SATE’s Homage ‘Classic Adventure Movie’ Celebrates Childhood

SATE’s Homage ‘Classic Adventure Movie’ Celebrates Childhood

By Lynn Venhaus

Hey, you guys!!! Do you remember growing up? Did you ever act out a fantasy adventure with your pals? Did you watch VHS tapes that you rented from the local Blockbuster Video?

Checking those boxes means you are the primo audience for SATE’s zany “Classic Adventure Movie,” which is an exuberant tribute to limitless childhood imaginations, a theatrical time-travel experience, and an homage to beloved characters who grew up in the Goon Docks.

With great affection, the company recreates the playful spirit of the Millennial touchstone, “The Goonies,” an iconic family film that premiered the same summer that “Back to the Future” did – in 1985.

Ever since this heartwarming tale of friendship came out on home entertainment, kids have been watching it over and over, repeat viewings a must. And any mother of Millennials knows it well (even if it’s been a while for me).

Chunk’s being threatened by the Fratelli gang. Photo by Joey Rumpell.

Get ready for that same warm glow of nostalgia that occurs when the children of the 1980s and 1990s remember how they fell in love with a merry band of misfits who dove into danger with the derring-do of a teenage Indiana Jones and the detective skills of Nancy Drew and The Hardy Boys.  

And some of them, along with a few intrepid Gen X’s and Gen Z’s, are part of this fearless gang of “Never Say Die” performers who dash, dart, and dare to have fun as part of this fearless ensemble.

SATE is a regional theatre group renowned for its well-cast ensembles and strong collaborations, and this is another dandy example of the band getting back together and having the time of their lives.

Dynamic duo Rachel Tibbetts and Ellie Schwetye are the co-producers, with Rachel directing a fast-paced and funny show, where the comic lines land, the role-playing is spot-on, and the sentiment is endearing. Tibbetts injects the heart, Schwetye provides the soul as sound designer.

Courtney Bailey, Frankie Ferrari and Katie Donnelly. Photo by Joey Rumpell.

Ellie has compiled a greatest hits soundtrack to supply the audience with favorite movie themes and songs. Yes, you’ll hear John Williams’ unmistakable work among poppy needle drops, and it’s a terrific score to compliment this show.

This proud and loud troupe of 13 spryly navigate a makeshift playground of caves, secret passages, pirate ships, booby traps – and booty traps — and other escapades set up in the friendly, intimate confines of The Chapel (subbing for Astoria, Oregon).

It’s clear that the cast and crew have been sprinkled with Steven Spielberg’s magic pixie dust, and they’ve become kids again.

The movie plot is based on a story by Spielberg, who was inspired by Mark Twain’s “The Adventures of Tom Sawyer” when Tom and Becky Thatcher are lost in a cave.

Written by Chris Columbus (“Home Alone” and “Mrs. Doubtfire”), the script focuses on a group of buddies who must move from their working-class neighborhood when a developer forecloses on their families’ homes to build a golf course.

Photo by Joey Rumpell.

Director Richard Donner (“Superman” and “Superman II”) drew authentic performances from the youngsters, showcasing their natural chemistry and high energy. That’s embodied by spunky Ricki Franklin as Mikey, the eternal optimist.

Franklin is the driving force as the lovable, loyal pal played by Sean Astin. She wears the trademark jean jacket, too. Costume designer Liz Henning splendidly outfitted each character to have some specific items to mark each look from on screen, such as Keating’s mismatched pants and shirt wardrobe copying Chunk’s lack of sartorial splendor.

Luck may be on their side as they discover notorious pirate One-Eyed Willy’s treasure map that could lead to some valuable loot. They must follow clues. But they’re not the only ones searching – a family of crooks is hot on their trail.

Fierce LaWanda Jackson is funny as the ruthless crime boss Mama Fratelli whose knucklehead sons are more of a hindrance than a help – Anthony Kramer-Moser is Jake and Victor Mendez is Francis, and they demonstrate their slapstick prowess, for they are more Three Stooges than wise guys.

Joining Mikey on this wild adventure are chatterbox Mouth, aka Clark Devereaux, with goofball Cassidy Flynn in the Corey Feldman role; tech wizard Data, with versatile Ashwini Arora in the future Oscar winner Ke Huy Quan role; rapscallion Chunk, with inventive Keating in the mischievous Jeff Cohen role. “I love the dark! But I hate nature!” they say.

Joey Rumpell photo.

The pals team up with high school jock Brand (Mikey’s older brother Brandon), with Carl Overly Jr. sporting a red bandana and gray shirt as the tough protector played by Josh Brolin.

Helpful is perky Andy, a popular cheerleader who has a crush on Brand, and is played by multi-faceted Hailey Medrano in the Kerri Green role. Her feisty best friend Stef is vibrant Marcy Wiegert in the resourceful role played by Martha Plimpton in the movie.

The actors added recognizable touches in their personal development of these iconic parts, and as anticipated, Keating goes to town in the “Truffle Shuffle.”

Two narrators are Katie Donnelly as Barb and Courtney Bailey as Lizzie, and they fill a variety of needs, including playing bridge trolls.

One of the sweetest touches was having some of the actors talk about their favorite movie from their youth in a heartfelt monologue, why it moved them and why the mattered. Jackson talked about “The Wiz,” Flynn “Pokemon,” Ferrari “Under the Tuscan Sun,” Keating “E.T. the Extra-Terrestrial” and Wiegert “Labyrinth.”

The Goonies. Photo by Joey Rumpell.

One of the most inspired additions is Frankie Ferrari as Cyndi Lauper, the pop singer who had a cameo in the movie. She penned the title song “The Goonies R Good Enough” included on the soundtrack.

The music video was in frequent rotation on MTV, so she is part of its legend. The playwright found clever ways to use Cyndi, and Ferrari is all in, singing, dancing and replicating the pop star’s thick Brooklyn-Queens combo accent.  

The set design by Erik Kuhn has some sight gags, movie posters, and delightful reminiscences of childhood days gone by. Kuhn also served as technical director. He had to be handy and resourceful, coming up with clever substitutions for grand-scale images. Wearing a third hat, he served as fight director, too.

Katherine Leemon did a terrific job finding props that were integral to each character. Denisse Chavez expertly took care of the lighting design.                                                                                                                                                                                      

The play was written by Keating, after being conceived by Tibbetts, Flynn and Keating at a sleep-over birthday party where they watched “The Goonies.” They have included the most memorable parts of the movie, and one role is given to an audience member.

The cast of “Classic Adventure Movie.”

This is the group’s second work in a hopeful trilogy, after “Classic Mystery Game” in 2019, and uses story elements from their “First Impressions” on the Jane Austen novel “Pride and Prejudice” in 2017.

“Classic Adventure Movie” is elevated by SATE’s trademark camaraderie. The fleet-footed and expressive cast deliver one-liners and recognizable quotes from the movie in such a fun way that they must have put extra oomph into rehearsing the play to get the timing just so.

A primer on “The Goonies” isn’t a pre-requisite, but helpful. No matter what, you’ll be swept away by the youthful enthusiasm as they outwit, outplay, outlast – and outsnark — the villains.

SATE presents the world premiere of “Classic Adventure Movie, or Never Say Die,” Sept. 11 through Sept. 27, with shows Thursday through Saturday at 7 p.m. at The Chapel, 6238 Alexander Drive. For more information: satestl.org.

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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‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

By Lynn Venhaus

“From the Garden” is a clever topical one-act play that deserves to be seen. Its brief weekend run revealed a local writer’s biting wit and sharp observations that were realized by a zealous cast.

Whip-smart playwright Donald C. Miller directed his own show earlier this month (May 5-7) for four performances at the intimate venue, The Chapel, a modest production by Wee Laddie Theatrics.

It may have been staged on a shoestring budget, but the satire had big ideas and pointed barbs delivered by a taut ensemble of veteran performers, whose natural abilities carried over the message.

The three sold-out and one near-capacity matinee crowds got the jokes, so merry laughter ensued. Whether or not you know the real-life community conflict that sparked Miller to put pen to paper, tongue firmly in cheek in this “work of fiction,” you’ll mull over the points he’s making that are far from heavy-handed.

This is not a preachy diatribe about well-meaning citizens whose self-righteous stances can derail compassionate acts for ‘the greater good.’ It’s far more insightful about hypocrisy and personal agendas, pegging the democratic divide between old-school liberals and uberleft progressives.

And how some decent folks who want to avoid drama in their daily lives are unwittingly caught up in the maelstrom. And made very uncomfortable by those purporting to know what’s best for everyone.

We are familiar with the modern political climate of loud extremists, the right and left often far apart and unwilling to compromise or work together. It’s not just at the national and state level, but in our fair city’s distinct neighborhoods – and lines are drawn between left and far-left in the Democratic Party (and right and far-right in Republican circles).

This is an ‘across the aisle’ situation, only it’s set in an outdoor community garden tended to by neighbors and civic-minded people.

You’ll be able to recognize numerous characters as the cast nails the nimble wordplay. They are playing relatable people, not overly complicated roles.

Donald Kidd, Brenda Morrison, Mara Bollini and Camille Elena Fensterman

Playing against type, Ann Hier Brown is amusingly annoying as Lisbeth Stanton, an upper middle class urban housewife that has cultivated an activist-advocate persona through curated social media posts.

She considers herself a feminist but is not seeking equality, for she is a control-freak do-gooder. As the comedic melodrama unfolds, she agitates her neighbors who want to get involved but eventually are put off by her sanctimonious lectures – and her assortment of chic bandanas. She is not above escalating conflicts for her personal gain.

It’s no coincidence her name resembles the great woman’s suffragette Elizabeth Cady Stanton. Miller is not anti-women’s rights at all, just pointing out how some folks take charge and then play martyrs or victims when they don’t get their way.

He provides more Easter Eggs, for other characters are given the last names of Nixon, Carter, Monroe and Ford. Ring a bell?

Funny guy Jason Meyers plays her husband Kirk, who tries to be supportive but is often a referee between mother and daughter. Teenager Emmy, conveyed by Nadja Kapetanovich in a defiant and questioning way, is like oil and water with her mom, who gets snippy and defensive in interactions.

Lisbeth also tussles with her no-nonsense natty mom, Sylvia Ford, played shrewdly by Margeau Steinau. Sylvia, with a deep pocketbook, travels in important circles and is organizing a benefit that Lisbeth is loath to attend.

Donald Kidd is well-suited to play Dwayne Jenkins, a committed activist who is running for the city council, but Lisbeth attempts to pull the strings and back another candidate. Rut-ro.

Neighbors who want to make a difference, but not necessarily get into a toxic situation, include Mara Bollini as Kate Carter, Camille Elena Fensterman as Xiomara Monroe, and Brenda Morrison as Ruth Nixon. They toss off snappy remarks with ease – and can spot a Karen lurking on the tree-lined streets – and don’t buy the disingenuous Lisbeth’s savior schtick.

Calvin Chambers was the technical coordinator and stage manager Ann Rapko.

The scenes are divided into soil preparation, weed prevention, watering and care, infestation, harvest, and dormancy. Of course, these are structured so that people can read between the lines.

The scene changes were a tad cumbersome, given the short time-length and the small performance space. But the sets were simple, reflecting the low-budget labor of love.

Nevertheless, small technical issues – like some performers being easier to hear than others – would be worked out in an encore presentation.

Hopefully, the play will have some staying power and there will be an opportunity for more theatergoers to enjoy it. Because an examination of identity politics is a good thing, exposing how unproductive it can be.

For background on playwright motivation, read this article in the Riverfront Times:

https://www.riverfronttimes.com/news/andoes-society-page-its-left-vs-far-left-in-maplewood-politics-39605670?media=AMP%20HTML&fbclid=IwAR1tU88TYee-aMpt9BK_yUxpL_y2libTFCqj52gq5_jSabftcc009Gvzk9E

Because after all, not conforming and speaking out instead is always the preferable way to go, especially someone as skilled as Miller in expressing himself. In “From the Garden,” he mocks the obvious – and is not so subtle in a very funny way.

Margeau Steinau and Ann Hier Brown

Cover Photo: Nadja Kapetanovich and Jason Meyers

The Midnight Co. to Open ‘Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond’ July 8

The Midnight Co. to Open ‘Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond’ July 8

The Midnight Company will present the premiere of the full version of “NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND,” opening July 8, and running through July 25 at The Chapel, 6238 Alexander Drive, 63105.

There will be performances Thursdays through Saturdays at 8pm, with a matinee on Sunday, July 25, at 2pm.  The show was originally scheduled May 24 through June 14.  Tickets, at $20, will be on sale Wednesday, June 16 at MetroTIx.com.  (Midnight is currently in production with HERE LIES HENRY, through June 27.)

The one-man play is written and performed by Midnight Artistic Director Joe Hanrahan. 

It was performed in a shortened version at the 2018 St. Louis Fringe Festival, and audiences responded enthusiastically and critics raved. Snoops Theatre Thoughts said “A delightful show that’s part personal memoir, part history lesson, part nostalgia, and all fascinating.  A difficult show to describe but what it is is excellent.”

Jeff Ritter of Limelight said, “Hanrahan jumps from omniscient narrator to 15-year old movie fanatic to baseball and theatre historian, the audience hanging on every word. The Cardinals are the talk of the town again. This show should be the talk of the town, too!” 

Hanrahan said, “There’s never been a play we’ve done that’s received such enthusiastic, visceral reaction, due, surely, to the St. Louis history in the show. Not to mention Bond and baseball. At the Fringe, productions are limited to one-hour playing time, and this new version will allow us to incorporate new material that should hopefully make the show ever more entertaining and informative.”

NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND concerns  a teen-age boy in 1964.  JFK’s assassination still casts a pall on the nation. The Beatles’ emergence in February of ’64 starts to lighten the mood. The Cardinals continue the good times in St. Louis with a mad dash toward the pennant. And when a new movie hero hits the screens that summer, a bunch of boys on a baseball field have their first theatre experience, when one of their gang offers a spirited 30-minute one-man show of FROM RUSSIA WITH LOVE. 

Throughout, the playwright draws links between what’s happened and happening –  from JFK to James Bond; from segregation in St. Louis to segregation in baseball’s Southern Leagues and at Florida stadiums where The Beatles played; from WWII to hardcore British film production crews and JFK hit squads; from the first cave man who stood up by the fire to the theatre musings of Peter Brook…most of it swirling in front of the eyes of a young boy, most of it sharp memories of the time it was.

Shane Signorino will direct the show, as he did at The Fringe (Shane received a Theatre Critics Circle nomination as Best Supporting Actor in a Comedy for for his work in Midnight’s POPCORN FALLS), and recently, directed FEAST from Tesseract. Kevin Bowman will serve as Production and Lighting Designer, Michael B. Perkins will design video support (as he did for Midnight productions of A MODEL FOR MATISSE, JUDGMENT AT NUREMBERG, and LITTLE THING BIG THING), and Elizabeth Henning, who’s worked with Midnight on several productions, will be Stage Manager. 

Photo by Todd Davis

There will also be a concurrent exhibit in The Chapel lobby of memorabilia from 1950’s/60’s baseball, presented by George Venegoni.

Hanrahan has acted, written and directed for The Midnight Company, appearing in 2020’s only live pandemic production, SEX, DRUGS, ROCK & ROLL and currently in HERE LIES HENRY.  In 2019 for Midnight he was seen in POPCORN FALLS, CHARLIE JOHNSON READS ALL OF PROUST, and in his scripts of PATIENT #47 (at The Crawl) and A MODEL FOR MATISSE (which received a Theatre Critics Circle nomination for Best New Play).  Last year, before the pandemic, he was also in the casts of Metro Theater’s GHOST and SATE’s APHRA BEHN FESTIVAL.

For more information, visit midnightcompany.com.

Midnight Company Moves Two Shows to 2021

Midnight Company Moves Two Shows to 2021

Due to the continued and aggressive presence of the Coronavirus, The Midnight Company has rescheduled two of their planned productions.

NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND, originally scheduled for August 13 – 29, will now run July 8 – 23, 2021 at The Chapel.
Midnight had also scheduled IT IS MAGIC by Mickle Maher October 29 – November 14 at The Kranzberg Black Box theatre.  That production will now run October 21 – November 16, 2021 at the Kranzberg Black Box.
Still on Midnight’s schedule, pending further notice, is “GIVE ‘EM HELL HARRY” September 17 – October 3 at the .ZACK Theatre, and another production to take the place of IT IS MAGIC in late October.  That title will be announced shortly.
Midnight’s Artistic Director, Joe Hanrahan, said “It was clear we couldn’t move forward with “NOW PLAYING…” at this time, and IT IS MAGIC has a cast of five.  The restrictions of the virus have made that size of a production problematic.  We’re hoping to possibly move forward with another one-person show in its place.  The people at The Chapel and at The Kranzberg Arts Foundation have been wonderful, not only in their hard work and preparation for possible performances at their spaces, but in their understanding of postponements due to the virus.”

Photo by Todd Davis