic out of flour, butter and sugar, so did the ceiling-breaking all-female creative team — Lili-Anne Brown directing her third show here after rattling the rafters with “The Color Purple” and “Rent”; first-time music director Andra Velis Simon; and choreographer Chloe O. Davis.
From left: Nicole Michelle Haskins, Lissa deGuzman and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
A sturdy ensemble, representing a small-town milieu, was outfitted in work and casual attire by costume designer Raquel Adorno.
In an interesting twist, they moved in unison to “What’s Inside” and “Opening Up,” creating a rhythm that would reflect ultramodern sensibilities, thanks to Davis’ sleek choreography.
Some nifty touches include the chorus clapping like flamenco dancers to add beats to the robust duet “Bad Idea” that ends Act I. (And will be stuck in your head the rest of the night).
Taking a closer look, my fellow theatergoers, means “Waitress” is one of the two most recent contemporary hits produced at the Muny. In the pandemic-shortened 2021 season, “On Your Feet! The Story of Emilio & Gloria Estefan” played six years after it ran on Broadway in 2015, and “Waitress” arrives nine years after it opened.
Take note, those who complain about the lack of variety or too-few 21st century pieces. (2025 season survey now online (www.muny.org/showsurvey).
Talk about an auspicious Muny moment!
The biggest draw is pop star Sara Bareilles’ perceptive score, with its catchy hooks and poignant lyrics, but also the female empowerment story evokes warm feelings about family, friends, and the people who carry us through tough times.
Bareilles, a Gen X singer-songwriter and actress, has been a hit-record making machine since 2007, and her piano-based pop soul music has sold more than 3 million albums and 15 million singles.
Jessica Vosk and Clevant Derricks in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
Her fresh sounds flavor the lives of these ordinary people, and Simon’s conducting brings out the music’s luscious beats.
The joy for the material is substantial, led by a tactile and plucky tight trio of waitresses. In a rural Southern setting, sassy Becky (Nicole Michelle Haskins) and nerdy Dawn (Lissa deGuzman) plus silky-smooth Jessica Vosk as self-doubting Jenna — make Joe’s Diner their home away from home.
Each bona fide stars, they form an ‘all for one’ attitude like those rogue French musketeers, holding on to dreams and keep each other going, displaying beautiful harmonies in “A Soft Place to Land” and a spirited “The Negative.”
Jenna is surprised by an unplanned pregnancy, for she feels trapped in an unhappy marriage to the controlling, abusive Earl (Ben Crawford). Boss Joe (Tony winner Cleavant Derricks) tells her about a pie-baking contest with a hefty grand prize, and that gives her hope for a fresh start.
She also begins a startling affair with her doctor, Dr. James “Jim” Pomatter (Devin DeSantis). The show’s adulting is complicated, with Becky getting frisky at work with grouchy Cal (Jonah D. Winston) and Dawn finding true love online with eccentric soulmate Ogie (Troy Iwata).
Devin DeSantis and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
These aren’t your typical romantic entanglements, and this isn’t your usual musical template. It’s for mature audiences, and this creative team hasn’t messed with the candid storytelling. (I’d rate it PG-13, suitable for teens but not youngsters).
Based on writer-director-actress Adrienne Shelly’s 2007 independent film starring Keri Russell, Nathan Fillion and Andy Griffith as Joe, it touches on a fierce sisterhood and their thorny problems.
(A tragic note: The creator Shelly was murdered in 2006 before the film was released. A construction worker who had been working in her office apartment building was convicted of first-degree manslaughter. Her husband gave writer Jessie Nelson some of his wife’s notes to use for the adaptation.)
The Muny’s fearless female force leans into the friendship bonds just as the original’s rare historic team did – besides Bareilles and Nelson, Diane Paulus was the director and Lorin Latarro choreographer. (First ever musical to have women in top four slots).
The feisty women characters, who are tangy in conversations and occasionally curse, are ones you root for, and even though Jenna’s life is a hot mess, they will eventually concoct their own recipes for success.
These are women who don’t think they deserve their dreams, but oh, as the comedy and drama unfold, we see the power of community lift them up.
Kaitlyn Louise Smith (left), Jessica Vosk and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
If there is one overarching theme this season it is “Community.” How fortunate we can celebrate the things that unite us, from the potent cries for mercy and freedom in “Les Miserables,” the aspirations to be somebody in “Dreamgirls,” the enchanting world of make-believe in “The Little Mermaid” where fairy tales come true, and the unwavering bonds of faith and family in “Fiddler on the Roof.”
And now, with “Waitress,” you detect that important sense of community that never goes out of style – and especially with fired-up women. As Eleanor Roosevelt so eloquently put it: “A woman is like a tea bag – you can’t tell how strong she is until you put her in hot water.”
Because of their bodies, women have their own specific viewpoints on pregnancy, and the female-centric jokes are amusing in “Club Knocked Up” and “The Contraction Ballet.”
Yes, the Muny goes there, honestly. The frank subject matter regarding relationships is a risk that reflects moving the needle forward, like “The Color Purple,” “Rent,” “Kinky Boots,” “Sweeney Todd,” “Chess,” and even “Young Frankenstein” did when they finally arrived on the Muny stage.
And kudos for the insight on how pregnant women walk, move and look that adds authenticity to the performances.
Vosk, so impressive last summer in “Chess” and two years ago as the Narrator in “Joseph and the Amazing Technicolor Dreamcoat,” is a powerful, emotional vocalist in the upper echelon of professional talent. As Jenna, she shows vulnerability and resolve.
When she lovingly tells her baby girl, “We’re going to be happy, little girl, and not just happy enough” – you believe in Jenna’s tremendous strength – and she does too.
Her soul-baring “She Used to Be Mine” is a stunner, the show’s knockout punch. And the motherhood anthem, “Everything Changes,” stands out too, with an uplifting company reprise.
From left: Lissa deGuzman, Jessica Vosk and Nicole Michelle Haskins in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
“Waitress” ran for four years on Broadway, from 2016 to 2020, with 33 previews and 1,544 performances. It was nominated for four Tony Awards, including Best Musical, but that was the year “Hamilton” was the runaway train, winning 11.
After seeing the 2007 movie, a national tour at the Fox Theatre in 2019 and the filmed version of its 2021 limited engagement return, which came out in December 2023 (and is available on digital platforms), I’ve increased my appreciation on subsequent viewings. I’ve always been captivated by the score and the performances, but still think the book has some problems, particularly the awful Earl character.
Lazy, selfish, and brutish, he’s such an insufferable jerk without any redeeming qualities that it can be difficult waiting for Jenna to act in her best interest. Ben Crawford, entirely sympathetic as The Beast last year in “Disney’s Beauty and the Beast,” accomplishes quite a reversal by going full junkyard dog mean.
Dr. Pomatter, the dreamy OB/gyn, is married to a perfectly fine woman who is working her residency at the hospital; therefore, the infidelity is a sticking point. The show glosses over the consequences of cheating, and trust. We’re not talking Disney princesses. (Although she did win him over with her Mermaid Marshmallow Pie).
“Waitress” isn’t the first musical to address married people fooling around. (Hello, “The Bridges of Madison County,” “A Little Night Music,” and “Into the Woods,” to name a few.) It’s those gray areas of life…real people problems, rooted in reality that creates endless plot variations. After all, misery loves company.
And then there is that very human spice that brings passion to the forefront when added to the mix.
Jessica Vosk and Devin DeSantis in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
DeSantis, whose velvety tenor pairs well with Vosk’s commanding range, delivers their misbehaving dilemma duet “Bad Idea” superbly and continues to display his conflicted heart in “You Matter to Me.” Their connection is palpable, sprinkled with heat, and reduced through conscience-wrangling.
The humor satisfies and sustains the show. Flaky Ogie’s numbers “Never Ever Getting Rid of Me” and “I Love You Like a Table” show off Troy Iwata’s impeccable comic timing. He’s a fun fireball on stage, stealing every scene he is in, and delightful when paired with DeGuzman. They embrace their peculiarities, endearing them to the audience.
Nicole Michelle Haskins, who won a St. Louis Theater Circle Award for her role as Sofia in “The Color Purple” in 2022, is forceful as the tart-tongued Becky. Her comedic timing is also flawless. And Winston, funny as all-bark-no-bite Cal, is a formidable foil for her.
The renowned Cleavant Derricks finds the sweet spot between the curmudgeonly crusty customer Joe and the compassionate boss Joe, delivering a moving “Take It from an Old Man.” Derricks won a Tony Award for originating the role of James Thunder Early in “Dreamgirls.”
The arrival of Lulu in the final scene is the full-circle cherry on top, with charming Torri Tripoli sparkling as the light of Jenna’s life.
Also noteworthy were Patricia Jewel, a real gem, as quippy Nurse Norma and dance captain Kaitlyn Louise Smith as Jenna’s mother (in flashback).
Troy Iwata, Lissa deGuzman and the company of the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
A marvel in motion, Wilson Chin’s ingenious set design, combining diner, doctor’s office, and the Hutcherson home is as eye-catching as it is functional. Smoothly turning for each transition, his interesting take on freeing up a diner’s interior added much to the atmosphere.
Chin’s making his Muny debut, but his stunning set for “Angel Street” at The Repertory Theatre in St. Louis in 2015 won a St. Louis Theater Circle Award.
Lighting designer Heather Gilbert enhanced the cordial feeling, with festive lights strung for a distinctive look.
Cravings for pie are inevitable, and video designer Mike Tutaj, new to the Muny, dispenses pie recipes on clever menu ticket graphics. Getting Out of the Mud Pie is just one of many innovative takes on the American classic dessert. Sure, she makes an apple version, but with cocoa chiffon and rose petals.
I believe, like Gary Johnson, Glen Powell’s character in the Netflix movie “Hit Man,” who says “All pie is good pie” as his signature opening statement. Food always brings people together, and so does live theater – hence, the earthy alchemy of “Waitress.”
And dessert alert, as a special treat, the Muny has teamed up with Ted Drewes to offer Jenna’s Apple Pie Concrete only this week at the concession stands. Another St. Louis institution making its debut.
Ben Crawford and Jessica Vosk in the 2024 Muny production of “Waitress.” Photo by Phillip Hamer
A theater insider note: Another confectionary delight was added to the script when the musical returned to Broadway in 2021 for a limited engagement (filmed at this time to release as a movie musical) – “A Big Ol Slice of Live Your Life Pie.”
That is a tribute to the late actor Nick Cordero, who originated the role of Earl on Broadway. He died in July 2020 at the age of 41 after a brutal fatal battle with COVID-19. His song “Live Your Life” became an anthem, and that reference is now included for all companies.
A bountiful feast for the eyes and ears, “Waitress” is a pleasant pop experience with enough zip to sweeten a sweltering summer night. This production has effectively created common ground for an enduring theme of community, and what a delightful spritz it is..
The Muny presents “Waitress” July 30 – Aug. 5 at 8:15 p.m. nightly at the outdoor stage in Forest Park. For more information, visit www.muny.org.
The company of the 2024 Muny production of “Waitress.” 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.
