Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

Vocals Soar, Tangos Tantalize in The Muny’s Sumptuous ‘Evita’

By Lynn Venhaus

Virtuoso vocals and transfixing tangos propel the Muny’s grand-scale stylized and dramatic “Evita,” the Andrew Lloyd Webber and Tim Rice classic.

Featuring three of the most expressive voices to grace the outdoor stage this or any season, Katerina McCrimmon is the titular character, Paulo Szot is Argentinian president Juan Peron and Omar Lopez-Cepero is narrator Che, the historic revolutionary born in Argentina. The musical goes through her meteoric rise to power and influence as Argentina’s First Lady.

Through their stunning renditions of the signature songs, the trio earns the audience’s awe and admiration. Notable for their commanding stage presence, technical skills and strong delivery, they flourish in the imposing setting.  

Also standing out were tenor Daniel Torres as the charming Magaldi in “On This Night of a Thousand Stars,” and mezzo-soprano Sabrina Santana poignant as Peron’s mistress, whose heart-tugging “Another Suitcase in Another Hall” is one of the evening’s highlights.

The glamourous and charismatic Evita, who died tragically of cervical cancer at age 33 in 1952, grew from humble beginnings to beloved icon. Marrying Peron in 1945, she became a populist leader after his election in 1946, later described as the “Spiritual Leader of the Nation.”

Paulo Szot and Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

The story starts in 1934 when the poor Maria Eva Duarte was 15. As Evita, she championed the rights of the working class, women and the poor, establishing social programs and instrumental in women’s suffrage. But she also had her detractors, not accepted by the aristocracy.

McCrimmon, who is skilled at bringing the house down, for she toured as Fanny Brice in the most recent revival of “Funny Girl” and her rendition of “Don’t Rain on My Parade” was a highlight of the Fox 2024-2025 Broadway season.

With her tour-de-force delivery, she creates a magical Muny moment with the showstopper “Don’t Cry for Me Argentina.” Image-wise, she’s breathtaking in a shimmering flouncy white ballgown with silver sparkles, standing poised on a stately balcony/staircase representing Casa Rosada, the government seat.

With customary finesse, the Muny’s execution is nearly flawless. Innovative director Josh Rhodes, who also choreographed, had a specific vision and meticulously followed through, collaborating with the associate director and choreographer Lee Wilkins. Natalia Nieves-Melchor is the assistant choreographer and dance captain.

Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by The Muny | Emily Santel

Rhodes’ flair for incorporating novel ideas was evident in “Chess” two years ago, and now, this time.

McCrimmon and Szot are a good match together, first paired in “I’d Be Surprisingly Good for You.” Tony winner as Emile de Becque in Bartlett Sher’s acclaimed 2008 revival of “South Pacific,” his rich, warm baritone is powerful in “The Art of the Possible,” “A New Argentina,” and shows range in the tender “She Is a Diamond.”

A bona fide star in three previous Muny shows, Omar Lopez-Cepero is an exceptional Che. As a cynical commentator, he snarls, he scowls, he expresses his disdain for Evita’s opportunistic and manipulative ways. And his songs are just as passionate.

He’s an observer, Greek chorus, challenger and critic on stage most of the time. Lopez-Cepero’s intensity comes through singing “Oh What a Circus,” “High Flying Adored,” “The Chorus Girl Hasn’t Learned,” “The Money Kept Rolling In” and “Dice Are Rolling,” among others.

Members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Lopez-Cepero was memorable in “On Your Feet!”, “The Unsinkable Molly Brown” and “Paint Your Wagon” in recent years, and he owns this role, making his performance unforgettable.

Best of all is music director Ben Whiteley’s brilliant orchestrations and conducting. He has brought out vivid colors in the musical imagery through captivating use of instrumentations.

He exuberantly captures Latin rhythms, jazz influences and pop melodies in the anthemic score.

Each orchestra piece stands out, thanks to the top-shelf skills of the 24-piece orchestra. Their work is exquisite from “A Town Square in Buenos Aires” through 26 more compositions to the finale “Lament.”

Sabrina Santana and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Sound designers David Patridge and John Shivers also enhanced the aural experience.

Adam Koch’s majestic scenic design, accompanied by Paige Seber’s moody lighting design, and Steven Royal’s distinct black-and-white video design, all Muny debuts, create an immersive regal tableau. Fun fact: 20 years ago, Koch was a young assistant stage designer at the Muny. Welcome back!

One of the most eye-catching elements is world-class tango dancers Junior Cervila and Noelia Guerrero – you can’t take your eyes off them. Cervila choreographed the tango-infused numbers.

They are mesmerizing in their first act introduction, then “Waltz for Eva and Che,” the finale, and most beautifully presented in the bittersweet ballad “You Must Love Me.”

From left: Katerina McCrimmon, Noelia Guerrero and Junior Cervila in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Written by Webber and Rice for the 1996 film adaptation, it not only became a stand-alone hit for Madonna, but also won Best Original Song at the 1997 Academy Awards. It has since been incorporated into the show.

 “Rainbow High,” where McCrimmon directs her transformation so that she can be adored and their ‘savior,’ ramping up the “star quality,” is also impressive, as is a feisty, playful “Buenos Aires.”

An articulate 20-person ensemble, representing different social classes, becomes a community, and their movements represent a changing cultural landscape – Rhodes’ vibrant choreography spotlights the country’s sociopolitical changes.

Andrés Acosta, Leyla Ali, Marissa Barragán, Leah Berry, Patrick Blindauer, Jordan Casanova, Marilyn Caserta, Junior Cervila, Devin Cortez, Nicholas Cunha, Kyle de la Cruz Laing, Daniel Alan DiPinto, Kylie Edwards, Noelia Guerrero, Natalia Nieves-Melchor, Zibby Nolting, Arnie Rodriguez, Leann Schuering, Trevor Michael Schmidt, Sharrod Williams and Noah Van Ess are featured – in celebration and in mourning. An ensemble of ten Muny Kids and eight Muny Teens are also incorporated. Shout-out to stage manager Kelsey Tippins.

Omar Lopez-Cepero and the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

First-time costume designer Brian Hemesath brings considerable show business credentials with him – Three-time Emmy winner for “Sesame Street,” 100 digital shorts for The Lonely Island on SNL 2002-2015 and work on Spielberg’s “West Side Story” and John Wick films.

His timeline for Evita’s evolution from peasant to model, radio star, actress and First Lady is a mix of flashy and classy. Wig designer Kelley Jordan’s work is exemplary, complimenting his various looks.

The alluring presentation is not the issue. Webber and Rice’s storytelling is the show’s weakest aspect. Partly because throughout time, Eva has become a historical footnote, and many are not familiar with her controversial story.

Katerina McCrimmon and Omar Lopez-Cepero in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Is she a heroine or a villainess? It’s up to you to decide, but the musical’s format is hampered by unsympathetic viewpoints. You also may need a tutorial before you go, if you are unaware of the backstory.

This is not to say that the cast isn’t impassioned, because they are, and are fully committed to giving their all. They try very hard to make it an inspirational touchstone.

I’ve always found this musical cold – even though I invariably admire the performers. After seeing a national tour at the Fox Theatre in 2015 and an equal parts gritty and elegant presentation at the Repertory Theatre of St. Louis in 2018, I’m still waiting for the show to give me a reason to care.

Members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Nevertheless, the Muny’s creative teams’ craftsmen and artists have premiered one of the most dazzling productions with precision and clarity. Rhodes and company are authentic in historical context.

(Full disclosure, outside of “Jesus Christ Superstar,” not the biggest fan of Webber-Rice’s main claims to fame. I feel they are more about spectacle and bombast than an emotional investment. I hope for something to move the needle but so far not yet. So, there is that.)

Their ambitious and very theatrical sung-through musical “Evita” became a sensation first in London in 1978, starting with a rock opera concept, transferring to Broadway a year later and becoming the first British musical to win the Tony in 1979.

It made stars of its leads, Patti LuPone and Mandy Patinkin, who won Tony Awards (show nominated for 11, won 7).

From left: Katerina McCrimmon, Daniel Torres, Omar Lopez-Cepero and members of the company of the 2025 Muny production of “Evita.” Photo by Phillip Hamer

A 1996 movie starred Madonna and Antonio Banderas, and a 2012 Broadway revival starred Ricky Martin. London’s West End has revived the musical five times, including a current Jamie Lloyd interpretation starring Rachel Zegler.

The Muny debuted the show in 1985, and reprised it in 1989, 1996 and 2001. So, it’s been 24 years since a fresh take.

With its superlative all-around singers and their polished stage presence, “Evita” is a stylish whirl of dance and recognizable musical numbers.

The Muny presents “Evita” July 18 -24 at 8:15 p.m. nightly at the outdoor stage in Forest Park, 1 Theatre Drive.The musical is 2 hours, 20 minutes with an intermission. For more information, visit www.muny.org

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Katerina McCrimmon in the 2025 Muny production of “Evita.” Photo by Phillip Hamer

Strong Female-Forward Works Intrigue In This Year’s LaBute New Theater Festival

Strong Female-Forward Works Intrigue In This Year’s LaBute New Theater Festival

By Lynn Venhaus
Noteworthy for different perspectives and original approaches, a mostly female-forward selection of one-act plays are the highlights of this year’s LaBute New Theater Festival.

Another interesting development is a noticeable female and non-binary presenting team on stage and behind the scenes crew that offer crisp performances and assured contributions. And that’s no dig to the men’s expertise. It’s refreshing to see uncommon fresh voices involved.

The festival, now in its 11th year, and established in 2013, is a unique collaboration between St. Louis Actors’ Studio and Neil LaBute, the renowned playwright, screenwriter, and director of theater and film.

This innovative endeavor introduces and supports new work from across the country. LaBute not only lends his name, but he is part of a 10-member panel that selects the plays from hundreds of submissions, often emerging professional playwrights, and from a vast swath of locations.

This year’s most outstanding work is a gripping sci-fi horror thriller in the vein of the best “Twilight Zone” anthologies called “TEOTWAWKI.”

More than an acronym used by R.E.M. in a song about “The End of the World as We Know It (And I Feel Fine),” this panicky doomsday piece written by two-time finalist Aleks Merilo of Palo Alto, Calif., has taut, carefully crafted layers that have a palpable urgency.

 Deftly directed by Bryn McLaughlin, she effectively builds suspense in a haunting and satisfying way. Sarah Wilkinson is pitch perfect as the spunky, scared, sweet young woman trying to find someone still alive. Every day, she talks on a ham radio, desperately trying to locate fellow survivors.

The likable Wilkinson, a St. Louis Theater Circle Award winner who continues to show her versatility on stage – in primarily musicals and comedies, now adds chilling drama to her growing list of credits.

This terrifying snapshot of a catastrophic event that has led to the collapse of modern society lingers, and Wilkinson is a standout in the introductory piece, and in two others.

Four of the one-acts that follow are uniformly solid, a potent mix of edgy whip-smart farce, audacious parody of corporate greed, cynical tone-deaf privilege on display during daily commutes to work, and a modern poignant reflection on human chemistry and connection.

The one that didn’t quite land in the way it was intended was a rather whiny two-hander, “Poor Me,” by Tracy Carns of New York, who pitted former roommates and supposed friends in the awkward position of one having to tell the other to vacate a residence.

Despite savvy performances from Claire Coffey as defiant Cleo and affable Xander Huber as a nervous, reluctant Tad, the play focuses on a self-absorbed laid-off marketer who is squatting in an apartment building owned by Tad’s father.

She used to live there with Tad and his girlfriend, her friend, but now they are expecting a baby and have since moved away. Cleo’s still there, despite nudges and pleadings, the apartment building is going to be renovated, and they need her to find another place.

She is adamant about staying. Refusing the ultimatum, it’s a frustrating standoff where you have little sympathy for either party, even with Huber’s hangdog expression, especially after revelation of some ugly truths. However, the ending, which appears tacked on, is a head-scratcher.

Coffey, effortlessly poised, excels in three other works – “Hungry Women,” “Carpool” and “Scenes from a Bookstore,” as do the other shrewd performers.

Reagan Posey-Mank, MacLean Banner and Claire Coffey in “Hungry Women.” Photo by Patrick Huber

A cross between “The Gilded Age” and “Yellowjackets,” “Hungry Women” is an unusual satirical look at widows contending with being on their own and going through a famine. Four women, all in well-to-do finery, meet for lunch, and reveal the horrors that have upended their lives.

While explanations aren’t that much a part of Melissa Maney’s witty flip of gender expectations and feminism enlightenment, the quartet of amenable actresses are primed to be brave and fervent.

Maney, of Hillsborough, N.J., gives the actresses meaty roles to have fun with, and Wilkinson again confidently shines in the part of Vic, requiring moxie and swagger — big determined energy.

MacLean Banner and Reagan Posey-Mank are newcomers to the Gaslight Theatre, and as Mary and Eden, project congeniality with Wilkinson and Coffey as Ruth (also newbies) in their dressy layers and coiffed hairstyles. Special mention to costume and wig designer Abby Pastorello for the period pieces.

Sarah Wilkinson as Vic with Blanner, Posey-Mank and Coffey. Photo by Patrick Huber.

The mannered housewives have fun feigning shock at some morally outrageous developments and make their transformations believable.

Director Avery Harrison leaned into the pearl-clutching humor, and the performers boldly followed suit.

Banner, a formidable presence as Disney princesses in big splashy musicals and an insightful director of youth group summer productions, flexes different instruments in her toolbox in three of the one-acts.

Taylor Crandall and MacLean Blanner in “Scenes from a Bookstore.” Photo by Patrick Huber.

She is most impressive as a young wife and mother in Neil LaBute’s “Scenes from a Bookstore.” She and Tyler Crandall have convincing chemistry as two people who may share a history and unexpectedly reconnect in a Hudson Valley bookstore.

LaBute has slyly built a ‘will they or won’t they’ dynamic as the two keep running into each other, some obviously planned encounters. She has taken a part-time job there as the play unfolds.

The charismatic Crandall and naturally appealing Banner offer nuanced portraits of these two, coyly named “Him” and “Her.” Coffey, who easily fits into an elegant female role, plays ‘the’ wife, “She,” who drops into the business. Think of it as a relationship lens in the manner of Ingmar Bergman’s intimate “Scenes from a Marriage,” with much implied and less spoken aloud.

McLaughlin directed this layered work without ever tipping the scales. It may be a conversation-sparker afterwards, as it’s the last piece in this thought-provoking line-up. LaBute contributes a one-act every year.

The play also has precise technical cues too, and production manager Kristi Gunther, set and lighting designer Patrick Huber, and props designer Emma Glose seamlessly communicated the times and dates as the story progressed.

A laugh-out-loud audacious work is “A Modest Proposal” by David MacGregor of Howell, Mich. Smoothly helmed by Harrison in a nondescript office, MacGregor humorously ratchets up the out-of-control disparity between the haves and the have-nots.

A feisty self-assured consultant, played with relish by Wilkinson, proposes something so absurd as a solution to their bottom-line profitability that the egomaniac bosses, Crandall as an arrogant CEO and Posey-Mank as a condescending CFO, are seriously considering it.

Under Harrison’s distinctive direction, Wilkinson is smooth and silky as the persuasive salesman whose far-fetched plan is guaranteed to push buttons.

Claire Coffey, Xander Huber and MacLean Banner in “Carpool.” Photo by Patrick Huber.

Dave Carley’s script for “Carpool” is subtle, taking a familiar routine and enlivening it with co-worker interactions. Banner is the driver, known as A, Coffey is riding shotgun, known as B, and Huber is a mostly silent uncomfortable intern whose expressions speak volumes.

Then, Carley, from Ontario, Canada, adds some quirky twists, and director Harrison shapes it to be an amusing, off-beat piece.

A benchmark of this year’s festival is the quality of the performers and the writing, and these artists adroitly worked together.

Stage manager Amy J. Paige and her assistant Jayla Pruitt efficiently move things along, and the team pitches in for quick, minimal set changes, usually with splendid needle drops.

In the always intriguing festival’s annual execution, the contemporary pieces are stimulating, with authentic characters created by writers who have something to say, engagingly acted and modestly presented in The Gaslight Theatre’s intimate black box. This year’s offerings demand attention.

St. Louis Actors’ Studio presents the 11th annual LaBute New Theater Festival July 11 to 27, with performances at 8 p.m. Thursday through Saturday and at 3 p.m. on Sundays at The Gaslight Theater on North Boyle in the Central West End. General admission tickets are available via Ticketmaster or at the theater box office one hour before show time. For more information, visit www.stlas.org.

Tyler Crandall, Xander Huber, Sarah Wilkinson and Reagan Posey-Mank pose with playwright Aleks Merilo (center) at LaBute Festival. Photo by Patrick Huber.

‘Romeo and Zooliet’ Unites Nature and Art in Festive Family Frolic at Zoo

‘Romeo and Zooliet’ Unites Nature and Art in Festive Family Frolic at Zoo

By Lynn Venhaus

A grizzly bear, crocodile, prairie dog, red panda, and tiger dance into a party in Zoorona, and we get a bouncy beat, a perky vibe, and a bright-eyed and bushy-tailed family-friendly adaptation of Shakespeare’s classic love story, revived as “Romeo and Zooliet.”

After all, what’s in a name? “That which we call a rose by any other name would smell as sweet.” What if the animal kingdom put on their own show in the friendly confines of a public zoo?

This inspired first-ever collaboration between St. Louis Shakespeare Festival and the Saint Louis Zoo is staged in a grassy, wooded valley area known as “Historic Hill,” between the sea lions and Cat Country on the zoo’s south side.

It is an enchanted setting on a midsummer night, and even a rain delay and sound glitch on Friday, July 11, couldn’t dampen the enthusiasm and enjoyment, particularly of the young and the young at heart.

Ingeniously camped in a performance space named “The Glowb,” clever large custom-made animal puppets cavort in their make-believe habitats, courtesy of Shakespeare-trained actors nimbly operating their characters while they provide the voices and the movements.

Ryan Omar Stack and Nisi Sturgis. Photo by Theo R Welling.

The synergy between playful puppeteers is uplifting, especially when you have a tale aimed at young audiences that is an ode to friendship. (In crossing the biological divide, no animals were harmed in this charming presentation).

The tragic-free conflict, created with wildlife behaviors in mind, is that cuddly bear cub Juliet, an omnivore who leans towards being a vegetarian, becomes best friends with adorable prairie dog Romeo, an herbivore who eats plants.

They don’t mind their differences and want to spend time together without their friends and families interfering. Those colorful characters are not feuding; they’re just from different clans.

Playwright Jennifer Joan Thompson’s imaginative script, based on a 2015 graphic novel, “The Stratford Zoo Midnight Revue Presents Romeo and Juliet,” which was written by Ian Lendler and illustrated by Zack Giallongo, takes flight in this delightful zoo setting.

An exuberant Ricki Franklin, a master interpreter of Shakespearean iambic pentameter, is the sweet Juliet seeking a best buddy. Franklin is a two-time winner of the St. Louis Theater Circle Award for performer in a supporting role for “Twelfth Night” and “As You Like It,” two recent outdoor productions in Shakespeare Glen, and her vibrant stage presence is welcoming.

Jacob Schmidt and Jordan Moore. Photo by Theo R. Welling.

Agile Jordan Moore plays nice Romeo, smitten with Juliet in a way where it’s the platonic version of “Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night,” and wants to hang out after they dance.

Juliet’s controlling mom, Lady Capulet, has other ideas — to have a play date with Paris, a smarmy crocodile with ulterior motives, for he sees a meal ticket. Nisi Sturgis’s suppleness in moving with an enormous bear apparatus above her head is impressive.

Adroit Ryan Omar Stack cunningly delivers his double entendre lines, trying to cover up his hearty appetite. He also portrays the prince, who is a sage sea lion (and easily distracted by balls!)

Zookeepers have gone home for the evening, and assorted critters come alive for fun and adventure. The remarkable puppets were designed and fabricated by Michael Curry Design. They collaborated with Julie Taymor for incredible “The Lion King” puppets, so no wonder these are striking in detail.

All the characters are animals that can be found in the Saint Louis Zoo – and on your way in and out, you can watch the prairie dogs’ antics as they go about their evening.

Narrators are a penguin, their offspring, and a puffin. Bryce Cleveland is Puff, Genevieve Mazzoni is Penny. Rian Page and Sophie Stogsdill are also listed in the program.

An animated Jacob Schmidt is a gleeful Mercutio, ready to dance, but he clashes with Juliet’s cousin, Tybalt (the always vivacious Rae Davis). He’s more laid back, she’s friskier – but they both are protective of their pals.

Schmidt also makes a comical entrance as an ambling tortoise, Friar John, ready to dispense his wisdom. He’s quite a crowd-pleaser.

The mellifluous Jeff Cummings is Friar Lawrence, a wise owl, while Olivia Scicolone is a marvel of motion as a hippo, who is quite limber as Juliet’s fussy nurse.

Rising stars Charlie Mathis and Daisy Held are the capable swings throughout the run.

Scenic designer extraordinaire Scott C. Neale has fashioned a rustic performance space that’s part clubhouse, treehouse, campground and stage – with interesting nooks and crannies for the animals to pop in and take off from.

Jesse Klug’s lighting design incorporates fairy lights, and their illumination elicited ‘aws’ from the crowd.

Costume designer Rachel Adorno, in tandem with Caitlin McLeod, associate costume designer and additional puppet fabrication, give the animals distinct personalities – including sparkly masks for the party scene, to convey the whimsy. Eric Barnes managed the props.

With his keen eye for detail and his zest for high-spirited, fun-filled action, producing artistic director Tom Ridgely has helmed this show laser-focused on cheerful entertainment for all ages, especially wide-eyed youngsters.

Ridgely, as he always does, has included exceptional creatives on this show’s roster. His team included producer Colin O’Brien, associate producer Ryan Jeffery, stage manager Sarah Luedloff and assistant stage manager Britteny Henry.

Olivia Scicolone

The 80-minute show includes catchy pop tunes, with a sensational signature song “Just Like Romeo and Zooliet,” the show’s own interpretation of a song first recorded in 1964 by The Reflections.

It has been re-arranged by music supervisor Jeffrey “JQ” Oaiyum, and sung by JQ and Kiley B. Moore, with background vocals by Sophie Dimitroff and trumpet playing by Marques Carroll.

JQ is part of The Q Brothers, which have been involved in several shows presented here by the St. Louis Shakespeare Festival. A Chicago composer, he also works on the Emmy-winning Hulu series “The Bear.”

The peppy music numbers are choreographed by Sam Gaitsch, and Steve Ptacek did a terrific job with sound design. Zev Steinrock choreographed the fights.

Jeff Cummings.

While it’s briskly performed and pleasantly presented, “Romeo and Zooliet” is a massive undertaking, so no small feat for all involved to create such a magical, purposeful experience.

With an entire village of artisans, Ridgely good-naturedly directed this groundbreaking attempt to unite two different worlds, and we’re the better for it.

If you’re like me, you’ll leave grinning ear to ear, hearing little tots giggling being the best sounds of all on a summer’s eve. (And it’s not every day you hear barking sea lions ready to go to bed).

St. Louis Shakespeare Festival presents “Romeo and Zooliet” Tuesdays through Sundays at 7:30 pm from July 8 through Aug. 17. Performances take place at the Historic Hill in the St. Louis Zoo. For more information: stlzoo.org.

Rehearsal photos by Theo R Welling

Ryan Omar Stack as Paris.

‘Eddington’ Confuses in Look Back at Pandemic Boiling Points in 2020

‘Eddington’ Confuses in Look Back at Pandemic Boiling Points in 2020

By Lynn Venhaus

Self-indulgent claptrap, “Eddington” is an interminable contemporary western-dark comedy that writer-director Ari Aster can’t figure out how to end, nor has he given us any reason to care about what happens, presenting an overstuffed, confusing narrative involving a laundry list of anxiety-inducing crackpot-isms.

Pick a lane, dude. Aster, not a director whose work I have ever admired – or understood, has attempted to give us a snapshot of a small town dealing with the uneasiness of the coronavirus shut-down.

The tagline is “Hindsight is 2020.” Clever and worthy of looking back five years later. But he’d rather muddy up a narrative with stray targets, weak plot threads and aim for grievances that may or not be effective.

So, instead of an incisive account, we try to figure out the purpose of various peculiar characters who are in a disconcerting series of opaque situations.

At times, it captures that paranoid feeling of those uncertain early days of the pandemic, and the unnerving isolation and fear, but Aster mostly fritters away any clarity by tossing too many things together, mostly lightning rods that can stir things up.  

Namely, the unhoused, anti-maskers, conspiracy theorists, racists, privileged white kids grappling with societal issues, Black Lives Matter supporters, national outrage over George Flood’s inexcusable death, fear-mongering media, social media feeding frenzies, vapid influencers, anarchists, ‘Antifa’ supporters, white supremists, red state hysteria, QAnon believers, pedophiles, predators, bureaucratic small-town officials, small business owners, indigenous people’s lands, law enforcement, guns, state mandates, corporate greed, and those profiting off human misery.

Not to mention public health attempts to stop the spread of a rampant virus that wants to destroy us, and those whose lack of disregard for fellow humans under the guise of individual rights is reckless. 

But consequences matter little in Aster’s lawless world where good people are trying to maintain an order and are met with lack-of-information resistance.

Aster’s plots tend to meander but usually have a common denominator – things that can spin quickly out of control. Like he did in the idiosyncratic nearly unwatchable “Beau Is Afraid,” he ratchets up absurdities as people go through personal crises and makes a mockery of real issues.

His horror dramas “Midsommar” and “Hereditary” were designed to shock, and I can’t figure out his intentions here. He likes to be weird just because in his world, rules of form, function and ordinary behavior don’t apply, so he throws things on screen to see what sticks.

Oscar-winning Joaquin Phoenix delivers his customary commitment to character in an excellent performance as Sheriff Joe Cross, whose life is about to unravel in predictable and unexpected ways.

Most frustrating of all is that Aster wastes a strong collection of talent – including Austin Butler, barely making a blip as Vernon Jefferson Peak, a charismatic evangelical zealot type preaching about evil authoritarians and what he perceives to be injustices to the common man. He has amassed many followers through viral videos and in-person rallies.

One of his fans is Cross’s wife, Louise (an underused Emma Stone), who has had some sort of mental health trauma that makes assimilation into society difficult.

 She has a controlling mother who lives with them during the shutdown, interfering with their marriage and their beliefs, and spreads wack-a-doodle theories suspicious about the government. Deidre O’Connell is the meddling mom Dawn. An opportunist, her character does a 180 when it’s beneficial to her.

Pedro Pascal is measured as the popular and successful mayor, Ted Garcia, who is raising his teenage son Eric (Matt Gomez Hidaka) on his own. 

His son and his friends, eager to hang out, disobey social distancing rules and get involved in the Black Lives Matter protests. His friend Brian (Cameron Mann) is always filming on his phone for Instagram, trying to get ‘gotcha’ videos.

Garcia runs a bar, and is open to a tech company coming to his fictional tiny town of about 2500 people for future jobs.

He now must deal with a challenger, Joe, whose mayoral run is often viewed as comical and a nuisance. His two deputies, Michael (Micheal Ward) and Guy (Luke Grimes, who played the beloved Kayce Dutton on “Yellowstone”) are loyal and steadfast, and try to maintain peace. But are also directed by a boss with ulterior motives.

Then, there is this shady group of unnamed operatives that come to town with wreaking havoc on their minds. No explanation here as to who they are.

The town becomes a battleground for free speech and heightens racial tensions.

And the list of plot threads goes on, and on and on. The movie should have culminated in a never-ending shootout where the asthmatic, illness-impaired sheriff survives many automatic bullets and mayhem for a later end result that is hard to believe, but not in Aster’s world view.

Outside of a few skilled performers making good impressions in these daffy offbeat roles, this movie has little to offer if you seek a satisfying story. 

Why I maintained hope that this movie would not be a senseless bloodbath with little effect is beyond me. Enter at your own risk.

“Eddington” is a 2025 dark comedy – contemporary western directed by Ari Aster and starring Joaquin Phoenix, Pedro Pascal, Emma Stone, Austin Butler, Deirdre O’Connell, Luke Grimes, Micheal Ward, Cameron Mann and Matt Gomez Hidaka. It is rated R for strong violence, some grisly images, language, and graphic nudity. Its run time is 2 hours, 28 minutes. It opened in theatres July 18. Lynn’s Grade: D

The Messy Morans Merrily Roll Along in Original Comedy ‘Pride and Joy’

The Messy Morans Merrily Roll Along in Original Comedy ‘Pride and Joy’

By Lynn Venhaus

If your family is friends of Bill W., you can relate to the messy Morans in Colin McLaughlin’s humorous original play, “Pride and Joy.”

However, no matter what level of experience you have with a family of strong personalities who eagerly share their judgmental opinions, you may recognize common traits inherent to those folks related to each other in the Midnight Company world premiere.

Like so many others, they don’t really seem to be connected at times but are inextricably linked as more layers are peeled off. Hence, the similarities to typical American middle-class parental units with idiosyncrasies (don’t we all?).

St. Louis playwright McLaughlin takes a light-hearted look at the emotional and argumentative Morans, who are focused on putting the fun in dysfunctional. A top-flight ensemble takes off with the homegrown material and runs at breakneck speed with it.

Think of it in the same vein as a very special episode of a family sitcom popular in the ‘70s and ‘80s, before Dr. Phil’s “How’s that workin’ for ya?” and Dr. Drew’s Celebrity Rehab.

Director Carl Overly Jr. has cleverly framed the presentation like a television program, complete with TV theme songs playing before the show starts, With such a spry cast, he deftly sets the scene and conveys a lived-in atmosphere easily.

The youngest daughter Sam has invited the family over to her cramped apartment for an intervention, but she is not yet there when they arrive, wondering who the person in need of one is. Is it the dad, who seems to be an imbiber where it may impede his life? Is it the pot-smoking daughter Maggie?

To their surprise, it is their hostess, Sam. She has harbored this secret, and has announced she is sober for three weeks, and is working on the Alcoholics Anonymous program. All worth learning about and supporting.

In this role, newcomer Sarah Lantsberger is endearing as anxious Sam tries to maintain order, but her family isn’t good at following directions. Loud and opinionated, they make it more about themselves. Whose intervention is this, exactly?

Sharp, smart performers who are renowned for crafting authentic characters appear to have a personal history with others from the start. Mom Mary Margaret is Lavonne Byers, one of the true legends of local theater and three-time St. Louis Theater Circle winner for lead performances.

She rarely does comedy but is a master at timing and is always present in every role. You know who this mom is immediately. And of course, she is scurrying around Sam’s apartment, picking up laundry and tidying up.

She and Joe Hanrahan, who plays the rumpled, grouchy, defensive dad Mike, have worked together before, so they are comfortable in a cramped space trying to dispense wisdom to their strong-willed brood.

Hanrahan, the artistic director of The Midnight Company, has always been open to collaborating with a gifted mix of young performers, and engages well with fearless artists, often associated with SATE, ERA, and the St. Louis Fringe Festival.

Oldest daughter Maggie, a ‘type’ of new-age pot-smoker prone to pontificating, is played by seasoned veteran Alicen Moser, another flexible performer. With her family, Maggie is a tad prickly and guarded, but you sense she could contribute more to the mental health goals if applied.

Jayson Heil once again demonstrates his versatility as the jerky, self-centered brother Jay, quick to criticize others and be a disagreeable sort. You get the feeling he didn’t play well with others as a child, let alone his sisters.

Heil, recently seen in “Cabaret,” “First Date” and winner of the St. Louis Theater Circle Award for “All My Sons,” all at New Jewish, is a casual cross between a know-it-all and a slacker as Jay, forced to be somewhere he’d rather not and loathe to confront family memories.

Photo of Lavonne Byers and Joe Hanrahan by Todd Davis

With all their nutty qualities and hang-ups, you can tell there is fertile ground for the characters to dig into, especially in a 12-step program. McLaughlin’s dialogue allows them to convey a shorthand with each other. And the performers are quick verbally and physically to further color the family interactions.

As people familiar with dime-store psychology frequently do, they all talk in self-help books’ psychobabble. Mom is religious, using her faith when it’s convenient while the rest of the family dismisses her outspoken reverence for the son of God.

So, is there a point besides shining a light on a quirky family who needs to break some patterns and establish healthier practices? Hopefully, the intention is to share the universality of family enablers, personal struggles leading to self-medication, self-absorbed people having a change of heart and showing they care for each other when you don’t think they are capable of it?

And not lose sight of that handy mechanism, humor. While some of the characters exhibit traits common in a family with substance abuse issues, a few moments of levity don’t seem to fit as family members deal with their own issues and how it relates to the family dysfunctional dynamic.

So, little digs here and there are just their way of accepting – or not – their habits and excuses. They have some encouraging breakthroughs instead of denial, which leads to a sense of relief that there is hope here.

Yet, there are a few actions that negate that (Maggie’s weed consumption acceptance, dad retrieving a hidden flask…is this a joke? Has nothing changed?). Leave it at hopeful, not thinking “well, maybe not…”

This is a very personal, heartfelt show that means a lot to the playwright, director, cast and crew. It’s obvious in the work that was put into it, and the satisfaction in having it ring true to patrons.  

Photo by Kristina Schall DeYoung

Chuck Winning’s set is a cozy blend of form and function, rendering a young woman’s first apartment, and utilizing the Chapel’s performance space well, while Tony Anselmo’s lighting design suits the material well. Costume designer Liz Henning’s casual attire simply shows each character’s personality.

Art that can entertain, amuse and call people to action is joyous to behold. One doesn’t have to be preachy or melodramatic to get points across. And that’s the beauty of connecting through live theater

The fact that we can all sit in a darkened theater and laugh at the foibles we see in ourselves, and how we each can change the things we can is a powerful message.

Therefore, any opportunity to provide some helpful tools is always welcome (just as triggering messages are).

In that spirit, I would be remiss, after years of advocacy, personal tragedies, a long list of documented dire consequences for generations of alcohol and substance abuse, and much therapy for the remaining family members, not to mention that there is a genetic component that factors in understanding, communication and progress.

Public service announcement: St Louis Alcoholics Anonymous https://aastl.org/ and St Louis Al-Anon: https://www.stl-al-anon.org/

No one is ever alone.

 “God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.” – Serenity Prayer

Photo of Alicen Moser and Sarah Lantsberger by Todd Davis

The Midnight Company presents the world premiere production of Colin McLaughlin’s “Pride and Joy” July 10 through July 26. Thursdays, Fridays and Saturdays at 7:30 p.m., and Sundays, July 13 and 20, at 3 p.m. at The Chapel, 6238 Alexander Drive.  For more information: midnightcompany.com

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Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

Muny’s Majestic ‘Disney’s Frozen’ is a Sparkly Night of Wonderment

By Lynn Venhaus

With groundbreaking visual effects and enough eye-popping sparkle to elicit thunderous roars, the Muny premiere of Disney’s “Frozen” delivers a magical spectacle.

Master storyteller John Tartaglia reimagined the stage musical to capture more of the animated film’s childlike wonder, and the Muny manufactured snow, and incorporated lasers, video projections and resplendent radiance in unprecedented ways

Elsa’s exhilarating rendition of the signature bestselling award-winning song, “Let It Go,” is achieved in such a dazzling presentation that it should induce chills. The Muny’s team has topped themselves, blending in visual storytelling through digital technology as Elsa builds her ice castle and determines to set her own course.

Feeling an electric surge, the awestruck audience reacted enthusiastically to the spellbinding number with loud cheers and a buzzy wowed ovation. Talk about an extraordinary Muny moment – and what a powerhouse vocalist Hannah Corneau is!

Maliah Strawbridge (left) and Isla Turner in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

As a beloved director and often go-to for the annual kid-friendly show (last year’s shimmering “The Little Mermaid,” 2023’s grand “Beauty and the Beast,” and 2022’s sweet “Mary Poppins,” among others), Tartaglia also captivates by drawing out the heart and humor as part of the razzle-dazzle.

To bring this fantasy-adventure to life, the Muny’s stars shine as bright as the icy kingdom of Arendelle, where princesses Elsa and Anna were forced to be separated because of the oldest sister’s unexplained chilling powers she can’t control.

The Oscar-winning film that became an instant Disney classic in 2013, loosely based on Hans Christian Andersen’s 19th century Danish fairy tale “The Snow Queen,” was instead about the power of sisterly love, self-acceptance and facing your fears. Animator and screenwriter Jennifer Lee deservedly won an Oscar for her take, and was Tony nominated for the book.

The stage adaptation opened on Broadway in 2018, its run cut short by the pandemic in 2020. While the film featured seven and a half songs, the original award-winning songwriting team of Kristen Anderson-Lopez and Robert Lopez wrote 14 new ones for this version.

Bobby Conte, Patti Murin, and Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

A standout last year as Hodel in “Fiddler on the Roof,” Corneau is luminous as conflicted Elsa while Patti Murin demonstrates her flair for comedy as vivacious Anna, recreating the role she originated on Broadway.

They offer a portrait of towering female strength and powerful connection, and blend beautifully in “For the First Time in Forever” and “I Can’t Lose You.” Both can belt, adding emotional intensity.

Equally enchanting are the spunky adolescents playing young Elsa and Anna – Maliah Strawbridge and Isla Turner, themselves rays of sunshine who perform “Let the Sunshine In,” “A Little Bit of You,” and “Do You Want to Build a Snowman” with aplomb.

Now grown and facing an eternal winter, newly crowned Queen Elsa is frightened and in hiding while loyal sister Anna searches for her. The youngest sister teams up with a rugged mountain man Kristoff, his faithful reindeer Sven, and the adorable snowman Olaf. It’s easy to warm up to these characters.

From left: Patti Murin, Jared Gertner, Ryan Lambert and Nathaniel Mahone in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

The too-good-to-be-true charismatic Prince Hans is played by Bobby Conte, whose luxuriant tenor is always memorable. It’s a welcome return after some big shows on the Muny stage – as Enjolras in 2013 “Les Miserables,” and Bob Gaudio in 2018’s “Jersey Boys,” and Edgar Rutledge in “1776,” and “Paint Your Wagon,” both in 2019, before appearing on Broadway as PJ in the gender-flipped revival “Company” and Cousin Kevin in last year’s revival of “The Who’s Tommy.”

His introduction is the charmer “Hans of the Southern Isles” and then engaging with smitten Anna in “Love Is an Open Door,” plus the darker “Monster” and “Colder by the Minute.”

High-spirited Jelani Remy makes a noteworthy debut as Kristoff, both charming and funny. He buoyantly sings “Reindeer(s) Are Better Than People” with Sven and “What Do You Know About Love?” with Anna.

The wizardry of Eric Wright at Puppet Kitchen means that Andrew A. Cano as Sven and Kennedy Kanagawa as comical Olaf endear themselves to young and old alike, stealing a scene or two. Olaf’s anthem “In Summer” is as joyful as that lovable warm hugger is.

Jelani Remy in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

Scenic designer Tijana Bjelajac has created a winter wonderland that glistens with blue and silver backdrops, and you also feel like you are in the fresh mountain air – in the July summer heat! (What magic trick or illusion did she use? Remarkable!). She also fashioned a palatial living space as well.

Those also sprinkling the pixie dust were video designer Kylee Loera, whose work here is her finest hour, topping her previous fine achievements; lighting designer Jason Lyons’ exquisite illuminations – and Northern Lights; and sound designers David Patridge and John Shivers, whose work never sounded better.

The lighting/video team  included Rob Denton (laser designer, lighting department lead), Benji Arrigo (video department lead), Chelsea Zalikowski (projection associate), Zavier Taylor (associate video designer) and Shelby Loera (associate lighting designer).  

Costume designer Robin L. McGee, who has put her award-winning stamp on the past two “The Little Mermaid” productions as well as “Mary Poppins,” “Aida,” and “The Beauty and the Beast,” has an affinity for dressing Disney princesses, aided by fine work from wig designer Ashley Rae Callahan.

Elsa’s glittery ice blue satin gown is a stunner. Working with a primary palette of blues and greens, McGee and her team have crafted elegant ballgowns, warm winter wear, royal finery, military uniforms, townsfolk attire, and the naturalistic “Hidden Folk.” Plus hats, gloves, mittens, scarves and coats.

The Hidden Folk are based on Scandinavian folklore – “huldufolk,” and are mystical, animalistic creatures, led by parental figures Grand Pabbie (Chris Stevens) and Bulda (Cecilia Snow). In the stage version, they replaced the rock trolls from the film.

Jelani Remy (center) and the company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

Also standing out are hilarious Jared Gertner as Duke of Weselton, a cross between Austin Powers and Dr. Evil, and Ann Sanders and Jonah D. Winston regal as Queen Iduna and King Agnarr of Arendelle, Anna and Elsa’s parents.

The vibrant ensemble is joined by a 13-member teen ensemble and a 29-member youth ensemble. Tartaglia knows how to stage a large group and make it fluid. After all, he managed to place 85 people in a robust “Be Our Guest” two summers ago, which had, in addition to oversized cutlery, fireworks.

Bobby Conte and Patti Murin in the Muny production of Disney’s “Frozen.” Photo by The Muny | Emily Santel

He also directed exceptional versions of “Tarzan,” “Seussical” and “Annie,” and starred as the Cat in the Hat, the Genie in “Aladdin,” and won the St. Louis Theater Circle Award for Supporting as Pseudolus in “A Funny Thing Happened on the Way to the Forum.” The actor-writer-director-puppeteer could survive on his wit alone but thank goodness he knows how to extract the very best from everyone involved.

(Casting update: As of July 8, Tartaglia has taken over the role of Oaken, who leads the ensemble in ‘Hygge!,” a musical number opening the second act as a replacement for the original actor who is recovering from an injury.).

Darryl Archibald, who flawlessly conducted a 32-piece orchestra for last season’s triumphant “Fiddler on the Roof,” returns to bring out this score’s velvety textures. He even wrote a special overture that is heard first at the Muny.

Some of the musical numbers felt like superfluous padding when I saw the (underwhelming) national tour at the Fox in November 2022. However, choreographer Patrick O’Neill has injected more whimsy and playfulness, and the dance numbers are entertaining overall.

Special mention to the team guiding the magic-making — Mike Isaacson (artistic director & executive producer), Michael Baxter (associate artistic director) and Tracy Utzmyers (director of production). 

I felt like a child again, catching a snowflake in my hand, and taking in the frosty opulence, the wonderment of the virtuoso creative contributions and the cast’s splendid vocal strengths.

The Muny’s marvel of next-level tech meets old-fashioned storytelling, “Frozen” will melt hearts and can bring out the kid in all of us.

Hannah Corneau in the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

The Muny presents “Disney’s Frozen” July 6-14 at 8:15 p.m. nightly on the outdoor stage in Forest Park. The show is 2 hours, 20 minutes with intermission. Concessions are cashless payments. Preshow entertainment starts at 6:45 p.m. The theatre opens at 7:30 p.m. For more information, visit www.muny.org

The company of the Muny production of Disney’s “Frozen.” Photo by Phillip Hamer

‘Jurassic World: Rebirth’ Roars Back As Familiar Formula Thrill Ride

‘Jurassic World: Rebirth’ Roars Back As Familiar Formula Thrill Ride

By Lynn Venhaus

With nostalgic nods to “Jaws,” “Alien” and the 32-year-old peerless original, the thunderous roar of the dinosaurs returns in “Jurassic World: Rebirth,” a super-deluxe summer blockbuster that gets the franchise’s thrills back on track.

With its cartoonish “Jurassic World” theme park trilogy concluded, this new direction means the Jurassic series can endure with fresh faces and a new reason to get near the vicious hulking beasts that have terrorized moviegoers since Steven Spielberg’s classic “Jurassic Park” in 1993.

Still the best of the seven, the equally majestic and macabre original has influenced this latest chapter in large and small ways. For one, screenwriter David Koepp, who adapted Michael Crichton’s brilliant bestselling novel and his sequel “The Lost World” for the films, has returned. This retake is an improvement but still has some clunky storytelling by virtue of the genre formula.

Five years after the events in “Jurassic World: Dominion” (2022), an expedition heads to isolated equatorial regions to extract DNA from three massive prehistoric creatures in water, land and sky for a groundbreaking medical breakthrough, financed by Big Pharma.

Koepp, who wrote the first “Mission Impossible” film in 1996, two of the “Indiana Jones” sequels, and the recent whip smart “Black Bag,” has remarkably made us almost forget the ludicrous “Dominion” and the ridiculous “Fallen Kingdom.”

Philippine Velge dangling off the boat while a Mosaurus snaps.

The only thing we need to recall is that dinosaurs became part of daily life on the planet again, after millions of years of extinction, but their novelty lost its appeal, and they were banished to islands near the Equator to not further imbalance the ecosystem. Travel there is forbidden. Well, then!

That’s where our fearless crew is headed, well-funded by the big bad Big Pharma guys who want enough DNA samples to concoct a heart disease drug that could extend lives. What’s a few run-ins with carnivores?

Rupert Friend is Martin Krebs, the callous company man overseeing the expedition, and makes this haughty executive an easy guy to dislike. Ye olde greed cliches abound.

The theme remains “It’s not nice to fool Mother Nature.” And boy do they here.  As in all the films, being anywhere near hungry predators remains a dicey proposition, only now they’ve ramped up the peril by having genetically modified hybrid dinosaurs roam, hatched at a now-destroyed research lab on the tropical island Ile Saint-Hubert in the Atlantic Ocean.

This is blamed on InGen’s insatiable need to give the short-attention-span public new exhibits at the theme parks. So, you know exactly where this is headed.

Jonathan Bailey, Scarlett Johansson

In intense “Black Widow” mode, Scarlett Johansson is resourceful Zora Bennett, a special ops mercenary enticed by the promise of a big payday, no strings attached.

Both appealing performers, she works well with Jonathan Bailey as Dr. Henry Loomis, a brainy paleontologist who is used to being in a museum, not in the field. They make a formidable team without a hint of romance to distract. They have jobs to do!

Bailey is a longtime stage actor who excels in all his high-profile screen roles ever since his breakout as Anthony in “Bridgerton” in 2020. He smoothly delivers the scientific knowledge and rattles off dinosaur statistics for much of the story’s exposition. He also states he studied under Dr. Alan Grant, a bow to Sam Neill’s character.

Two-time Oscar winner Mahershala Ali appears in his first blockbuster franchise as Suriname-based boat captain Duncan Kincaid, who shares a past with Zora. While he makes every movie better, there is little character development here. Only little snippets of backstories emerge.

After all, the dinosaurs are the stars. A secondary plot involves a dad Reuben Delgado (Manuel Garcia-Rulfo), his two daughters – Luna Blaise as 18-year-old Teresa and Audrina Miranda as 11-year-old Isabella, and Teresa’s slacker boyfriend Xavier (David Iacono). They are traveling by boat for a family vacation but shipwrecked by a terrorizing colossal Mosasaurus. Talk about a Sharknado situation!

Audrina Miranda, Manuel Garcia-Rulfo, Luna Blaise and David Iacono.

Meant to inject humor and heart into the proceedings, this group is rescued by the others, and thus, a strange alliance forms as they wind up on the island instead of headed back to civilization. Philippine Velge and Bechir Sylvain are part of Duncan’s crew, and Ed Skrein is a security chief on the dino-hunter team.

After a treacherous ocean journey, surviving in the jungle is one of close calls and hidden dangers lurking, and yes, it gets repetitive. We’ve been trained to accept this premise, especially characters being chomped in gruesome ways and children in peril that heightens our anxiety and fear. If you go, you know this – no surprises.

Among the frightening creatures are the semi-aquatic Spinosaurus, Pteranodon with 12-18 feet wingspans, the truly scary mutant Distortus Rex (D-Rex), who is a major antagonist, and these large flying creatures called Quetzalcoatlus. Dilophosaurus and Velociraptors return for brief aggravation.

There are some moments of sweetness, however. Bella adopts a baby Aquilops, a herbivore she named Dolores. Loomis and Zora come across a field of Titanosaurus with extra-long tails that is reminiscent of the original scene in “Jurassic Park” when Grant, Ellie Sattler and Ian Malcolm first see a Brachiosaurus, complete with swelling John Williams’ score.

Rupert Friend, Mahershala Ali, Bechir Sylvain.

Composer Alexander Desplat incorporates Williams’ memorable score throughout here.

Director Gareth Edwards, a CGI-effects specialist who helmed a “Godzilla” in 2014 and “Rogue One: A Star Wars Story” in 2016, is in his wheelhouse here, crafting stunning visuals and delivering thrills with a familiar story. People who’ve worked with him before return to do their magic – cinematographer John Mathieson and editor Jabez Olssen. The stunt work is also exemplary.

Certain to be a crowd-pleaser, strongly recommend leave children under 8 at home, even if they “like” dinosaurs. This movie features grisly deaths and scary life-threatening scenarios.

It is what it is. “Jurassic World: Rebirth” is fan service and a finely assembled action-adventure engineered to entertain.

 “Jurassic World: Rebirth” is a 2025 sci-fi action-adventure directed by Gareth Edwards and starring Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Luna Blaise, David Iacono, Audrina Miranda, Philippine Velge, Bechir Sylvain, and Ed Skrein. Its run-time is 2 hours, 14 minutes and rated PG-13 for intense sequences of violence/action, bloody images, some suggestive references, language and a drug reference. It opened in theatres July 2. Lynn’s grade: B.

‘Deaf President Now!’ Amplifies a College Student Protest That Had Ripple Effects, All for Good

‘Deaf President Now!’ Amplifies a College Student Protest That Had Ripple Effects, All for Good

By Lynn Venhaus

Angry about being dismissed, ignored and treated differently, deaf students had enough after yet another example of prejudice, so 37 years ago, they rose up in unison and forced the hearing world to listen.

The documentary “Deaf President Now!” is a fascinating look back at a little-known civil rights movement that had lasting impact for people with disabilities. Filmmakers Nyle DiMarco and Davis Guggenheim, as passionate as the student leaders they interviewed, recount a tumultuous time at Gallaudet University in 1988.

The student-led protest resulted in a turning point at the school, established in 1864 – the only U.S. college with a total deaf/hard of hearing student population — but also for deaf rights and representation, and in a broader sense, changes for others considered ‘disabled.’

The protests began after the Gallaudet board of trustees appointed a hearing person who did not know sign language, Elisabeth Zinser, as the next president. Two deaf candidates were finalists as well — Irving King Jordan, a dean at the school, and Harvey J. Corson, director at the American School for the Deaf in Hartford, Conn.

The students demanded that its first deaf president be appointed instead and shut down the campus for a week, from March 6 to 13.

The case gained national media attention after the new president, who had been president at University of Idaho, and Greg Hlibok, the leader of the student revolt, appeared on ABC’s “Nightline” – and afterwards, more support came from far and wide.

The board acquiesced, leading to the resignations of the board president, Jane Bassett Spihlman, clearly tone-deaf, who had stated: “Deaf people are not ready to function in a hearing world.”

When Zinser resigned, candidate I. King Jordan, who was hearing-impaired, was appointed. (He served for 18 years, and since then, they’ve always had a deaf president.)

Co-directors DiMarco, a deaf activist and the first deaf contestant to win “America’s Next Top Model” and “Dancing with the Stars” back-to-back, and Oscar-winner Davis Guggenheim, who was born in St. Louis, have deftly assembled interviews and archival footage to chronicle a pivotal moment in time.

Four of the main student organizers are interviewed, using sign language while others do voice-overs of what they say: Bridgetta Bourne-Firl, Jerry Covell, Tim Rarus, and Hlibok.

Student Leaders Tim Rarus, Bridgetta Bourne-Firl, Greg Hlibok, and Jerry Covell.

Guggenheim, who won many awards for his climate-change documentary “An Inconvenient Truth,” directed such acclaimed films as “Waiting for Superman,” “He Named Me Malala,” and “Still: A Michael J. Fox Movie.”

He and DiMarco use different techniques to establish what the hearing-impaired world goes through day in and day out, including silence. Through their clear understanding of the subject matter, they evoke empathy and bring out emotions that deepen our knowledge.

The students, who joined with alumni and faculty to lead the non-violent protest, tell their experiences while signing in ASL, and four voice-over actors speak for them. Abigail Marlow, Paul Adelstein, Tim Blake Nelson and Leland Orser relay the responses.

The way the 1 hour, 40-minute film is constructed is riveting, leading to a few surprises, and ultimately a satisfying wrap. Winner of the Audience Award at the 2025 SXSW Film Festival, “Deaf President Now!” is now streaming on Apple TV+.

Coverage of the game-changing protest and personal accounts of the ingrained prejudice of hearing people is certain to fire you up. To hear their plight is to react strongly to the injustices. And the snobby and elitist board president and others of wealth and privilege who act superior.

The deaf have a word for those clueless, arrogant people – “audists.”

The co-directors used some photo doubles when needed in recreations, and had a couple young people stand in for earlier versions of leaders – Charlton Hlibok and Danila Maucere as Greg and Bridgetta.

The outcome is earned, gratifying and its ripple effect is remarkable. Two years after their protest, the American Disabilities Act was passed

The deaf point of view is perceptive and the deaf community, proud of who they are, is inspiring. They stood up together and proved how valuable their voices were, making four demands that were met. And their backstories, about how much they have overcome, is illuminating for those of us in the hearing world.

. This story is dramatic and compelling, a real triumph.

Tim Rarus today.

Muny’s Indelible ‘Come From Away’ Magnifies Kindness, Compassion

Muny’s Indelible ‘Come From Away’ Magnifies Kindness, Compassion

By Lynn Venhaus

“Come From Away” wraps you in a warm hug and doesn’t let go.

Brimming with heart, humor and humanity, the 2017 musical arrived for its highly anticipated Muny debut with all the feels intact, making clever use of the expansive stage and its dynamic ensemble demonstrating the extraordinary power of kindness during adversity.

This deeply personal, emotionally complex story has resonated strongly with theatregoers, and the Muny’s customary attention to casting and execution put that at the forefront. The first-rate cast projects enthusiasm and affection for this material from start to finish, buoyed by the creative team’s excellence and the audience’s embrace.

The 100-minute show focuses on the town of Gander, Newfoundland, and its hospitable response to 38 planes landing at their airport with 6,122 passengers and 473 crew on Sept. 11, 2001.

After the terrorist attacks on the World Trade Center and the Pentagon, the FAA closed the US airspace and Operation Yellow Ribbon began – a coordinated effort to accommodate diverted flights. Gander was among the towns helping, including nearby Lewisporte and Appleton.

The company of the Muny production of “Come From Away.” Photo by Phillip Hamer

Gander, a Canadian community of about 9,600 and home to the Gander International Airport, opened their homes and converted schools and community buildings into shelters, becoming a beacon of light in the darkest of times.

In the U.S. and for those affected elsewhere, it was an anxious and uncertain period. The fearful passengers had to stay on planes for many hours, without any information other than it was an emergency, until they were officially released and herded into buses with only their carry-ons.

Based on these real people’s stories, the husband-and-wife team of Irene Sankoff and David Hein vividly wove acts of compassion, listening, laughing, hospitality and fellowship into a heart-tugging narrative to accompany their music and lyrics.

They also addressed challenges like culture clashes and language barriers, and how people worked through tense situations.

They focused on a rerouted American Airlines flight from Paris headed to Dallas. Because of Gander’s generosity to strangers who couldn’t leave for five days, lasting friendships formed, resulting in a 10-year reunion in 2011, where the writers interviewed those in attendance.

Heidi Blickenstaff in the Muny production of “Come From Away.” Photo by Phillip Hamer

“Come from Away” truly is a remarkable story, with distinct characters that touch our soul. Thus, a theatrical gem was born with tender loving care – now the longest running musical ever from Canada. The Broadway run, interrupted by COVID, played to sold-out houses for 1,670 regular performances and 25 previews from February 2017 to October 2022.

Nominated for seven Tony Awards, including Best Musical, Christopher Ashley won for directing. (“Dear Evan Hansen” was the big winner that night and will debut at the Muny in July).

A trio from last year’s revered classic “Les Miserables” has returned to craft another powerful tale of enduring connection – director Seth Sklar-Heyn, choreographer Jesse Robb (whose mother was born and raised in Newfoundland), and costume designer Gail Baldoni.

Their meticulous work, along with exemplary essentials from scenic designer Edward E. Haynes Jr., video designer Mike Tutaj, lighting designer Rob Denton, and wig designer Kelley Jordan, created a vibrant tableau that immediately drew the large Muny crowd into the Far North.

Haynes’ ingenious stairs-jet configuration rotated, using the turntable to swiftly create the necessary spaces. Tutaj’s video work uses news footage from Rogers TV and suggests locations like Tim Horton’s and Trailway Pub, to add awareness of time and place. And Denton’s superb lighting gave the show its usual intimate feel.

Alan H. Green in the Muny production of “Come From Away.” Photo by Phillip Hamer

As they seamlessly portray multiple roles – both townsfolks and ‘plane people,’ the players talk directly to us. The proud islanders start their routine on a Tuesday morning, introducing themselves in a chill-inducing “Welcome to the Rock.”

“You are here at the start of a moment…”

Our reaction is immediate, taking us right back to that frightening morning – when we heard, what we saw, how we felt – if you experienced it. If not, its tone is evocative of that tragic day and the aftermath.

Muny stalwart Adam Heller is well-suited to play the take-charge mayor, Claude Elliott, among other characters, leading the opening number and the raucous “Screech In” (involving kissing a codfish and downing rum shots).

Looking back, he tells the audience: “Tonight we honor what was lost, but we also commemorate what we found.”

Abigail Isom and Adam Heller in the Muny production of “Come From Away.” Photo by Phillip Hamer

With her powerhouse mezzo-soprano, Heidi Blickenstaff soars as the trailblazing pilot Beverley Bass in the signature song “Me and the Sky.” Impressive as mom Mary Jane in the national tour of “Jagged Little Pill” (including the Fox in January 2024), she is captivating as Beverley, whose passion for aviation drove her career but she now worries that her workspace has become a weapon.

The dozen performers, appearing like regular folk, clearly delineate multiple characters, whether through accents, wardrobe pieces or personality shifts.

Memorable “come from aways” include two-time Grammy winner Tamika Lawrence as Hannah O’Rourke, who is frantically trying to reach her son, a New York firefighter. Her solo, “I Am Here” is heart-breaking.

Stellar veteran performers John Bolton and Ashley Brown are a delightful duo as the British bachelor Nick Marson and divorced mom Diane Gray, whose budding friendship might be more.

A gay couple, “the two Kevins” – Jason Tam as Kevin Tuerff and Trey DeLuna as Kevin Jung, who seemed to be at odds, disagree often. One’s all in for being a good sport, and the other is not comfortable in the public situation.

Trey DeLuna and the company of the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

DeLuna, who was in the national tour, delivers a gut-wrenching turn as Egyptian chef Ali, who is under suspicion as a Muslim, and prejudice grows.

One of the most moving numbers is “Prayer,” showing travelers practicing their faith – Jews, Christians, Catholics and Muslims.

Alan H. Green is comical as Bob, who is confused by all the nice emanating from the locals. He also plays a pilot and an African traveler who can’t speak English. If he looks familiar, in St. Louis, he starred in “Sister Act” at the Muny and in “The Karate Kid” at Stages.

On the home front, total pro Zoe Vonder Haar is ideal as good-natured Beulah Davis, one of the major caregivers. And she doubles as a nervous flyer who gets tipsy and loudly sings “My Heart Will Go On” from “Titanic,” which they watched as an in-flight movie.

Likable Jacob Keith Watson smoothly transforms into the police constable Oz Fudge, a bar owner, Jewish rabbi, a surly traveler and others.

From left: Zoe Vonder Haar, Jacob Keith Watson and Jason Tam in the Muny production of “Come From Away.” Photo by Phillip Hamer

Seasoned Muny vet Abigail Isom is the amiable TV news reporter Janice, whose first day on the job is 9-11, and easily transitions to a freaking out flight attendant. She also plays a store clerk, getting laughs with: “Thank you for coming to Walmart. Would you like to come back to my house for a shower?”

Andrea Burns is the pragmatic SPCA representative, taking care of 19 animals in cargo cages, including endangered Bonobo chimpanzees that are headed to the Columbus Zoo in Ohio.

Dialect coach Joanna Battles helped the cast become Canadians with a specific accent, and their work was impeccable.

The teen ensemble acting as townsfolk and travelers include Chloe Jennings, Grant LaMartina, Annakait Peters-Bahkou, Drew Mathers, Jarod Rhodes, Jameson Roam and Will Schulte.

Standby for the women is Leah Berry and for the men, Spencer Davis Milford.

From left: Ashley Brown, Zoe Vonder Haar, John Bolton and Adam Heller in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

The vocally strong cast harmoniously blends together in the songs that are an integral part of the storytelling – “38 Planes,” “Blankets and Bedding,” “28 Hours/Wherever We Are,” “Darkness and Trees,” “On the Edge,” “Stop the World,” “Somewhere in the Middle of Nowhere,” and “Something’s Missing” – expressing the necessary emotions.

The unifying score reflects the cultural heritage of Newfoundland – using Celtic rhythms and traditional folk, and fuses neatly with emotive modern musical theatre elements.

The robust orchestrations are by Aaron Eriksmoen, with arrangements by Ian Eisendrath, incorporating a fiddle and even an “ugly stick” (household items) on stage.

The Muny orchestra, energetically led by music director Evan Roider, captures the score’s unique sound, adding a harp and whistles to its instruments.

The first national tour came to the Fox Theatre in May 2019, and a return weekend engagement followed in 2023, striking a chord (blubbered throughout, and I wasn’t alone).

With multiple cameras, Apple TV+ filmed the Broadway cast in front of a live audience, including some 9-11 survivors and frontline workers, on Sept. 11, 2021, commemorating the 20th anniversary. It has been available for streaming since Sept. 10, 2022.

Tamika Lawrence in the Muny production of “Come From Away.” Photo by The Muny | Emily Santel

While 9-11 was 24 years ago, that time is etched into our collective memories. After a touching brief display of unity and flag-waving, today’s America is very different.

We now have a divisive political climate that’s mean-spirited and worrisome. Then we were isolated during a global pandemic that impacted our lives, an ever-mutating virus that killed more than 7 million people. More short fuses, more fear of others, anger and outrage are prevailing attitudes.

Recently, in St Louis, the deadliest tornado since 1959 tore apart neighborhoods. Watching a community come together on the Muny stage recalled empathetic responses of the past six weeks here, for people stepped up when called upon to do so.

We’ve been through a lot – as a country and as a region. Yet, glimmers of hope emerge, along with everyday heroes, and it’s gratifying to feel the uplift that “Come from Away” provides.

Mission accomplished. Triumphing with its affecting production that appreciative audiences won’t soon forget, the Muny reminds us why our shared experience is what live theater does best.

The Muny presents “Come from Away” nightly at 8:15 p.m. from June 26 to July 2 at the outdoor theatre in Forest Park. The production is 1 hour, 40 minutes without intermission. For more information, or for tickets, visit www.muny.org

The company of the Muny production of “Come From Away.” Photo by Phillip Hamer
The company of the Muny production of “Come From Away.” Photo by Phillip Hamer

‘F1: The Movie’ Spotlights the ‘Need for Speed’ Breed in Action Spectacle

‘F1: The Movie’ Spotlights the ‘Need for Speed’ Breed in Action Spectacle

By Lynn Venhaus

The star power of Brad Pitt combines with the adrenaline rush of Formula 1 racing for an entertaining but strictly-by-the-numbers summer blockbuster.

The turbo-charged technical mastery lifts “F1: The Movie” as a classic underdog-redemption sports drama that follows a standard, if formulaic, template. The thinly written story offers little surprise amidst the turmoil of risk vs. reward, a grizzled veteran clashing with a cocky kid, and whether fun or finance should be the prevailing motivator.

The story follows Sonny Hays (Brad Pitt) as a former Formula 1 driver who is convinced to come out of retirement by his old pal Ruben (Javier Bardem), now owner of a struggling Formula 1 team, to mentor a hotshot rookie Joshua Pearce (Damson Idris). It’s 30 years later and the road to redemption is a rocky one.

A sterling cast supports this star vehicle, and brings authenticity to their roles, which makes it watchable. Oscar winner Javier Bardem is his customary captivating self as APXgp team owner Ruben Cervantes while Oscar nominee Kerry Condon plays Kate McKenna, a smart, feisty technical director whose knowledge of physics has served her well in aeronautics and racing.

Damson Idris fits the promising young talent mold, and while there are many supporting players, Tobias Menzies is memorable as board member Peter Banning, Samson Kayo is Pearce’s manager, and Sarah Niles is a charmer as Joshua’s mother Bernadette. (If you know you’ve seen her but can’t quite place where, she played Ted Lasso’s therapist Dr. Sharon Fieldstone (and scored two Emmy nominations).

Director Joseph Kosinski, who helmed the crowd-pleasing “Top Gun: Maverick” two summers ago, must have been so focused on capturing the thrills that he neglected the emotional sustenance that strong storytelling provides.

He and screenwriter Ehren Kruger, Oscar nominees for the “Top Gun: Maverick” adapted screenplay, collaborated on the cliché-riddled story, which is disappointingly predictable. Kruger, who wrote the “Transformers” sequels, should know his way around a blockbuster.

Nevertheless, the likeable actors are invested in the intensity of these athletes in training and competition.

 Those unfamiliar with the professional auto racing circuit will get a stunning glimpse of fancy racetracks around the world.

Is Sonny Gray a has-been or a never-was? Oscar winner Pitt, now 61, is in his element playing this once-promising hotshot who lost his mojo after a horrific crash and wound up never jump-starting his career.

Pitt is always at his best when he’s a tarnished golden boy. He suits the role of a lone wolf beaten down by life. Through his subtle expressions, you can tell this weathered guy, who is now a racer-for-hire living out of his camper van, has emerged sadder and wiser from Hard Knocks University.

He still tries to be relevant after learning harsh life lessons. With a tawdry laundry list of mistakes made either by gambling or from bad romances (three failed marriages), Sonny seeks another chance to get it right.

Sound familiar? Absolutely. Pitt’s Sonny works his unconventional maverick confidence but also carries around a lot of baggage. He shrugs, he swaggers, he says pithy phrases that motivate people — or quickly shuts them down. A man in motion, he runs – and inspires others.

He’s a betting man, but would he bet on himself?

The movies “Grand Prix” in 1966 and “Le Mans” in 1971 established racing as a compelling action-adventure, even with what was considered state-of-the-art back then, and then “Rush” in 2013 and “Ford v Ferrari” in 2019 surpassed them with high-stakes racing.

This has an old-school escapist feel, although the modern scenario is never in doubt, with social media ‘engagement,’ cell phone usage, and the wall-to-wall product placement palooza.

Cinematographer Claudio Miranda, who last shot the shimmering seascapes of “Nyad,” captured the dizzying spectacle while editor Stephen Mirrione ramped up the stakes and the suspense, heightened by Hans Zimmer’s propulsive score.

Overlong at 2 hours and 35 minutes, you’ll feel like you’ve been driving all night on a road trip. Sure, the action is zippy and immersive. But “F1: The Movie” unfortunately doesn’t have the oomph in the surrounding story on the same level as the vroom-vroom zooming.

“F1: The Movie” is a 2025 sports action drama directed by Joseph Kosinski and starring Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Shea Wigham, Tobias Menzies, Samson Kayo, and Sarah Niles. It is rated PG-13 for strong language and action and its runtime is 2 hours 35 minutes. It opened in theatres June 27. Lynn’s Grade: B-.