By Lynn Venhaus
Themes? Trends? Moments? How to sum up a year in cinema, when hundreds of films are released in theaters and on streaming to satisfy a diverse public. What gets people out of the house and into a theater when they’re buying a ticket? I’m curious.

Above all with me is storytelling. Then we’ll see about the bells and whistles, the “experience” enhancement, and who’s part of the team on screen and off. The very best feeling is discovering the small gems or being dazzled by the big swings, those who won’t play it safe.

And this year, those were evident in a very erratic year where titles like “Civil War” and “Challengers” were divisive. Everyone has their reasons for why a film clicks.

Two of the themes I responded to were the transformative power of the arts – “Sing Sing,” “Ghostlight,” “A Complete Unknown”) and women trying to hold on to their dignity when people try to take it away (“Anora,” “The Substance,” “The Last Showgirl”).

So, here are the films that connected with me. While I’ve seen about 150, there are films I’ve yet to see that could have made a difference on my annual “best” list, but all in the timing.

I am surprised as much as everyone how the year landed, and I will likely need to re-watch a few too. What always happens during FYC season, when the studios barrage us with content, viewings can be rushed and not digested appropriately.

Without further ado, and I’ve prolonged this annual opus long enough trying to cram more in, my very personal list of what I liked in 2024. To those who attempted to carve a new direction, try a different approach, reach people through our shared humanity, I salute you.

Top Ten Films

1. Dune: Part Two – A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, this follow-up to the 2021 adaptation of Frank Herbert’s 1965 best-selling science fiction novel of all-time expanded the mythic hero’s journey to its full potential. This chronicle of a feudal interstellar society opened Feb. 25, and director Denis Villeneuve’s enthralling cinematic marvel far surpassed any other epic-wannabe this year.

2. The Seed of the Sacred Fig – Boldly showing political turmoil and paranoia in Iran through a fictional family’s experiences, director Mohammad Rasoulof challenges the totalitarian state by depicting the corruption that led the current situation. He uses a judge’s wife and daughters as people who come to learn what’s really happening as society crumbles. It’s a powerfully told, well-acted stunning achievement.

3. A Complete Unknown – Anchored by Timothee Chalamet’s brilliant immersive portrayal of a young Bob Dylan, this exhilarating, extraordinary film recreates a period when art, music and culture came together to significantly define the 1960s. The actors portraying Joan Baez, Pete Seeger and Johnny Cash are also in top form. Whether you like Dylan’s music or not is immaterial – director James Mangold makes us feel his impact, and it’s glorious.

4. Sing Sing – Colman Domingo is at his career-best as a wrongly convicted man incarcerated at Sing Sing prison, who has found redemption through the Rehabilitation Program for the Arts. With an ensemble cast including former prisoners, this drama feels like part of a documentary. With its play presentation framework, the film resonates emotionally in a moving example of the transformative power of the arts.

5. Conclave – A religious-political thriller with a page-turning plot, this procedural to elect a Catholic church pontiff unfolds like palace intrigue. Impeccably presented and acted by an ace ensemble lead by Ralph Fiennes, director Edward Berger reveals the human drama involved in power plays, mysterious maneuvers and shattering secrets. It’s an outstanding film in every way.

6. A Real Pain – Complicated family ties and honoring Jewish heritage are explored in this warm and genuine comedy-drama about two once-close cousins reconnecting on a Holocaust tour. Its power is disarming, and Jesse Eisenberg’s nimble narrative gives Emmy winner Kieran Culkin another opportunity to shine as he shows the effect of grief and loss on a fragile lost soul. This is a rare film that eloquently speaks in an intimate but universal way.

7. Emilia Perez – An exhilarating wild ride that puts romance, desire, redemption, humor, and a dark side all into play. Fearless writer-director Jacques Audiard’s bold fever dream colors outside the genre lines, for its an unconventional cartel crime thriller that’s a musical, in Spanish language, operatic in tone and organic in its delivery of songs and dance. Four women seek happiness on their own terms – Karla Sofia Gascon, Zoe Saldana, Selena Gomez and Adriana Paz — and the result is bravura filmmaking.

8. Wicked – A dazzling spectacle based on the 2003 Broadway musical fantasy, this timeless tale of friendship and love was a true big-screen movie event. With eye-popping production values, sensational performances, stunning costumes, and those thrilling Stephen Schwartz songs, this vivid re-imagining is only the first half. Yes, it’s too long, but it is an absolute must-see.

9. September 5 – The 1972 Summer Olympics in Munich became a horrific breaking news event on September 5, when Israeli wrestling players were taken hostage by a Palestinian terrorist group. That thrust the ABC Sports crew into action covering the event as the world’s eyes and ears. This intense and riveting film, with its crackerjack ensemble cast in the broadcast control room, recreates that day from their perspective in astonishing detail.

10. Saturday Night – It’s a kinetic snapshot of what happened that fateful wild and crazy night when “Saturday Night Live” premiered on Oct. 11, 1975. As producer Lorne Michaels, Gabriel LaBelle corrals the best ensemble cast of the year. Writer-director Jason Reitman and co-writer Gil Kenan capture the frenetic pace and the backstage lunacy that forever changed late-night comedy.

Honorable Mention
All We Imagine as Light
Anora
Exhibiting Forgiveness
The Fall Guy
Fly Me to the Moon
Ghostlight
His Three Daughters
Hundreds of Beavers
The Last Showgirl
Maria
My Old Ass
Nickel Boys
The Performance
The Piano Lesson
Super/Man: The Christopher Reeve Story
Thelma
Wallace & Gromit: Vengeance Most Foul
The Wild Robot

Mohammad Rasoulof “The Seed of the Sacred Fig”


Best Director
Denis Villeneuve “Dune: Part Two”
Edward Berger “Conclave”
Jacques Audiard ‘Emilia Perez”
Mohammad Rasoulof “The Seed of the Sacred Fig”
James Mangold “A Complete Unknown”
Payal Kapadia “All We Imagine as Light”

Best Actor
Colman Domingo “Sing Sing”
Timothee Chalamet “A Complete Unknown”
Ralph Fiennes “Conclave”
Hugh Grant “Heretic”
Sebastian Stan “A Different Man” and “The Apprentice”
Adrien Brody “The Brutalist”
Jeremy Piven “The Performance”
Jude Law “The Order”
Keith Kupferer “Ghostlight”
Andre Holland “Exhibiting Forgiveness”

Best Actress
Saoirse Ronan “The Outrun”
Angelina Jolie “Maria”
Marianne Jean-Baptiste “Hard Truths”
Karla Sofia Gascon “Emilia Perez”
Cynthia Erivo “Wicked”
Fernanda Montenegro “I’m Still Here”
Mikey Madison “Anora”
Pamela Anderson “The Last Showgirl”
June Squibb “Thelma”
Tilda Swinton “The Room Next Door”

Best Supporting Actor
Kieran Culkin “A Real Pain”
John Magaro “September 5”
Stanley Tucci “Conclave”
Jeremy Strong “The Apprentice”
Denzel Washington “Gladiator 2”
Adam Pearson “A Different Man”
Edward Norton “A Complete Unknown”
Clarence Maclin “Sing Sing”
Yura Borisov “Anora”
Richard Roundtree “Thelma””

Best Supporting Actress
Zoe Saldana “Emilia Perez”
Aunjanue Ellis-Taylor “Nickel Boys”
Danielle Deadwyler “The Piano Lesson”
Ariana Grande “Wicked”
Monica Barbaro “A Complete Unknown”
Elle Fanning “A Complete Unknown”
Isabella Rossellini “Conclave”
Tilda Swinton “Problemista”
Natasha Lyonne “His Three Daughters”
Michelle Austin “Hard Truths”

Ghostlight

Best Ensemble
“Saturday Night”
“Dune: Part Two”
“Conclave”
“Wicked”
:”September 5
“The Piano Lesson”
“Sing Sing”
“Anora”
“Ghostlight’
“His Three Daughters”
“The Seed of the Sacred Fig”

Best Original Screenplay
Jesse Eisenberg “A Real Pain”
Mohammad Rasoulof “The Seed of the Sacred Fig”
Jason Reitman and Gil Kenan “Saturday Night”
Megan Park “My Old Ass”
Azazel Jacobs “His Three Daughters”
Kelly O’Sullivan “Ghostlight”
Moritz Binder, Tim Fehlbaum, Alex David “September 5”
Adam Elliot “Memoir of a Snail”

Best Adapted Screenplay
Peter Straughan “Conclave”
Clint Bentley, Greg Kwedar, Clarence Maclin, John Divine G Whitfield “Sing Sing”
Jacques Audiard “Emilia Perez”
Shira Piven “The Performance”
Malcolm Washington “The Piano Lesson”
Barry Jenkins “The Fire Inside”

Saturday Night

Best Cinematography
Greig Fraser “Dune: Part Two”
Lol Crawley “The Brutalist”
Jomo Fray “Nickel Boys”
Edward Lachman “Maria”
Jarin Blaschke “Nosferatu”

Best Musical Score

Daniel Blumberg “The Brutalist”
Camille and Clement Ducol “Emilia Perez”
Kris Bowers “The Wild Robot”
Volker Bertelmann “Conclave”
Jon Batiste “Saturday Night”

Best Soundtrack
A Complete Unknown
The Fall Guy
Maria
Fly Me to the Moon
Twisters
Deadpool & Wolverine
The Idea of You

Best Production Design
“The Brutalist”
“Blitz”
“Maria”
“Wicked”
“Beetlejuice Beetlejuice”
“Conclave”
“September 5”
“Dune Part Two”
“Hundreds of Beavers”
“Saturday Night”

Wicked

Best Costume Design
Paul Tazewell “Wicked”
Massimo Cantini Parrini “Maria”
Colleen Atwood “Beetlejuice Beetlejuice”
Mike Cheslik “Hundreds of Beavers”
Jacqueline West “Dune: Part Two”
Danny Glicker “Saturday Night”
Mary Zophres “Fly Me to the Moon”

Best Visual Effects
Dune Part 2
Alien: Romulus
Wicked
Furiosa: A Mad Max Saga
Deadpool & Wolverine
Twisters
A Quiet Place: Day One
The Fall Guy
Beetlejuice Beetlejuice
Problemista

Best Make-Up and Hair
Dune: Part 2
Wicked
Saturday Night
The Substance
A Different Man
Beetlejuice Beetlejuice

Elliott (Maisy Stella) in MY OLD ASS Photo: Marni Grossman/Prime Video © AMAZON CONTENT SERVICES LLC

Juvenile Performances
Maisy Stella “My Old Ass”
Elliott Heffernan “Blitz”
Alyla Browne “Furiosa: A Mad Max Saga”
Katherine Mallen Kupferer “Ghostlight”
Izaac Wang “Didi”
Ian Foreman “Exhibiting Forgiveness”
Cailee Fleming “IF”
William A. Fitzgerald “Ezra”
Nico Parker “Suncoast”
Blake Cameron James and Gian Knight Ramirez “We Grown Now”

Best Comedy

Hundreds of Beavers
Saturday Night
My Old Ass
Fly Me to the Moon
Thelma
Wallace & Gromit: Vengeance Most Fowl
Memoir of a Snail

Stunt Work
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator 2
Dune Part 2
Deadpool & Wolverine

Best Animated Feature
The Wild Robot
Wallace and Gromit: Vengeance Most Fowl
Flow
Memoir of a Snail
Inside Out 2
Piece by Piece

Will and Harper

Best Documentary Feature
Sugarcane
Super/Man: The Christopher Reeve Story
Black Box Diaries
Will & Harper
Dahomey
Frida
Billy and Molly: An Otter Love Story
Music by John Williams
Stopping the Steal
The Last of the Sea Women
Soundtrack to a Coup d’Etat

Honorable Mention: Made in England: The Films of Powell and Pressburg, To Russia with Lev, The Truth vs. Alex Jones, The Greatest Night in Pop, I Am Celine Dion, The Remarkable Life of Ibelin,

Best International Feature
The Seed of the Sacred Fig
Emilia Perez
All We Imagine As Light
I’m Still Here
Vermiglio

Best Horror Film
Longlegs
A Quiet Place: Day One
Late Night with the Devil
Heretic
The Substance

Best Scenes
Civil War – “What kind of American are you?”
Dune: Part Two – Riding the Sandworm
Furiosa – War Rig battle
His Three Daughters – Dad’s Chair
Challengers – The Churros
Wicked – Defying Gravity
Hard Truths – Mother’s Day brunch


By Lynn Venhaus

If your family is prone to putting the ‘fun’ in dysfunctional, you’ll be able to relate to the crowd-pleasing hijinks of “Chicken and Biscuits,” an amiable comfort-food style comedy served with a salty side of sass by the Black Rep.

Wackiness ensues when three generations of an African American family gather for the funeral of their patriarch, Bernard, who was a beloved pastor at a popular church in New Haven, Conn.

The relationships are typically complicated, starting with his two bickering daughters, prim and bossy Baneatta (Denise Thimes) and raucous and unfiltered Beverly (Paulette Dawn). The night-and-day siblings are a surefire recipe for tussling, as Baneatta has an unmistakable air of superiority and disapproval when it comes to her more flamboyant colorful sister. Played by the elegant Denise Thimes, she says a lot with a withering look or a well-delivered quip.

Thimes, an internationally renowned jazz singer, is a welcome presence on the Edison Theatre stage, and was impressive in a dramatic role in “King Hedley II” last summer. She proves her comedic skills here, and has delightful chemistry with A.C. Smith, as her husband. Of course, she bosses him around when he’s trying to be in charge.

Smith, another Black Rep veteran whose crisp timing enlivens his interactions, is zesty as the well-meaning Reginald Mabry, who will be taking over as the church’s pastor, so he feels he has a lot to prove presiding over the funeral service.

But clearly, he can’t foresee the simmering resentments that will erupt when everyone gathers.

Kaylyn McCoy and Paulette Dawn as mother and daughter. Photo by Keshon Campbell.

Beverly, a bona fide drama queen, is played with cheeky bravado by Paulette Dawn, who makes her Black Rep debut but has portrayed the over-the-top character before, in her native Kansas City.

As she gripes about wearing traditional black, Beverly has decided to honor her daddy’s penchant for bright colors with a purple plunging neckline cocktail dress that she wears with a push-up bra to enhance her amble bosom. She has no qualms about showing off her attributes.

Beverly has brought along her Gen Z daughter La’Trice Franklin, played with expected attitude by Kaylyn McCoy. She doesn’t have as much history with her relatives and is written as more of an observer.

Baneatta also has a daughter, Simone, who has a big chip on her shoulder. Dumped by her fiancé for a white woman, and Alex Jay plays her as a grump, quick to argue with anyone.

She is at odds with her gay brother Kenny, who brings his boyfriend Logan Leibowitz with him. Their interracial and interfaith relationship adds a layer of complexity that isn’t explored more deeply, but Cameron Jamarr Davis and Jacob Schmidt are compelling enough actors that they give the roles more nuance than indicated (and it would have been nice for that to happen).

A few relatives are more accepting than others, which is an ongoing conflict, especially with Kenny’s mom Baneatta, who is rude and dismissive of Logan, second only to Simone’s exasperation. As written, these issues are stereotypical and not amusing, an outdated quick way to get cheap laughs.

At far right, Jacob Schmidt and Cameron Jamarr Davis. Photo by Keshon Campbell.

This Jenkins family feud follows a familiar format not unlike sitcoms and other broad comedies where secrets are revealed, characters express their concerns, and disagreements are neatly resolved in a light-hearted way.

Don’t expect anything more from actor-turned-playwright Doug Lyons’ 2020 effort, which is designed to be a sunny reminder of the ties that bind, and how we share more similarities than differences in troubling times.

(It did, after all, open on Broadway Feb. 28, 2020, right before the coronavirus pandemic hit, causing widespread shutdowns, and the run was short-lived. However, there was a reboot in 2021.)

Director Ron Himes has selected a cast that gels, who work together well, and flavor this exercise with feel-good vibes. You can tell how much fun they are having as an ensemble.

Also, part of the plot is a mysterious guest, Brianna, who shows up at the funeral to deliver a eulogy that others may not like to hear. The late second act addition is played by Delisa Richardson, who makes the most of her stage time.

Photo by Keshon Campbell.

Another running gag is church soloist Mother Jones, whose interpretation of “Amazing Grace” receives mixed reviews but is hilarious as a comedic bit. Jermaine Manor is the musician offstage, and sound designer Kareem Deanes has fun with this element.

The set is minimal, designed by Tim Jones, which moves action between a bedroom, hotel room, church, reception gathering spot and commercial kitchen, featuring efficient lighting design by Ethan Steimel.

Costume Designer Andre Harrington has gathered an attractive selection of tasteful black dresses and striking fancy hats for the women whose last names aren’t Franklin, and outfitted the men in suitable attire. Mikhail Lynn assembled the appropriate props.

If you’re seeking a pleasant piece in these precarious times and dismal winter, “Chicken and Biscuits” is a recipe that can hit the spot. This ensemble puts the ‘fun’ in funeral as they tickle funny bones.

The St. Louis Black Repertory Company presents “Chicken and Biscuits” from Jan. 8 to Jan. 26 at the Edison Theatre on the campus of Washington University in St. Louis. Tickets are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more.

Paulette Dawn and Alex Jay. Photo by Keshon Campbell.

By Lynn Venhaus

A massive and ambitious drama, “The Brutalist” swings for the fences with big, bold visuals from a mid-century architect and an unwieldy dark narrative about struggles between art and commerce that spans 33 years over a 3 hour, 35-minute runtime.

To view it in one setting is a commitment, although theaters have a 15-minute intermission built in, showing the 215-minute film in two divided parts. It’s shot in Vista Vision, the first film using that process in many years.

While the film is technically brilliant, with stunning production design by Judy Becker and impressive stark cinematography by Lol Crawley to convey a giant scope of artistic vision and architectural grandeur, the script co-written by director Brady Corbet and his wife, Mona Fastvold, is a rocky road populated with thorny, complex characters.

This immigrant tale about László Tóth, a Jewish architect who crosses the Atlantic by boat from Hungary after World War II in 1947, gives the Oscar-winning actor Adrien Brody a meaty role that he can dig into, exploring various facets. This is not a biography, although it seems as if this character is based on a real person.

Once in Pennsylvania, he struggles to find comparable work to what he did so well before, and his wife Erzsébet (Felicity Jones) comes later, also a Holocaust survivor. Their backstory is bare minimum, and their family dynamic is odd.  They appear independent at times, others as dependent and intertwined.

After being commissioned to build a library for his elitist father by his pompous son, Toth encounters a wealthy industrialist, Harrison Lee Van Buren Sr. (Guy Pearce), who is a cold and callous businessman.

But Van Buren has sense enough to realize Toth’s talent. To strive for the American Dream, they need each other to accomplish their goals, and an uneasy partnership – of sorts – begins as Toth is hired by Van Buren for a structure in his mother’s honor, envisioning a modernist community center that will establish their legacy.

Neither man likes to compromise, and they each dream big, but Van Buren is a bully and has an off-putting way of humiliating Toth. The architect is also difficult to corral, stubborn in irritating ways, and it seems, teeters on going mad at times.

And then there is a doozy plot development that changes everything (and won’t be spoiled here). And a flat ending that seems tacked on after the film could have ended.

Neither of these deeply flawed, ethically challenged guys is all that likable, and the film has a weird chilliness and sterility to it. But it’s obvious both actors are giving their best efforts molding these distinctive men.

For clarity, brutalism is a style of architecture popular from the 1950s to the 1980s known for exposed concrete and brick that was designed with geometric, angular shapes and blocky forms. You’ve seen government buildings, parking garages and high-rises made in this style, and to me, ugly metropolitan slabs that are not visually appealing nor memorable.

Corbet, in his third feature after 2018’s “Vox Lux,” has a certain style, and those enamored by visionary auteurs will be enthralled. This film is a grand effort in establishing his singular vision. Yes, it’s artsy, but it’s also indulgent, and I feel parts are disjointed and often try too hard.

Corbet keeps viewers on their toes and when you think he’s headed in one direction, he veers a different way. Some of the most outrageous plot points don’t exactly fit a tidy narrative, and it spirals into several tangents that become increasingly head-scratching.

The strong supporting cast features two of Corbet’s actresses from Vox Lux, Raffey Cassidy as Toth’s niece Zsofia and Stacy Martin as Van Buren’s daughter Maggie Lee, as well as Joe Alwyn as her entitled creepy twin brother Harry Lee, and Isaach De Bankole as Toth’s friend Gordon, often a voice of reason.

Because of its audacious sweeping saga, punctuated by Daniel Blumberg’s haunting music score, few movies compare to “The Brutalist.” An awards magnet, it won the Silver Lion at the Venice Film Festival, and recently, a Golden Globe for motion picture – drama, as well as many critics’ groups’ love.

Yet, upon reflection, it’s more showy style than substance, and lacks connection. Not sure what it’s trying to say, but it’s not easy to embrace, except for what it is – an aspirational work of art that is one of those films more admired than widely accepted. 

“The Brutalist” is a 2024 drama directed by Brady Corbet and starring Adrien Brody, Guy Pearce, Felicity Jones. Joe Alwyn, Raffey Cassidy, Stacy Martin, Isaach De Bankole and Alessandro Novolo. It is rated R for strong sexual content, graphic nudity, rape, drug use and some language, and its runtime is 3 hours, 35 minutes. It opened in local theatres Jan. 10. Lynn’s Grade: B.

By Lynn Venhaus

Anchored by Timothee Chalamet’s brilliant immersive portrayal of a young Bob Dylan, this exhilarating, extraordinary film recreates a period when art, music, politics, and culture came together to significantly define the 1960s.

The characters are unforgettable because of the nuanced performances from Monica Barbaro as Joan Baez, Edward Norton as Pete Seeger, Boyd Holbrook as Johnny Cash and Elle Fanning as Sylvie Russo (a fictionalized version of Dylan’s first New York girlfriend, Suze Rotolo, who died in 2011).

Whether you like Dylan’s music or not is immaterial – director James Mangold makes us feel his impact as one of the most iconic singer-songwriters in history, and it’s glorious. He captured a vibrant music scene in New York 1961 and a pivotal four-year span where a generational voice was emerging.

 Mangold, who made “Walk the Line” about Johnny Cash and the crowd-pleasing “Ford v. Ferrari,” has created an authentic world – the burgeoning folk scene in Greenwich Village, the political upheaval of the times, and the events that shaped America. Dylan forged relationships with singer-songwriters finding their voices.

Mangold collaborated with Jay Cocks on the screenplay, which they adapted from Elijah Wald’s 2015 book “Newport, Seeger, Dylan, and the Night That Split the Sixties.”

The film follows a young Bob Dylan from the time he arrives in New York as a 19-year-old Minnesota native named Robert Allen Zimmerman to his groundbreaking and controversial appearance at the Newport Folk Festival in 1965, when he played the electric guitar and revolutionized the genre.

Dylan’s masterpiece, “Highway 61 Revisited,” is now considered one of the most influential albums of all-time, and the film explores how this period, going from acoustic to rock, cemented his legacy as someone who changed the course of American music.

He got his start with traditional folk song recordings in 1962, including his tribute “Song to Woody” on that debut, followed by “The Freewheelin’ Bob Dylan” in 1963, which featured “Blowin’ in the Wind” and “A Hard Rain’s a-Gonna Fall.” His lyrics became more sophisticated and introspective.

As Dylan’s fame grew, he became increasingly frustrated and the writers did not soften his prickly edges, while showing what drives the creative process. Besides his hero Woody Guthrie (Scoot McNairy), Seeger and Baez would shape his artistry as well.

Chalamet’s scenes with Barbaro are electric, particularly the live performance of “It Ain’t Me, Babe” at Newport.

He also has terrific chemistry with Elle Fanning – they were a couple in Woody Allen’s “A Rainy Day in New York” (2019) — and she is grounded as the committed activist that helped mold Dylan’s political awareness. (Dylan requested her name be changed in the film).

The principals did their own singing and playing, and that adds to the film’s realistic environment. Chalamet’s career-best performance is seamless, with some of the numbers hypnotic – especially the seminal “The Times They Are a-Changin’,” which became an anthem for civil rights and anti-war movements.s

He doesn’t imitate Dylan’s rough vocal quality, but rather gives the essence in phrasing and delivery. Chalamet learned to play 30 songs and took lessons from a vocal coach, a guitar teacher, a dialect coach, a movement coach and even a harmonica tutor.

The fact that he personified the legend’s elusive nature is a marvel to witness as well. While the movie doesn’t provide a complete portrait of the complex artist’s 60-year career, it is a good start to learning about this mysterious figure who at times became confrontational, although it is not a deep dive by any means.

In addition to the folk singers, fine supporting actors include P.J. Byrne as folk music promoter Harold Leventhal, Dan Fogler as Dylan’s manager Albert Grossman, and Will Harrison as Bob Neuwirth, Dylan’s road manager.

I hope it fosters more appreciation for the album “Highway 61 Revisited,” Dylan’s sixth that was released on Aug. 30, 1965. He used rock musicians as his backing band on every track except “Desolation Row,” the last song.

The album is named for the major American highway that connected his birthplace of Duluth, Minn., to the southern cities connected by the Mississippi River and their rich musical heritage – St. Louis, Memphis, and New Orleans, plus the Delta blues areas.  

Boyd Holbrook as Johnny Cash.

Dylan wrote about his kinship with that route in his memoir “Chronicles: Volume One,” “Highway 61, the main thoroughfare of the country blues, begins about where I began. I always felt like I’d started on it, always had been on it and could go anywhere, even down into the deep Delta country. It was the same road, full of the same contradictions, the same one-horse towns, the same spiritual ancestors … It was my place in the universe, always felt like it was in my blood.”

Dylan has sold more than 125 million records, and among his awards are the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame.

In 2008, the Pulitzer Prize Board awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power.” In 2016, Dylan was awarded the Nobel Prize in Literature, and he famously did not attend.

He was included in the Time 100: The Most Important People of the Century, where he was called “master poet, caustic social critic and intrepid, guiding spirit of the counterculture generation” for his musical and cultural contributions.  

“A Complete Unknown” mirrors the times that Dylan helped shape, but don’t expect a documentary, for everyone with intimate knowledge can pick apart the accuracy. But the creative team’s thoughtful attention to detail is remarkable , visualizing an important period for one of the most enigmatic individuals in music history.

Costume designer Arianne Phillips, known for “Once Upon a Time…in Hollywood,” has vividly stamped that ‘60s period with counterculture flair, while production designer Jacques Audouy, Mangold’s go-to designer, has provided expert depictions of that time and place.

What a long, strange trip it has been – and I enjoyed waltzing down memory lane in the spectacular fashion presented here. This is more a look back with appreciation rather than analysis; and a celebration of our finest music poets.

“A Complete Unknown” is a 2024 drama directed by James Mangold and starring Timothee Chalamet, Monica Barbaro, Elle Fanning, Edward Norton, Boyd Holbrook, Dan Fogler, Norbert Leo Butz and Scoot McNairy. It is rated R for language and has a 2-hour, 21 minutes runtime. It opened in theaters Dec. 25. Lynn’s Grade: A.

By Lynn Venhaus

Woof. Thirty years after its landmark opening, Disney’s “The Lion King” has returned as a computer-animated prequel that’s a mere shell of its majestic and inspired coming-of-age drama origins.

Lacking a creative spark, this misfire is a generic, dull and soulless attempt to go back to the familiar Shakespearean theme, with Biblical roots, to rehash family bonds and destiny. Yawn.

Walt Disney Studios has blended live-action filmmaking techniques with photoreal computer-generated imagery, which looks like a nature documentary and has less of an emotional impact.

A nice touch is opening the film with a dedication to James Earl Jones, who voiced the regal Mufasa in Disney projects from the original 1994 to the remake in 2019. He died in September.

To set in motion Mufasa’s journey as a lion cub after his parents (Keith David and Anika Noni Rose) perish in a frightening flood, the wise shaman Rafiki (John Kani) begins telling Kiara (Blue Ivy Carter), daughter of Simba (Donald Glover) and Nala (Beyonce Knowles-Carter), the origin story of her grandfather.

Lost and alone, Mufasa, voiced as a young cub by Braelyn Rankins and Aaron Pierre as he gets older, is aided by Taka (Theo Somolu as a cub, Kelvin Harrison Jr. later), an heir to a royal bloodline.

Taka’s father King Obasi (Lennie James) is suspicious of outsiders, but his mother Queen Eshe (Thandiwe Newton) is more understanding, and the future king proves his mettle.

They team up to thwart their vicious foe, a pride of hateful territorial white lions – looking like they’re rolled in flour, I suppose so we can keep them straight – led by the evil Kiros (Mads Mikkelsen).

Mufasa eventually rises to become king of the Pride Lands, but not without much strife and multiple conflicts. He learns the dangers of tribalism and tyranny.

After all, this is the origin story of Scar as well. We eventually find out the reasons why his ‘brother’ Taka becomes bitter and resentful and will eventually betray him more than once.

The pair pick up a couple other strays on an expansive sojourn to the promised land Milele. The orphaned lioness cub Sarabi (Tiffany Boone) falls in love with Mufasa, spurning Taka. Rut-ro. Her screechy scout Zazu (Preston Nyman) the hornbill is back, both helping and hindering.

Returning from the unfortunate 2019 ‘live action’ remake are a younger but still mystical Rafiki (Kagiso Ledigo) and the now annoying self-absorbed duo of Pumbaa the warthog and Timon the meerkat as voiced, insufferably, by Seth Rogen and Billy Eichner.

Their banter isn’t funny and pulls us away from the journey, not to mention wrecking our “Hakuna Matata” vibe. Every time they start chattering, it halts the trek with forced humor. Their meta references about the 1997 stage musical are odd and seem out of place.

This band of misfits is on what seems to be an endless journey. Directed by the esteemed Barry Jenkins, the shot selection includes wide grand vistas – mimicking drone action above snow-capped mountains and expansive parched savannahs, which alternates with extreme close-ups of lions.

While the vocal work is fine, the remarkably similar visuals make it hard to distinguish the lions. The ensemble is too big to invest in the characters, too.

Emmy, Oscar and Tony winner Lin-Manuel Miranda’s songs usually signal a bright spot in any Disney project but here they seem intrusive. Did we need them? 

They just seem to unnecessarily pad the narrative, telling us what we can see – “Milele” as a beautiful utopia, “I Always Wanted a Brother” as the bonding occurs between Mufasa and Taka, then the love song “Tell Me It’s You” and the friends relying on each other on their trek “We Go Together” (as in “Grease”?).

While his lyrics are always clever, this score pales in comparison to the Elton John – Tim Rice tunes and Hans Zimmer score that each won Oscars, or even his multi-award-winning “Encanto.”

“The Lion King” was the highest grossing film of 1994 and the film became the top home video, holding that record for years. It was adapted for the stage in 1997, earning six Tony Awards and is now the third longest running musical on Broadway and the highest-grossing show of all time.

Its pedigree is undeniable, it’s a favorite with families, and will make a lot of money. But couldn’t they find a fresher, more engaging story than to keep going over the same themes just to appeal to fan service? Nostalgia aside, what are the biggest takeaways? That Disney is going to wring every penny out of the public for its beloved properties until the end of time?

“Mufasa: The Lion King” is an animated adventure family musical directed by Barry Jenkins with the voice-over work of Aaron Pierre, Kelvin Harrison Jr., John Kani, Tiffany Boone, Kagiso Lediga, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Keith David, Blue Ivy Carter, Beyonce Knowles-Carter, Donald Glover, Seth Rogen, Billy Eichner, Preston Nyman. It is rated PG for action/violence, peril and some thematic elements and the run time is 2 hours. It opened in theaters on Dec. 20. Lynn’s Grade: C

By Lynn Venhaus

Charming and delightful, “That Christmas” is an animated comedy that will give you the warm-and -fuzzies without the too-sweet and unrealistic situations that derail many of these holiday-themed movies.

And that’s because of the pedigree involved. Based on a trio of children’s books written by Richard Curtis and illustrated by Rebecca Cobb, his screenplay is not your typical fluff but features relatable characters and believable human interactions – and his trademark wit. (The other books are “Snow Day” and “The Empty Stocking.”)

Rom-com legend Curtis is known for writing “Four Weddings and a Funeral,” “Love Actually,” “Notting Hill” and “Yesterday.” Along with co-screenwriter Peter Souter, they tickle the funny bone through his imperfect adult characters and an endearing cast of quirky children. (And for Curtis fans, several in-jokes about his other films are clever references).

Now streaming on Netflix, the story centers on an unforgettable Christmas for the townsfolk of Wellington-on-Sea when the worst snowstorm in history alters everyone’s plans, including Santa’s.

The film touches on community, friendship and the bonds between families, especially siblings – all rendered in amusing and heartwarming ways throughout the breezy 91-minute film.

The seasonal adventure focuses on three families – and nobody’s having a picture-perfect holiday. In fact, calamities ensue, not to mention a whole flock of turkeys liberated before they become dinner entrees.

Simon Otto makes his feature film directorial debut — he was responsible for the character animation and story art in the superb “How to Train Your Dragon” trilogy. The animation is by Locksmith Animation (“Ron’s Gone Wrong,” and it’s bright, cheery and sufficiently wintry.

There is more to love – music is by the renowned film composer John Powell – recent credit “Wicked” — and Ed Sheeran wrote an original song “Under the Tree” for the film.

Brian Cox lent his distinguished voice as Santa, Bill Nighy has a small but impactful role as the lighthouse keeper Bill, and Fiona Shaw is the stern teacher Ms. Trapper.

The kids reflect modern views, especially Bernadette (India Brown), who rewrote the school’s traditional Christmas pageant (“The Three Wisewomen”!) and went too ‘woke’ to the horror of those in attendance. But to be fair, it had more to do with the messy watermelon splatter.

Sam (Zazie Hayhurst) is the ‘good sister’ who is exasperated by her rowdy, messy twin Charlie (Sienna Sayer), for a naughty-or-nice subplot, and Danny (Jack Wisniewski) is the sweet, sincere kid with a crush on Sam. His parents are going through a divorce. Jodie Whittaker voices his hard-working mom.

The entwined tales don’t shy aways from the realities of loneliness at holiday time, but there is plenty of merriment because of the parents’ more colorful personalities. Rhys Darby and Lolly Adefope’s

Wellington-on-Sea is fictional, but Curtis drew inspiration from the coastal towns of Walberswick and Southwold, which are in the English county of Suffolk.

It’s just a fun ride, with a pesky blizzard, Santa’s woes, and a sassy reindeer, Dasher (Guz Khan), plus the kids go through ‘learning experiences.’

The old-fashioned emotional touches in the story and contemporary cozy look are both appealing, making this Christmas one to remember. Watching “That Christmas” is as comforting as a cup of hot cocoa with a plate of Christmas cookies. In fact, that may be the best way to see it, along with snuggling up with a throw.

“That Christmas” is a 2024 animated comedy directed by Simon Otto and starring (voice-over work) Brian Cox, Bill Nighy, Fiona Shaw, Jodie Whittaker, Jack Wisniewski, Sienna Sayer, India Brown, Zazie Hayhurst, Rhys Darby, Lolly Adefope, Guz Khan, and Bronte Smith. It is rated: PG for thematic elements, some language and rude humor. It began streaming on Netflix Dec. 4. Lynn’s Grade: B+

By Lynn Venhaus

Without skipping a beat, four iconic music legends continue a sentimental reunion in the cheery holiday show “Million Dollar Quartet Christmas,” which has been gift-wrapped with star power and delightful musicality.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at the Sun Records studio in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

That twist of fate was captured in an enchanting jukebox musical “Million Dollar Quartet” that highlighted the enduring rhythm of roots rock. It was first produced in Florida in 2006, then Chicago in 2008, and eventually on Broadway in 2010, and the nostalgic charmer was nominated for three Tony Awards

This 2021 sequel version is a festive and fun presentation that builds on the original premise, which were both smash hits at The Repertory Theatre of St. Louis in 2017 and at Stages St. Louis in 2023.

In a savvy move, the two companies have collaborated to bring this crowd-pleasing show to life with many of the same artists involved in the Stages production but presented on The Rep’s mainstage. This is the first partnership, but hopefully not the last.

Brady Wease and Jeff Cummings as Jerry Lee Lewis and Sam Phillips. Photo by Jon Gitchoff.

The memorable trio of Scott Moreau duplicating Johnny Cash’s deep bass-baritone, Jeremy Sevelovitz as fast-playing honky-tonk specialist Carl Perkins and Brady Wease as sparkplug Jerry Lee Lewis easily blend with suave newcomer Sean Buckley, whose graceful moves capture Elvis Presley’s vitality.

What a jolly time it is to see this cast perform together. Crackling with electricity, these other fabulous, fantastic four guys create a warmth onstage, even if they needle each other.

Their energy is limitless, and their showmanship stellar. While it is a blissful blast from the past, it’s not just the Christmas songbook’s greatest hits. They dip into their rockabilly classics – those fusions of country and rhythm and blues they became known for – but present fresh takes on  holiday classics like “Jingle Bell Rock,” “I’ll Be Home for Christmas,” and “God Rest Ye Merry Gentlemen.”

Everyone expects “Blue Christmas,” of course, and Buckley delivers a dandy one. Upbeat highlights include Chuck Berry’s “Run Rudolph Run,” the Bing Crosby cover “Mele Kalikimaka” and “Boogie Woogie Santa Claus.”

The statuesque Shelby Ringdahl is back as Elvis’ girlfriend Dyanne, and so is Jeff Cummings as impresario Sam Phillips. The dynamic duo of music director Dave Sonneborn as W.S. “Fluke” Holland on drums and Chuck Zayas as Jay Perkins on bass, one of the original cast members, have returned.

Scott Moreau as Johnny Cash. Photo by Jon Gitchoff.

It’s obvious this entire group of seasoned professionals are a tight team that enjoys spending time together – and wow, can they rock around the Christmas tree. With their slick musicianship, there is a whole lotta shakin’ going on.

Colin Escott’s script, while formulaic, focuses on the heart and the humor, and because the group feels so familiar with each other, they smooth over the rough edges.

As the guys reminisce about their humble beginnings, they tell Christmas tales tied to their Southern roots. They admit struggling to fit into a cutthroat show business when people don’t understand their blue-collar cultural upbringing.

The men are at a crossroads, some having tasted more success than the others. They got their start through Phillips, aka “The Father of Rock ‘n Roll,” whose personal feelings are hurt because of the professional transactions. He’s too much of a country boy to be considered a main player by the big-city record companies.

After putting Sun Records on the map, Elvis received a huge record contract with RCA Records, while Johnny and Carl recently moved on to Columbia. The brash Jerry Lee is pegged as Phillips’ next big thing.

As played by the high-spirited Wease, swaggering Lewis is full of braggadocio, easily getting on everyone’s nerves. Yet, his pounding of the piano keys is always a high point.

Jeremy Sevelovitz as Carl Perkins. Photo by Jon Gitchoff.

There is a wistfulness that you sense among the three older ones. Elvis expresses a homesick blues, though, while Cash and Perkins are making wishful new plans. That adds a relatable poignancy as people tend to reflect on the year past at holiday time and look ahead to a more promising future.

Dyanne’s role is stronger this go-round, and Ringdahl dances merrily while joining the guys. At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer. Ringdahl delivers a playful “Santa Baby.”

Director Keith Andrews focuses on the opportunity for magical moments – because it is the most wonderful time of the year. He has previously directed the original six times, so he is quite familiar with this material.

The precise craftsmanship of scenic designer Adam Koch is noteworthy for decking the halls with bright lights, mistletoe, tinsel and a tree, all bathed in a beautiful glow by lighting designer Sean M. Savoie. And sound designer Beef Gratz’ work is crisp and clear.

Costume designer Brad Musgrove has outfitted everyone in 1950s winter garb, plus woven in sequins for another killer grand finale. He selected a knockout red cocktail dress for Dyanne, while wig designer Dennis Milam Bensie coiffed her chicly.

Shelby Ringdahl and Chuck Zayas as Jay Perkins. Photo by Jon Gitchoff.

A special shout-out to those who dressed the theater in style, transforming the lobby and outside into a breathtaking winter wonderland.

The stars shined brightly, and the cast’s harmony embossed this celebration of comfort and joy with wonderful verve. “Million Dollar Quartet” is a two-hour sentimental journey that sparks warm memories, reaffirms music’s deep connection in our lives, and allows our hearts to be light.

In partnership with Stages St. Louis, the Repertory Theatre of St. Louis presents the musical “Million Dollar Quartet Christmas” Dec. 4 – 22. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

By Lynn Venhaus

A supernatural romantic comedy is a surprisingly delectable sweet treat this holiday season. (Who knew?) Stylish and witty, “Bell, Book & Candle” casts an enchanting ensemble who appear to be having a jolly good time in this sophisticated retro throwback presented by Stray Dog Theatre.

When you think of witches, do those three macabre ones in “Macbeth” first come to mind, stirring a bubbling cauldron? Or is it the mean and nasty one in “Into the Woods,” with the haunting lyric “Witches can be right”? What about the unforgettable classic clash in ‘The Wizard of Oz” setting up sides with “Are you a good witch or a bad witch?”

Perhaps the all-American witch Samantha Stevens of the beloved sitcom “Bewitched,” 1964-1972, who lived in the suburbs and pretended to be a normal housewife, changed perceptions from scary to fitting in.

But it was Gillian Holroyd who broke the mold on the Broadway stage in 1950 in playwright John Van Druten’s “Bell, Book & Candle.” He created the character and added all the ingredients to bewitch, bother and bewilder, including a black cat, magic spells, hocus pocus, romance and fantasy.

Gillian was a very modern woman with a glamorous life, ensconced in the tony Murray Hill neighborhood of New York City – only she had a secret. She practiced witchcraft. The play became a popular 1958 movie starring Kim Novak, James Stewart, Jack Lemmon, Hermoine Gingold, and Elsa Lanchester.

Claire Coffey as Gillian. Photo by John Lamb.

Claire Coffey personifies every facet of Gillian, looking classy and elegant in several chic outfits assembled by costume designer Colleen Michelson, then serious when she’s casting spells and hatching plots.

In her cozy and cosmopolitan apartment, she chats with her daffy Aunt Queenie, a busybody who finds out information one way or the other. Liz Mischel embodies the eccentricities of the character, and always bursts in, wearing colorful garb.

Gillian is intrigued by her new neighbor, polite and polished publisher Shepherd Henderson (Joel Wilper), and she finds out he’s dating a rival from her college days, expecting to get engaged. Before you can say abracadabra, this witchy woman arranges him to fall head over heels in love with her instead. It’s Christmas Eve, no less.

One wrinkle: Witches, in this supernatural tale, cannot fall in love or else they lose their power. Therefore, life gets more complicated, not less. How far can this relationship go without secrets being revealed?

The gallant and urbane Shep is as smitten as a teenager, as if a thunderbolt struck him, not thinking rationally, but he’ll eventually be confronted by reality. Wilper conveys both sides of Shep convincingly.

Claire Coffey and Joel Wilper. Photo by John Lamb.

Other characters factoring into the mayhem – her snarky, rakish brother Nicky (Victor Mendez), author Sidney Redlitch (Gary Wells) and her cat, Pyewacket. Nicky and Redlitch have collaborated with a book on witches in NYC, but Shep is highly skeptical.

Oh, what a tangled web she weaves, practicing to deceive, but without spoiling the plot, magic can work wonders.

Director Gary F. Bell keeps everything light-hearted and breezy, focusing on his cast’s ability to charm. Coffey and Wilper ground the fantasy as a twisty rom-com while the supporting players go a little wackier and broader.

Bell also designed the swanky set, and it’s a snazzy vintage collection of furniture and fashionable accents. Jude Hagene painted the attractive living room. Tyler Duenow’s lighting design gives the parlor a warm glow.

As always, Justin Been has selected a swinging soundtrack suited for 1950s high society with a merry touch of Rat Pack coolness.

While “Bell, Book and Candle” is traditional in structure, but not in subject matter, this is a bright bauble that is well-suited to comfortably and merrily entertain.                                                                                                                                                                                                                                                                         

Claire Coffey and Victor Mendez. Photo by John Lamb.

“A witch never gets caught. Don’t forget that she has magic in her fingers and devilry dancing in her blood.” — Roald Dahl, “The Witches”

Stray Dog Theatre presents “Bell, Book and Candle” Thursdays through Saturdays at 8 p.m., Dec. 5 through 21, with an additional performance at 2 pm on Sunday, Dec. 15. Performances take place at Tower Grove Abbey, 2336 Tennessee in Tower Grove East. Box Office/Will Call opens 1 hour prior to performance. Tower Grove Abbey is a “general seating” theatre. For more information: www.straydogtheatre.org or call (314) 365-1995

Victor Mendez, Claire Coffey, Gary Wells and Joel Wilper. Photo by John Lamb.

By Lynn Venhaus

Will Bonfiglio, long a fixture in both ensemble pieces and one-man shows in the regional professional theater community, is back on stage in familiar territory: Making people laugh.

Post-pandemic, he hasn’t been on St. Louis stages as frequently as he was before COVID, so when he is, it’s a pleasant reminder of what a local treasure he is.

He’s currently appearing as a zany waiter in “First Date” (Nov. 21-Dec. 8) at New Jewish Theatre, singing, dancing and wisecracking. It’s a perfect part for his skillset.

Winner of three St. Louis Theater Circle Awards for Best Performance in a Comedy in a Male or Nonbinary Role, the Wool Studio Theatre is where he has performed some of his best work – the solo shows “Fully Committed” and “Every Brilliant Thing,” plus a two-hander with Jerry Vogel in “Old Wicked Songs,” and ensemble work in “I Now Pronounce,” “Never the Sinner” and “Yentl.”

This production is a homecoming of sorts for him, and he’s thrilled to work with this cast and creative crew.

“It’s a rare and wonderful experience to work on a show where the cast and crew are all such kind and lovely people,” he said.

Mitch Henry-Eagles, Will Bonfiglio and Molly Wennstrom in “First Date.” Photo by Jon Gitchoff

Bonfiglio’s versatility is key to his appeal, for he can blend in when performing with his respected pals in the more experimental groups ERA (“Make Hamlet”) and SATE, and in other small companies — “Mr. Burns, A Post-Electric Play” by R-S Theatrics, “Photograph 51” and “Oedipus Aparatus” at West End Players Guild, and in the former Insight Theater Company’s “Moon Over Buffalo” and “The Importance of Being Earnest.”

But then he’ll venture into musicals. In “Grey Gardens,” which Max & Louie Productions mounted in 2016, he played both young Joseph Kennedy Jr. in the first act and Jerry a delivery boy in the second act.

He was an integral part of the Variety Club Theatre’s productions “The Little Mermaid,” “The Beauty and the Beast,” and “Mary Poppins.”

Two shows in the Wool Studio Theatre were among the four roles in 2016 that earned him four nominations for St. Louis Theater Circle Awards in 2017. Four! To date, he holds the record for performers most-nominated in a single season.

Will Bonfiglio and Madeline Purches in Max & Louie’s “:Grey Gardens.’

He was nominated for outstanding actor in a comedy for “Buyer & Cellar” at Stray Dog Theatre, which he won; for outstanding supporting actor in a comedy for “As You Like It” at Slightly Askew Theatre Ensemble, for outstanding supporting actor in a drama for “Old Wicked Songs” at New Jewish Theatre, and for outstanding supporting actor in a musical for “Grey Gardens” at Max & Louie Productions.

He received his second Circle Award for “Red Scare on Sunset” in 2018 at Stray Dog Theatre, for which he played Mary Dale, and had to dress in drag and do slapstick wearing high heels.

Not only does he have a background in acting, but also in directing, playwrighting, and producing. At COCA (Center of Creative Arts), he serves on the theater faculty, and recently directed “SIX: Teen Edition.”

In his professional career in the arts, he previously served as COCA’s Director of COCAbiz, where he developed and facilitated professional development workshops using the arts to a variety of corporate and nonprofit partners, including Bayer, BJC HealthCare, Comcast, Commerce Bank, Delta Dental, Edward Jones, and TEDxStLouis.

Will Bonfiglio and Shanara Gabrielle in “Red Scare on Sunset.”

Under his leadership, the program saw an expansion of partnerships to increase access for nonprofit and community organizations as well as the launch of a new equity-centered curriculum around social justice and belonging for all communities.

In 2020, he became one of the youngest people selected for FOCUS Leadership St. Louis.
He is currently the artistic director of theatre at COCA.

Will earned a master’s degree in theatre and performance studies and a master’s in nonprofit management from Washington University in St Louis. His undergraduate degree is from Vanderbilt University in Nashville, Tenn.

An alumnus of the Fulbright Program, he often teaches courses on theatre and performance studies at several area universities.

“The Importance of Being Earnest” at Insight Theatre with Will, Julia Crump, Gwen Wotowa and Pete Winfrey.

In the meantime, he and the cast of “First Date” are entertaining audiences

The story unfolds in real time as two young adults meet for a blind date at a local restaurant. Aaron, a nervous newbie to blind dates, has been set up with Casey, a more experienced dater by her brother-in-law, who works with Aaron.

Casey and Aaron’s inner critics take on a life of their own when they become supportive best friends, manipulative exes and protective parents, who sing and dance through icebreakers, appetizers and potential conversational land mines. His musical solo “I’d Order Love” is done with a wink and a smile. He also doubles as Casey’s therapist

 First Date at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running November 21 to December 8. Performances are on Thursdays at 7:30pm, Saturdays at 4pm and 8pm, and Sundays at 2pm, except for Thanksgiving weekend where there will be no Thursday show, but a special “Black Friday Getaway Matinee” at 2pm on November 29. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

ERA’s “Moscow,” a Zoom play aka “Zheatre,” from 2020 during pandemic shutdown. Screenshot by Lynn Venhaus.

Take Ten Q&A with Will Bonfiglio

1. What is special about your latest project?

The team. It really feels like a community I want to be a part of, and I feel lucky we get to spend so much time together throughout the process.

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

I’ve always loved theatre, and St. Louis has so much of it! For a city of our size, we are truly blessed with an abundance of opportunities to perform and produce work.

3. How would your friends describe you?

Oh, this is so tricky! I honestly don’t know — overscheduled?

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

As my friends and family know– and are regularly annoyed about (see answer to question 3) — I am often in school, taking or teaching classes in my spare time. But when it’s not the school year, I love to travel when my schedule allows.

5. What is your current obsession?

Not necessarily current, but my always-obsession is Dolly Parton. I’m currently teaching a class on her at WashU this semester. “It’s hard to be a diamond in a rhinestone world!”

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

Perhaps that, although I do love performing and being onstage, I’m actually quite introverted.

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

Probably living abroad after college for a year. It taught me resilience and provided me with many rich friendships that still remain today.

8. Who do you admire most?

My family.

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

Walk the Camino de Santiago.

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

Community. While I applaud and appreciate how everyone tried to continue making work virtually during that time, I am so happy that Zheatre (Zoom theatre) didn’t stick. There’s nothing like a live performance.

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

I enjoy visiting our many wonderful arts and cultural institutions and also trying new restaurants and coffee shops. Love exploring all our great city has to offer!

12. What’s next?

A break!!

“Buyer & Cellar” at Stray Dog Theatre.

More About Will

Name: Will Bonfiglio

Current location: St. Louis, MO

Education: MA, WashU, Theatre & Performance Studies

Day job: Artistic Director of Theatre, COCA-Center of Creative Arts

First job: St. Louis Bread Company.

First play or movie you were involved in or made: I did a few plays here and there growing up, but my first big thing was “Guys and Dolls” in high school

Awards/Honors/Achievements: 3 St. Louis Theatre Circle Awards for Outstanding Actor in a Comedy

Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre in 2023. Photo by Jon Gitchoff.

Remembering the beautiful soul that was Tim Venhaus, and the joy he brought into our lives as a bright star lighting the darkness. Today, we are remembering his laugh, and how he made us laugh. And how much we loved him, and he loved us. But then again, not a day goes by where we don’t think of him and smile — and also miss him, achingly so. Thanks for the memories. We will never forget the unforgettable you.

By Lynn Venhaus
When Tim was 13, he was excited to show me his latest movie poster that he hung on his bedroom wall, along with his favorites “Pulp Fiction,” “A Clockwork Orange” and “South Park.”  Mind you, he was going into the eighth grade.

(I know, I know, but you tell that movie fanatic that he couldn’t watch something because it wasn’t age-appropriate, and he’d find a way to do so, little rebel with a cause that he was.)

It was sometime in the summer of 1998, and he had been shopping at a local mall with his brother and grandmother. He came home with a giant poster of “Reservoir Dogs,” a film by Quentin Tarantino. It took up a lot of space on the wall.

I walked in the door, was working at University of Missouri-St. Louis then, and he shouts: “Mom, mom! Come here!” He pointed to his latest acquisition. He grinned, laughing: “See, it really ties the room together!”

That line is from “The Big Lebowski,” about a rug the Dude had. We had seen the movie that spring and were early champions of how goofy it was. That phrase has been often repeated since then, after the film became a Coen Brothers’ cult classic. Tim became a fan of theirs when he was 11. (Again, no stopping him. And if you knew him, you’d understand).

Charlie Venhaus, Tim Venhaus, Tommy Davis. Summer of 1998.

That phrase is really a great way to describe my late son, Timothy Robert Venhaus, who came into the world around 11 p.m. on a snowy Sunday, Dec. 2, 1984. He would be 40 today. The year he turned 34, he died a week later.

Tim tied every room together that he walked into, because he was the sort of guy who took over that room. He had that affect on people – made people feel better by being in his orbit.

In a way, Jon Bernthal’s character Mikey on “The Bear” reminds me of Tim. He wasn’t as angry, or as tortured, but when Tim was in his element, he had everyone’s attention, and most of the time it was to make people laugh.

Tim loved to make people laugh. He liked to win people over. Truth be told, he projected hip and cool, but he was a big softie. He cried watching “Forrest Gump.” He felt losses deeply — relatives, friends, relationships. I could share many examples of his compassion, really cared for the unseen and the unheard.

That’s why I think he was so good with the young people he taught, at Nature’s Classroom, at Summer Fenn in Concord, Mass., and all those budding filmmakers he came in contact with – and who knows how much effect he could have had at the performing arts school where he was hired to teach an after-school filmmaking class in Chicago (he titled it “Friday Night Lights, Camera, Action!”) once he got back to grad school after the holidays. Well…

They say the best way to remember loved ones you’ve lost is to remember them laughing. So today, and whenever you want to think about Tim, remember his hearty belly laughs, his silly Letterman-type laugh “he-he-he,” his spontaneous giggles, or his exaggerated sarcastic laughs for effect – he had a bunch of different ones.

First ‘cousin brothers’ Tommy and Patrick Davis, Tim and Charlie Venhaus. Circa 2004.

I miss that laugh ever since his light was extinguished on Dec. 9, 2018. It’s an unfathomable sorrow, the unimaginable. It never gets better, in fact, the hole in the heart just grows wider because we know what we are missing. But in a way, I believe he is watching over his loved ones. Strange sixth sense…it’s a feeling.

How I’d love to hear his laugh again.

Those texts, those calls, those visits home, those random thoughts he’d express, those anecdotes he’d share about his colorful travels, his plans, hopes, dreams and ideas. That holiday break home from DePaul University, where he was making a name for himself in his classes working towards an MFA in Screenwriting, would be his final days, and that’s what we have to cling to — how do you ever know that’s the last hug?

He would come home from his busy seasonal holiday work as a restaurant server – which he picked up at Thanksgiving, so he could make ‘bank’ for the next semester, and he was working many events – and we’d watch awards-season screeners I had for my film organizations voting.

Since 2008, that had been a holiday tradition, the first year I was in St. Louis Film Critics Association (and so was he, for a short time, doing movie reviews weekly on a local radio station). I miss talking about movies every awards season with him. And now that I am in Alliance of Women Film Journalists, Critics Choice Association, and in the tomato-meter on Rotten Tomatoes, we could be having some dandy ‘inside baseball’ discussions.

While unwinding, he’d tell me all about his professors, feedback about his latest screenplay, and so forth. It was such a delight to see him so happy. He felt at home at DePaul, it was a good fit. They had a long break between Thanksgiving and New Year’s because they were on a trimester schedule.

During that time home, he was waiting to learn his grades (A’s, I would find out), and on fire, talking about what classes he was taking the next semester, which started Jan. 5, 2019, and recalling everything he had learned that fall semester, the people he met who made an impact.

The last time he’d walk in the door was Saturday night, Dec. 8, after working a double-shift, announcing he was exhausted, and going to his room because he had to wake up early for the brunch shift. Only he never woke up.

Thanksgiving 2018 at Uncle Matt’s living place.

He was finally living his dream. After he passed away, I read his recent journal posts: “Having a good time watching movies with Mom.”

I miss seeing the world through his eyes. He had a view askew, and wasn’t afraid to express it. I found out from his close circle of friends that he was their ‘thought leader’ — he recommended music, movies and TV shows for them. They miss his texts advising them on what to go, see, do.

I miss him calling or texting after he saw a movie, no matter where he was – whether working at Nature’s Classroom in Maine, Massachusetts, Rhode Island, Connecticut or upstate New York teaching filmmaking, the year he lived in New York City with Charlie while doing his college internship at “Sesame Street,” or working here at home in ’17-’18 before grad school – and talking about it “Tim-style.”

I miss many things about his visits home. And knowing that he’ll never make plans to be here at Christmas is hard. Even if he was working elsewhere or at school, he’d be home for the holidays. It was always comforting. Fresh memories were made. Now we don’t have new ones, we have what was. And while they are still fun to remember, it’s farther in the rearview mirror.

Getting ready for a gathering, mid-80s.

The Grief Train

The only thing that we have is precious memories, some of his personal effects, and wonderful people who help us through the void in our lives, that ever-present darkness.

Last year, I wrote a chapter, “You Are Not Alone: Dealing with Grief and Loss,” in a women’s anthology book published by my media colleague and friend Marqueeta Curtis-Haynes, “Ageless Glamour Girls: Reflections on Aging.” All of us 14 contributors – fierce, funny women – shared segments of our lives post-50. (It’s currently available on Amazon — a bestseller! — and soon, we’re working on an audio version).

I’m trying to turn pain into purpose, and if I can help another person through this awful grief journey together, I will be grateful. I’ve had so many family members, friends, colleagues and acquaintances help, that I truly could not have gotten through this without these people raising me up. We can’t do the ‘woulda, coulda, shoulda,” and thinking “What Might Have Been” is fruitless.

I used to kid him because the goal was to be a paid working screenwriter, so if he had to write “Air Bud 6,” then so be it.

Life goes on. His friends are marrying, having children, moving to other cities, trying out new careers and new dreams. I am thrilled to hear from them, and glad they have fond memories of their times spent with Tim. He made an impression on so many people, it makes my heart happy about the lives he touched.

Ocean Park, Maine. Nature’s Classroom, 2017.

But enough about death. Today, we celebrate his life, one that burned bright for 34 years.

An Unforgettable Person

Forty years ago, he made me a mom. I was three weeks before turning 30, and working at the St. Louis Globe-Democrat as a news reporter. It was a special time. While I dearly love my work, motherhood has been the greatest journey of my life. To see both my sons grow and blossom has been a joy. That can’t ever be extinguished.

When you become a mom, your life changes in such a way that you are never not a mom first. I cherished being the mother of these two boys — I wanted to make sure they had roots and wings. Motherhood has defined more than half of my life. Now I’m in a club no one wants to join. Love to all the moms –there is not a harder, more challenging, more rewarding job in life.

I want to remember how much these two boys put into living. Charlie, now 36, and I move forward, learning a new normal. Tim dearly loved his little brother, they were quite a dynamic duo. Tim was incredibly supportive during Charlie’s cancer battle with a rare aggressive lymphoma in 2013, had been an integral part of his care and recovery.

A few months ago, I finally opened a box of his junior high/ high school stuff – papers, daffy keepsakes, and more ‘Beavis and Butthead’ collectable cards than you ever knew existed. Half-finished scripts involving his friends, funny notes, lists of his favorite songs, movies, TV shows, and more, plus magazines and comic books of that time. Old “Mad” ones, remember “Movieline”?

I found a notebook of essays written in pencil for a senior year English class at Belleville East High School (2002-2003). Apparently, his teacher would give them prompts, such as “character profile of a family member,” “worst Christmas gift,” and “a personal national holiday.”

His teacher wrote on the final page: “Excellent Thought Process! You’re one of a kind, Tim. Keep journaling, your writing is great.”

Here’s a few snippets of his work:

“When I’m 50 years old, it will be the year 2035. I’m pretty sure I’ll have four kids. I’m gonna have all boys because I don’t want to deal with raising girls at all. Their names will be Leroy, Quentin, Spike and Shoe. I’m gonna start having kids at the age of 40. So, the kids will be relatively young so that will keep me young…By this time, I’ll be a producer of movies after getting so much money writing and directing movies. I will have revolutionized Hollywood and made something completely different from the movies of today.”

Tim Venhaus and Lynn Venhaus, Sundance Film Festival 2011, Park City, Utah.

“My Mom” by Tim Venhaus

Here’s the essay he wrote about me, verbatim.

“My mom is by far the nicest person I have ever known. She’s so nice it makes me mad. But she’s the reason I’m here, obviously. But she is also a contributor to the biggest part of my life. She is the one that got me hooked on movies. From day one, we have been watching movies together.

She is also nutty as squirrel turds. She’s so goofy, it’s ridiculous. She has told me some funny stories about her childhood, like how she fell off a cliff at Camp Ondessonk, and a bunch of other fumbles and uncoordinated accidents.

She’s the best person that I can think of. She talks for hours and hours. You can’t end a conversation with her on the phone. It’s too hard. She always has something to say.

She also has good taste in music. I can ask her who sang what song, and she’ll tell me. But my fondest memories are going to the Tivoli with her and seeing movies like “Fargo” and other great indie movies. But everyone can say that.”

Charlie and Tim, Christmas. maybe 1990-91.

His Version of Heaven

“Heaven would be 72 degrees and it would always be. I think Heaven would be individuals separated for certain likes and dislikes. Like if you like baseball, you’ll go into the Mickey Mantle center of heaven and hang out with players like Babe Ruth.

My personal heaven would be like a mall, but instead of stores they would be filled with bands and movies playing. There would be the recliner section …’’

They were a delight to discover, and to read. It’s like he’s here, but he’s not.

Today, and the rest of this tough, tough month, we celebrate the one and only Tim, and mourn what might have been. That empty chair, empty table at the holidays always reminds us.

In Tim’s honor, do something you have been meaning to try or visit, or make plans to do so. Watch something that will make you smile. Or think. Something genuine – with ‘feels.’.

Even though it’s not currently streaming, and only available as a rental on various platforms, I recommend “About Time,” a warm and heartfelt Richard Curtis film that I suggested Tim watch one wintry night about 10 years ago – he was not inclined, and I convinced him he’d be surprised at how much he’d relate to it. Before I knew it, he was asking me for a box of Kleenexes.

Tim filming his comedy short, “Lunchbreak,” with Kyle Eversgerd and Tory Dahlhoff. 2007.

In closing, I want to share an exchange between Bill Murray and Scarlett Johansson in the movie “Lost in Translation.” I re-watched it a few months back, had forgotten how much I liked it (Tim liked it way more). These words really grabbed me – so very true.

Bob: It gets a whole lot more complicated when you have kids.

Charlotte: It’s scary.

Bob: The most terrifying day of your life is the day the first one is born.

Charlotte: Nobody ever tells you that.

Bob: Your life, as you know it… is gone. Never to return. But they learn how to walk, and they learn how to talk… and you want to be with them. And they turn out to be the most delightful people you will ever meet in your life.

Charlotte: That’s nice.

Nephews Patrick and Tommy Davis, far left and far right. Tim and Charlie in the middle. One of my favorite photos. Oscar Night at the Tivoli 2012.

And Tim, because of you, I have been changed for good. And so have many others. (You’ve influenced more people than you realize.) We love you.

Note: Six Degrees of Tim seems to be through music and movies, so we asked everyone in his orbit to contribute songs to a Tim Venhaus 40th Birthday Mixtape that is now curated on Spotify by his brother, Charlie Venhaus. It’s so Tim, perfectly perfect waltz down memory lane.