Lynn Venhaus

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

Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

Funky, Fun ‘Shrek the Musical’ Flips and Fractures Fairy Tales at The Muny

By Lynn Venhaus

It’s hard to say who had a better time at “Shrek the Musical” – the parents or the children, often green-clad and gleefully giggling at the daffy antics. The Muny’s annual family favorite ‘Kids Show’ delighted across generations with its irreverent humor, impressive pop vocals, and infectious energy in a funky, funny, fluffy un-Disneyized fairy tale musical.

It’s not your classic prince-rescues-princess tradition, and that’s the fun of it, what sets this storytelling apart. In the comical land of Far, Far Away, the unlikely hero is a smelly, grumpy ogre, accompanied by his chatty sidekick Donkey, his feisty true-love Princess Fiona and his merry band of misfits.

The ensemble opens with the catchy “Big Bright Beautiful World” and you’re off on an unusual adventure. Lord Farquaad demands Shrek rescue Princess Fiona from a dragon-protected tower in exchange for the deed to his swamp, for the despicable despot wants to marry her. Once upon a time wasn’t ever this raucous.

First released as an animated film in 2001, “Shrek” fractured happily-ever-after fairy tales in this DreamWorks Animation smash hit that won the first-ever Oscar for Best Animated Feature Film. Breaking industry rules and becoming a cultural phenomenon, the film adaptation of William Steig’s slight 1990 children’s picture book “Shrek!” has earned $500 million globally. It has four sequels (a fifth is due out next year), two Puss ‘n Boots spin-offs, and just announced is an Eddie Murphy-led “Donkey” spinoff for 2028.

Nik Walker (left) and Marcus M. Martin in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Of course, Broadway beckoned. “Shrek the Musical” took off in 2008, with Tony-nominated book and lyrics by Pulitzer Prize winner David Lindsay-Abaire, whose wicked wit is apparent in this adaptation, adding more backstory and mischief. With his absurdist, blunt humor paired with Jeanine Tesori’s clever and upbeat songs, they pulled apart musical theater tropes.

Lindsay-Abaire has incorporated elements of the movie sequels, too – “Shrek 2” and “Shrek Forever After.” After the Broadway run of 441 performances, they have since revised the musical several times.

With a large fun-loving ensemble, the Muny presents a jolly good road trip to the swamp, Duloc, and beyond. In its second staging here, the first since 2013, the casting is impeccable, their performances vigorous and the whimsical world-building is dazzling by director John Tartaglia and his unconventional team of dreamers and doers, celebrating the ‘different.’

The Tony-nominated and Emmy-winning Tartaglia, who directed “Shrek” thirteen years ago – and originated the role of Pinocchio on Broadway, has infused this playful version with bigger and bolder choices but keeping his trademark heart at the center. It’s the 10th show he’s directed, and he’s very comfortable incorporating puppetry into all his visionary productions.

Tyler Joseph Ellis in the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

After all, he was promoted several weeks ago to be the vice president of development and production at The Jim Henson Company, focusing on television and live theatrical projects. He serves as the primary creative supervisor for the Fraggle Rock brand (and started his career at “Sesame Street.”)

The magnificent giant pink fire-breathing Dragon is a stunning addition.  Designed by James W. Wojtal Jr. and his team, with Eric Wright of Puppet Kitchen the puppet director, five puppeteers create magic on stage. Jim Henson’s Creature Shop designed and built Gingy, the dancing rats and the exploding bird. 

Maintaining the Disney departure feel, Tartaglia followed through by envisioning a grungier, not gleaming, kingdom, but also favored a lively, captivating 90s glam-rock concert look, with a nod to punk rock, too.

It reminded me of late ‘60s and early ‘70s television variety shows like “The Sonny and Cher Show” and “The Smothers Brothers Comedy Hour” with sparkly high-energy performers and cheeky humor.

Marcus M. Martin and Salome Smith in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

The well-integrated designs add to the showbizzy and make-believe worlds, including musical Easter eggs that subvert the usual tropes (Can you spot “Les Miserables,” “A Chorus Line,” “Gypsy,” “The Lion King,” “Wicked” and “Chicago”?). Nothing’s going to bring him down, Lord Farquaad sings!

Adam Koch’s vivid set design incorporated a new-to-the-Muny technique, using a screen to great effect, especially when Donkey and Fiona have a heart-to-heart in a ‘cave.’ His grid-and-forest design took us immediately into an interesting new world.

The exceptional trio of Nik Walker, Marcus M. Martin and Kara Lindsay headline as Shrek, Donkey and Fiona, and corralled us into their corner from their entrance, with deeply expressive voices, crisp comic timing and tangible chemistry.

Delightful Troy Iwata once again raises the bar on comical scene-stealing performances. Previously the guffaw-inducing housekeeper Jacob in last year’s “La Cage Aux Folles” and adorably amusing as beat-to-a-different drummer Ogie in “Waitress,” he makes the most of tyrannical narcissist Lord Farquaad and his shortcomings.

Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

His sheer physicality is mind-boggling, cavorting by wearing a special costume with tiny legs attached and primarily walking on his knees. His “What’s Up, Duloc!” and “Ballad of Farquaad” are hilarious, as are his farcical movements.

Add a zany Aymee Garcia as outspoken Gingerbread Man, aka Gingy, and a spry Tyler Joseph Ellis, who hits the right falsetto notes as rabble-rouser Pinocchio, to the ‘social outcast’ mix. Mighty Salome Smith is a showstopper as the booming voice of the Dragon, belting out “Forever” like a Dreamgirl.

All the principals, except for Iwata, are making their Muny debut. The peppy ensemble, a mix of vets and newbies, is very strong – and busy. They’re up to the rigorous routines that dynamic choreographer Patrick O’Neill, associate choreographer Bryan Thomas Hunt and assistant choreographer Kelly Sheehan challenge them with, and it shows in the major dance numbers: “Story of My Life,” my favorite “Freak Flag” with its winking at “Les Miz,” “What’s Up, Duloc!” and the glorious tap routine “Morning Person.”

Kara Lindsay in the 2026 Muny production of “Shrek The Musical.” Photo by The Muny | Emily Santel

Martin has fun leading the spirited divas Three Blind Mice (Monique Churchill, Kylie Edwards and Abby Linderman) in the R&B “Make a Move.” Inserting “I’m A Believer” from the movie for the wedding reception dance-party finale is as jubilant a curtain call as can be. Another catchy visual by inventive video designer Kylee Loera includes photo booth snapshots.

In his 18th show as music director/conductor, master maestro Ben Whiteley leads 24 musicians, and keeps the joyous tempo on track, with fluid orchestrations throughout.

For her 14th show, costume designer Robin L. McGee, a Highland, Ill., native, created an eye-popping assortment of outfits, based on original costume design by Tim Hatley. Just look at the close-up detail in production photos, making the fairy tale characters recognizable, but also able to easily move.

Jeff Knaggs’ wig designs completed the look, and those who helped with padding and prosthetics deserve shout-outs too. Lighting designer Jason Lyons and sound designer Joshua Hummel worked in tandem to capture the atmosphere, and the human noises had to be perfectly timed, as did the swamp sounds.

Salome Smith (above), Marcus M. Martin and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Now, there is frequent use of potty humor, so you are warned – particularly fart jokes. “I Think I Got You Beat” is an outrageously silly flatulence and burping contest between Shrek and Fiona.

Skilled at physical comedy, the ensemble also included Mathew Blasio, DeShawn Bowens, Matthew Davies, Ryan Fitzgerald, Matt Gibson, Jack Gimpel, Shelby Griswold, Michael Harp, Gwen Hollander, Sean McManus, Shelby Ringdahl, Trevor Michael Schmidt, Kelly Sheehan, Caitlin Stebelman and Jonah D. Winston.

They appeared as such familiar childhood characters in forests and fauna – Pied Piper, Fairy Godmother, Peter Pan, Wicked Witch, Tweedledum, Mama Bear, Ugly Duckling, Big Bad Wolf and others.

The company was joined by the adorably costumed Muny Kids and Teens youth ensembles. Fine young performers Solomon Rosenthal and Lake Schultz play Young Shrek and Young Fiona, while Amelie Lock was Teen Fiona. The trio of Fionas combine for the poignant “I Know It’s Today,” yearning for their escape.

Amelie Lock, Kara Lindsey, Lake Schultz. Photo by_Phillip Hamer

In such duets as “Don’t Let Me Go” and “Travel Song,” Walker and Martin show their mapcap skills, and when paired with Fiona in “This Is How a Dream Comes True” and the anthem “Who I’d Be,” it calls for heightened emotions.

The most important takeaway is the show’s message about self-acceptance. Some songs focus on inner beauty, self-worth and being comfortable in your own skin. Shrek’s a-ha moments include “When Worlds Fail,” “Build a Wall” and “Beautiful Ain’t Always Pretty.”

While the songs are melodious and superbly delivered, some of the numbers seem repetitive, stretching out the inevitable, and these ballads, while heartfelt and moving, created some restlessness from the little ones around me. The musical’s structure has some pacing issues, but this cast kept it as breezy as possible.(Special mention to stage manager Larry Smiglewski). It is a 2.5-hour experience with intermission.

In “Shrek the Musical,” we can still BELIEVE in the comforting magic of fairy tales, and that everyone is worthy of love and friendship. With “biggish” ideas, the Muny has crafted a refreshing show that’s suitable for all – on two different levels. For adults, the parodies and un-cutesy theme land while the kids can revel in the slapstick and goofy characters.

Aymee Garcia (Gingy puppeteer), Troy Iwata (as Lord Farquaad) and the company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

The Muny presents “Shrek the Musical” from June 25 through July 2 nightly at 8:15 p.m. at its outdoor theatre in Forest Park. For more information, visit www.muny.org

THe company of the 2026 Muny production of “Shrek The Musical.” Photo by Phillip Hamer

Dynamic Quartet Razor-Sharp in New Jewish Theatre’s ‘God of Carnage’

Dynamic Quartet Razor-Sharp in New Jewish Theatre’s ‘God of Carnage’

By Lynn Venhaus

In a modern satire on parenting, social graces and the notion that polite society is merely a thin veneer, “God of Carnage” becomes a living room throwdown in the hands of a murderer’s row of talent and razor-sharp execution at New Jewish Theatre.

Think of it as a rambunctious comedy of manners – without the manners. This relationship play, where two upper-middle-class couples meet after a playground fight between their 11-year-old sons, will get really ugly – and hilarious.

All pros, the dynamic quartet offer a master class of limber verbal and physical exchanges. Alan and Annette Raleigh (Nick Freedman, Bridgette Bassa), contrite, arrive one afternoon at the Novaks (Joel Moses, Christina Rios), uneasy. Henry Raleigh hit Benjamin Novak with a stick, knocking two teeth out.

For the next 90 minutes, the civilized discussion unravels from courteous into chaos, with shrewd characterizations that expose these upwardly mobile sophisticates’ immaturity, hypocrisy and true nature.

Christina Rios and Joel Moses are Veronica and Michael Novak. Photo by Jon Gitchoff

Playwright Yasmina Reza earned her second Tony Award for Best Play for its Broadway debut, translated from the French by Christopher Hampton, in 2009, following her critically acclaimed “Art” in 1998. The all-star ensemble was nominated: Jeff Daniels, Hope Davis, James Gandolfini and Marcia Gay Harden, who won best supporting actress.

This is the first time New Jewish Theatre is tackling one of the French Jewish playwright’s celebrated shows. And this cast of local all-stars are paired well, bouncing off each other with a natural rhythm, keeping the witty dialogue sharp and the action fast paced.

These ill-will games are fluidly directed by Gad Guterman, whose clear-cut vision escalates the tension as pretense crumbles and the gloves come off in the Brooklyn home.

Rob Lippert’s well-appointed set gives the Fab Four adequate room to nimbly move, and each has their stand-out meltdowns. Alan is a corporate lawyer, Annette in wealth management, Michael a wholesaler and Veronica a writer.

Nick Freed and Bridgette Bassa are Alan and Annette Raleigh. Photo by Jon Gitchoff.

Even though superficial, the initially polite adults become openly hostile and judgmental as conflicts build. The awkwardness is palpable; the social niceties start falling away. They compliment Veronica on her clafouti, a French baked fruit dessert she made from scratch, talk about their careers and life in their affluent Cobble Hill neighborhood. Then, things take a turn.

The actors dig in as the grown-ups don’t take long to get primitive – misinterpreting phrases, defending meanings, and boldly stating opinions. Rum flows, marital issues surface and the tact disappears. Better judgment goes out the window.

Nick Freed deftly captures Alan’s smugness and self-importance as the preoccupied attorney, constantly distracted by taking calls about a problematic client in a high-profile case. His wife, Annette, is polished but frazzled, trying to diffuse misunderstandings at first. In this role, Bridgette Bassa boldly takes the driver’s seat after she gives up, exasperated, and lets loose.

As Veronica, Christina Rios portrays the sanctimonious control freak host. She writes pretentious books focused on social causes, and projects a superior attitude that contrasts with her husband Michael’s seemingly more easy-going nature. But ever so cleverly, she gets sassier and her moods swing farther.

The reserved bottle of rum comes out. Photo by Jon Gitchoff.

As the gruffer dad, Moses attempts to be agreeable but is hamster-shamed when he gets rid of his daughter’s beloved pet and becomes defensive right away. At first, he seems to choose his words more carefully, but then adroitly strips away any liberal pretense.

As they argue, Rios picks her battles, and her clashes with Moses rise on the DEFCON scale – so madcap and raucous. They both are such skilled performers in movement, as are Bassa and Freed, that the free-for-all is a master class in over-the-top antics. Special nod to fight choreographer John Wilson, for the staging is quite a workout.

The men, in a bro-bonding way, gang up on the women as alliance shifts, pointing out animalistic instincts. It is Alan who mentions his belief in the God of Carnage – “He has ruled, interruptedly, since the dawn of time.”

Getting metaphorical, Reza is taking aim at the primal and violent nature of humanity that we are born with, our tendency toward aggression and self-interest. Despite modern education and culture, when those artificial societal norms masks are torn off, the true instincts can surface.

The Novaks spitefully go at it. Photo by Jon Gitchoff.

Hence, the digression into childish behavior, appearing like playground bullies as attacks become personal, and a wild night ensues. Rather than just a battle royale, it offers smart food-for-thought: When our ideas are challenged, how do we react because in our everyday lives, we all deal with difficult people and situations.

The technical aspects marvelously enhance the engaging experience, with lighting design by Jayson Lawshee-Gress and sound design by Kareem Deanes that is beautifully timed, especially the frequent cell phones — Kudos for picking “The Imperial March (Darth Vader’s Theme)” for Michael’s mother’s ringtone!

Costume Designer Michele Friedman Siler has chosen the ideal socio-economic status wardrobe for each character, down to the accessories, and props supervisor Laura Skroska has selected a colorful assortment of hospitality items for eating and drinking. (I particularly liked Veronica’s Frida Kahlo socks).

Christina Rios and Bridgette Bassa share pleasantries. Photo by Jon Gitchoff.

Because of the cast and crew’s high-level of commitment, the explosive rollercoaster-like proceedings come across effortlessly on stage, when in reality it took an amusement park-sized dedication to get the tempo, timing and storytelling arranged so precisely.

This outstanding production of “God of Carnage” maintains momentum and relevancy — and is laugh-out-loud funny. (You may have heard me on Thursday, June 25).

New Jewish Theatre presents “God of Carnage” June 11 – 28, which runs at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146). Performances are on Thursdays, Saturdays, and Sundays. Showtimes and tickets are available by phone at 314.442.3283 or online at jccstl.com/njt

Bridgette Bassa gets feisty with Nick Freed. Photo by Jon Gitchoff.

Spunky, Punky Milly Alcock Ascends in DCU’s Edgier, Grittier ‘Supergirl’

Spunky, Punky Milly Alcock Ascends in DCU’s Edgier, Grittier ‘Supergirl’

By Lynn Venhaus

A messier, edgier alien superhero has arrived in “Supergirl,” with all its expected over-reliance on CGI visual effects and its anticipated female-forward power dynamic. What is surprising is Milly Alcock’s spunky, punky portrayal of the party girl from Krypton.

Alcock, who portrayed Princess Rhaenyra Targaryen in the first five episodes of HBO’s “House of The Dragon” prequel to “Game of Thrones” and as insecure sister Simone in Netflix’s limited series “Sirens,” brings considerable heart and vulnerability to Kara Zor-El’s backstory.

The origin story is in a flashback detailing  her solo grief-stricken journey to Earth. An only child, her parents (Emily Beecham, David Krumholtz) became terminally ill when they were sent to live in Argo City after Krypton’s demise. Her father is Zor-El, brother to Superman’s father Jor-El.

Alcock’s present-day Kara is angsty, sassy, and sarcastic, and needs to find a compelling reason to put the suit back on and do good for mankind. Instead, she  stumbles and mumbles through life only clad in a Blondie t-shirt and a rumpled trench coat until she is called upon to be heroic. Her self-destructive tendencies have masked her pain and she questions her purpose. 

Kara Zor-El lands on Earth to be welcomed by cousin Kal-El.

She must rise to her destiny when she reluctantly joins forces with Ruthye (an impressive Eve Ridley), whose family was slaughtered by the monstrous villain Krem of the Yellow Hills (Matthias Schoenaerts).

As the sole survivor, she seeks vengeance. Kara reluctantly takes her under her wing on an interstellar journey, where they planet-hop between red, yellow and green-designated planets.

Hot on their trail, Krem, devoid of any humanity, injures Krypto, Kara’s beloved rascally pet, with a poison dart. Supergirl has three days to find the antidote, so that ramps up her motivation. The scalawag bounty hunter Lobo (colorful Jason Momoa) becomes an unlikely ally.

.As a follow up to DCU’s “Superman” reboot last summer, this “Supergirl” presents a different, grittier spin on Clark Kent’s younger first cousin (eight years apart). Magnetic David Corenswet returns as the noble Man of Steel, and he’s a terrific addition to James Gunn’s new vision for the DCU.

Milly Alcock as Supergirl with her beloved pet Krypto.

The return of fan-favorite Krypto is another welcome sight. As the clock ticks, Ruthye becomes a wily companion, and anti-hero Lobo steals every scene he’s in as an “immortal” with glowing eyes and a big, bad, brassy demeanor.

The entertaining actor, best known as DC’s “Aquaman,” is now a go-to for extended cameos in action films in the same way Jack Black shows up in comedies to add his over-the-top sauce.

With his hulking physique, gravelly growling voice, and riding a tricked-out motorcycle, Momoa fits into this grimy aesthetic that resembles the chaotic “Mad Max: Fury Road” and the irreverent “Guardians of the Galaxy.” The film features a visually striking motley crew of space creatures that look like an even gnarlier collection of “Star Wars” cantina revelers.

This renegade-like adventure is capably directed by Craig Gillespie, who helmed such standout darkly comedic films as “I, Tonya,” “Cruella,” and “Dumb Money” in recent years, after his breakout indie “Lars and the Real Girl” that’s among his eclectic resume..

Waiting for a bus.

Based on Tom King’s 2021-22 comic book mini-series, “Supergirl: Woman of Tomorrow,” the screenplay was written by Ana Nogueira, who focused on emotional depth, cheeky wit, a found-family connection, and an underground vibe. Where the story is weakest is its villain, Krem.

Supergirl first showed up in a DC comic in May 1959, created by Otto Binder and artist Al Plastino for the story “The Supergirl from Krypton.” If you are unfamiliar with the source materials, no worries. The plot isn’t so dense that you can’t figure out what drives the super-powered Kryptonians to save the universe, one epic battle at a time.

St. Louis native Gunn, creator of Marvel’s vastly successful “Guardians of the Galaxy,” took over the reins of DC Studios as co-chair and co-CEO with Peter Safran in 2022, and he is the creative leadership for the film, TV and animation slate.

As writer-director of the 2025 “Superman,” Gunn restored the iconic American superhero to his altruistic roots and did considerable world-building. He also teased the new Supergirl coming this summer, when Kal-El was headed for the Fortress of Solitude, and she returned to fetch Krypto.

Supergirl (Milly Alcock) face to face with villain Krem (Matthias Schoenaerts).

Gunn is up next writing and directing “Superman: Man of Tomorrow,” which is set for release July 9, 2027, with Corenswet back and Nicholas Hoult reprising his role as arch-villain Lex Luthor.

Memorable villains are always key to how good a movie holds up, and Krem is bland. It’s not that Schoenaerts isn’t a good actor, because the Belgian has been noteworthy in acclaimed international films (“Bullhead,” “Rust and Bone”), as a thug in the vastly underrated “The Drop” and as a prisoner seeking redemption in “The Mustang.”

But written as a one-note demonic space pirate, he’s not interesting. His physique is imposing as a sadistic killing machine, but there is not much to work with here.

Jason Momoa as “Immortal” antihero Lobo.

The last “Supergirl” live adaptation feature was in 1984, as a spin-off of Christopher Reeve’s Superman movies, and bombed, with Helen Slater in the title role.

Three decades later, Supergirl re-appeared as a popular television series on the CW from 2015 to 2021, starring Melissa Benoist. Since then, the character appeared as an alternate-universe Kara in the crossover 2023 film “The Flash,” played by Sasha Calle.

While this “Supergirl” is not without flaws, it still is a promising start to the new direction, and has enough characters to care about, particularly the lovable scruffy floppy-eared, white furry mutt, and the resourceful and determined Ruthye. The female protagonists both deal with trauma in an identifiable way.

Milly Alcock as Kara Zor-El and Eve Ridley as Ruthye Marye Knoll.

“Supergirl” is a 2026 sci-fi action-adventure directed by Craig Gillespie and starring Milly Alcock, Matthias Schoenaerts, Eve Ridley, David Corenswet, Jason Momoa, Emily Beecham and David Krumholtz. It’s runtime is 1 hour, 47 minutes, and is rated PG-13 for sequences of strong violence, action, language, and smoking. It opens in theatres June 26. Lynn’s Grade: B

‘The Death of Robin Hood’ Revises The Legend in a Dark and Dull Way

‘The Death of Robin Hood’ Revises The Legend in a Dark and Dull Way

By Lynn Venhaus
Dark, dour and dreary, “The Death of Robin Hood” is a revisionist take on the legendary folk hero without any merry men or noble derring-do – or much of a pulse.

After a chaotic life of crime and murder, a battle-scarred and weather-beaten Robin Hood (Hugh Jackman) is roaming the austere heaths of medieval England. The year is 1247, and he’s not seeking redemption nor reconciling his past — yet. He announces: “I’m tired.”

Writer-director Michael Sarnoski has adapted a 17th century ballad, “Robin Hood’s Death,” to bust the myth about the outlaw that the common man cheered for, “stealing from the rich and giving it to the poor.”

Presenting himself as “no hero,” Robin grapples with being a heartless bandit and not a good guy glorified in folklore. He doesn’t have an altruistic bone in his broken body, and he is irked about the romanticized version because he can’t live up to expectations nor does he want to try.

Along the way, he encounters people affected by his slicing and dicing: Arthur (Noah Jupe), a young man seeking revenge for his slain family; his longtime friend Little John (Bill Skarsgard), now a family man calling himself Edward, who wants Robin’s help in a vicious attack; and little Margaret (Faith Delaney), a traumatized orphan who latches on to him.

Grizzly and growling, Jackman’s sullen Robin is without aspirations. While enacting vengeance at Little John’s coaxing, Robin is gravely injured. He wakes up in the Priory of St. Clement, being nursed by Sister Brigid (Jodie Comer), an angel of mercy, calls himself Randolf.

Forget every screen incarnation, from silent swashbuckler Douglas Fairbanks in 1922 to Taron Egerton as a gritty Robin of Loxley in 2018, with Errol Flynn, Sean Connery, Kevin Costner, Russell Crowe, Cary Elwes, Disney animation and even Frank Sinatra as “Robbo” in a Rat Pack musical comedy in between.

While Tony Award winner and Oscar nominee Hugh Jackman has carried big-themed films before, playing an introspective elder confronting his ghosts is quite a departure from the superhero Wolverine and musical icons Jean Valjean, P.T. Barnum and Neil Diamond that he’s known for, although one can point to “Logan” for another tough-guy reflecting on his mortality.

Emmy and Tony Award winner Jodie Comer lends a quiet strength to Sister Brigid, a kind, caring woman who believes in the good, and devotes her life to the afflicted and orphans.

Sarnoski employs such a top shelf cast that you want to care about their characters, but drawn only as sketchy outlines, it’s difficult to be convinced of this slow story’s merit.

Heralded for his outstanding debut feature, “Pig” in 2021, Sarnoski followed with a fine studio blockbuster, “A Quiet Place: Day One,” in 2024. Now he is poised to be one of A24’s arthouse darlings.

In his grim re-imagining, Sarnoski focuses on moody misty landscapes, terse dialogue and shocking violence. His reinvention is in the same vein as David Lowery’s “The Green Knight” and Robert Eggers’ “The Northman.”

The austere elements are visually interesting– cinematographer Pat Scola and production designer David Lee captured the harsh Northern Ireland landscape, contrasting it with the safe space of the monastery. But Sarnoski’s philosophical approach is one-note, that somber ambience soaking this plodding adventure.

A distinctive element is the mournful score composed by Tony Lewis and folk singer Jim Ghedi that is haunting throughout the film’s 122 minutes.

Sarnoski has decided that backstories are not necessary, so there’s no evidence of a kinder, gentler swashbuckler hardened by his brutality. No mention of the Crusades or Sherwood Forest, or the cruel corrupt monarchy (Prince John and his henchman Sheriff of Nottingham and Sir Guy of Gisbourne) that spurred the Robin Hood saga in the Middle Ages.

Supporting players arrive, merely trying to survive the harsh conditions. This is mud, blood, slings and arrows – an eye for an eye.

At the monastery, one of the castoffs is a compassionate bandaged leper played by Murray Bartlett, Emmy winner as resort manager Armond in the first season of “White Lotus.” He dispenses hard-fought wisdom and seems to pierce Robin’s impenetrable demeanor, as does Sister Brigid and young Margaret.

The leper encourages Robin to let go of his violent past and become part of the sanctuary community. But is he too late for salvation? In theory, this moral dilemma sounds interesting, but its subdued execution makes this film tough to embrace. And the hushed, mumbling delivery of all characters, with dialects, makes understanding the exposition even harder.

Sadly, “The Death of Robin Hood” is more a desolate dirge than a profound philosophical statement.

“The Death of Robin Hood” is a 2026 action-drama written and directed by Michael Sarnoski and starring Hugh Jackman, Jodie Comer, Bill Skarsgard, Murray Bartlett, Noah Jupe and Faith Delaney. It is rated R for strong bloody violence and the runtime is 2 hours, 3 minutes. It opens in theatres June 19. Lynn’s Grade: C-

Muny’s Big, Bold and Beautiful ‘Hairspray’ Charms with Heart and Humor

Muny’s Big, Bold and Beautiful ‘Hairspray’ Charms with Heart and Humor

By Lynn Venhaus

With magical Muny moments aplenty, the joy juggernaut “Hairspray” launched the 108th season with heart, humor and humanity.

Stacked with stand-out performances, this production celebrates change agents, set on the cusp of the monumental cultural shifts that would define the 1960s, and is a kicky, kitschy kaleidoscope of comical zingers and 60s beats.

Director Seth Sklar-Heyn brought out the infectious dance-party energy, and his fast-paced show is just pure fun! A flawless, turbo-charged cast demonstrates why this 2002 Tony-winning musical continues to defy tradition with its cheeky wit, upbeat approach and timeless freedom of expression theme.

Let’s hear it for the outsiders – and Tracy Turnblad’s optimism! Set in 1962 Baltimore, plus-size teenage Tracy has a dream – to dance with the cool kids on the popular TV program “The Corny Collins Show.” With her slick moves, she earns a spot and winds up leading a movement for racial integration. Oh — and gets the cute guy!

Paul Schwensen (center) and the company of the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

“I just don’t understand why we can’t all dance together,” she says to the black teens who’ve become her friends (in detention and dancing at platter parties).

A marvel in motion, the indefatigable Katy Geraghty embodied Tracy with unadulterated glee. A scene-stealer in the Muny’s “Sister Act” and “Bring It On!,” Geraghty endeared as a triple treat, whirling, twirling and unfurling Tracy’s positivity in her signature songs: “Good Morning Baltimore” and “I Can Hear the Bells,” in addition to leading the company in “Welcome to the ‘60s” and an exuberant “You Can’t Stop the Beat.”

Also defying America’s narrow beauty standards is marquee headliner Richard Kind as Tracy’s big-hearted but insecure laundress mother Edna. Kind, star of stage and screen, embraced this distinctive gender-flipped role by warmly revealing Edna’s many facets – her insecurities, confident transformation, and devotion to her daughter and husband Wilbur (a sensational John Bolton).

With his raspy voice and expressive face, the beloved Kind is a natural as this larger-than-life figure. A Drama Desk Award winner and Tony nominee, his Swiss-watch comedic timing is impressive.

John Bolton (left) and Richard Kind in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

Commanding the stage in the finale, Kind charmed as shiny happy Edna, clad in snazzy red sequins, a wondrous sight to behold. His sweet duet with Bolton, “You’re Timeless to Me,” is a highlight.

From the principal parts to the chorus, this spirited well-cast ensemble is one of the strongest to grace the Muny stage in recent memory. Besides the terrific Turnblad trio, Charity Angel Dawson and the appropriately named Joy Elizabeth Rhodes knocked it out of Forest Park as Motormouth Maybelle and Little Inez, a mother-and-daughter powerhouse from the record shop on ‘the other side of town.’

Dawson brought the house down with the soulful ‘11 o’clock number’ “I Know Where I’ve Been” and joined the bluesy anthem “Big, Bold and Beautiful” with Rhodes.

The pint-sized dynamo Rhodes belted out “Run and Tell That” with her brother Seaweed J. Stubbs (marvelous sparkplug Nicholas A. Wilkinson), showing tremendous poise. A star is born.

From left: Richard Kind, Charity Angél Dawson and Joy Elizabeth Rhodes in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

Special mention to The Dynamites, that stylish trio of Taylor Colleton as Shayna, Indya Lincicome as Judine and Tatiana Lofton as Kamilah, swirling in costume designer Tristan Raines’ sparkly girl-group finery.

Raines’ vibrant vintage style is spot-on, a SweeTARTS palette of pastels, plaids and floral prints that pop in 50s A-line dresses and bouncy skirts, before the mod look of Carnaby Street arrived. Integral are the period-specific wig designs by Ashley Rae Callahan, for the teased bouffant hairdos, pageboys, and flips.

Scenic designer Christine Peters smartly chose bright retro colors and contributed eye-catching vintage signage for the storefronts in Baltimore, including Wilbur’s novelty joke shop the Har-de-Har Hut and Motormouth Maybelle’s record shop.

(A nice nostalgic nod is the Sealtest Ice Cream sign, which was a national brand produced at the former St. Louis Dairy Company location where Energizer Park is now, known for its massive iconic clock for decades).

From left: Taylor Colleton, Indya Lincicome and Tatiana Lofton in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

Sklar-Heyn’s staging, using the turntable, is seamless, and Nathan Scheuer’s fluid black-and-white video design added depth to the storytelling (and flying pink flamingos!). So did Rob Denton’s lighting design, which amplified the feel-good atmosphere, and Joshua Hummel’s sound design, which reinforced the musical’s peppy rhythm.

The girl power is noteworthy, with perky Ashlyn Maddox as Tracy’s sheltered best friend Penny Pingleton, who gets more animated on her personal liberation journey, while Hannah Solow is funny as her overbearing, ultra-conservative mother Prudy.

The vain blonde villains Amber and Velma Von Tussle (Madison Thompson and Sara Gettelfinger) look like magazine-cover models but are despicable in their devious ways, trying to block Tracy at every turn, and resorting to underhanded methods. Thompson and Gettelfinger are convincing in their exaggerated evil, especially awful Velma with “Miss Baltimore Crabs” and “Velma’s Revenge,” and bratty Amber in “Cooties.”

The guys they push around are the dreamboats Link Larkin, aka “The Elvis of Baltimore” (Ben Jackson Walker), and host Corny Collins (Paul Schwensen), who come to see the light, not unlike the throwback teen heartthrobs (Ricky Nelson, James “Moondoggie” Darren, Fabian and Frankie Avalon).

Nicholas A. Wilkinson and Ashlyn Maddox in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

Walker nailed Larkin’s breezy likability, smoothly dueting with Geraghty on “It Takes Two” and “Without Love.” So does Schwensen as the polished boy-next-door host, leading the clean-cut company in “The Nicest Kids in Town,” the line-dance song “The Madison” and “It’s Hairspray” at the Ultra-Clutch sponsored Miss Teenage Hairspray Pageant.

Music Director Evan Roider masterfully maintained those swinging melodies, leading a mega-cast including a youth ensemble and singers off-stage, and 24 musicians as the orchestra conductor.

Those nice kids, aka “Council Members,” are the 10 camera-ready idolized teens on the dance floor. They couldn’t be more vivacious in choreographer Jesse Robb’s peppy-retro style: Matt Dean, Olivia Windley, TJ McCarthy, Brooke Cox, Matthew Varvar, Chloe Chamberlin, McKinley Knuckle, and Audrey Curdo. Jennifer Florentino deserves mention as assistant choreographer and dance captain (and swing, along with Jack Sippel).

Same goes for the hip kids allowed to dance on the once-a-month “Negro Day,” including Jonah Taylor, Trevor “Tjay” Groce, J’Khalil and Leah Joy Ifill.

Nicholas A. Wilkinson in the 2026 Muny production of “Hairspray.” Photo by The Muny | MaryKatherine Patteson

Character actor Kevin Zak amusingly filled multiple roles – Mr. Pinky, Mr. Spritzer, principal and guard, while Solow played the gym teacher and matron too.

While “Hairspray” initially was a blast from the past for Baby Boomers, who lived through the social and cultural revolution of the ‘60s, accompanied by the unmistakable pop and rhythm ‘n blues music soundtrack of our lives, all generations can identify with the characters’ struggles and triumphs – especially with its empowering message of individuality and acceptance. It remains relevant today.

Director John Waters has focused on marginalized people in his subversive social satires, and his 1988 film “Hairspray” (starring Ricki Lake, Divine, Jerry Stiller, Sonny Bono and Deborah Harry) struck a universal chord to become a cult classic.

Waters had based it on his youth in Baltimore, where “The Buddy Deane Show” enthralled teenagers, not unlike Dick Clark’s “American Bandstand” and “St. Louis Hop” here on KSD-TV with host Russ Carter from 1958 – 1973. (Fun Fact: St. Louis’ local show was nationally recognized as the first racially integrated teen dance program in U.S.). Oh, how we looked up to those groovy gals doing the twist, pony and mashed potato moves.

Producer Margo Lion enlisted composer Marc Shaiman – who had scored the 1999 “South Park” film — to adapt “Hairspray,” so he and co-lyricist Scott Wittman wrote the catchy songs in the music styles of that fabled era. Writers Mark O’Donnell and Thomas Meehan tackled the real-world bullying and segregation issues with frankness, finesse and wicked humor. (FYI – Shaiman and Wittman showed up at Monday’s Muny opening!)

Katy Geraghty and Ben Jackson Walker in the 2026 Muny production of “Hairspray.” Photo by The Muny | Emily Santel

The show opened on Aug. 15, 2002, and ran for more than six years, closing on Jan. 4, 2009, after 2,642 performances. It won eight Tony Awards from 13 nominations in 2003 and touring productions have been around the world.  A wildly popular movie musical was released in 2007 with an all-star cast, and a live television event was broadcast in 2016. The show was performed at the Muny in 2009 and 2015.

The racial harmony aspect still resonates today, and the casting reflects a changing society, breaking down traditional images of femininity. The fact that youth activism can power social change is a potent takeaway, too, for the Muny retelling captured the optimism of a generation. The emphasis on dreamers is notable too, for one can look at this as an aspirational tale.

Mike Isaacson, executive producer and artistic director, always thinks big, and this show is no exception. Noting the Muny’s priority on community in his season opening remarks, he talked about why the special experience year in and year out is still unique.

For we dreamers come together in this summer reunion, connecting with the stories shared by people making their collaborative creative and performing efforts as personal as they can. The Muny saves space for all of us.

Katy Geraghty and the company of the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

The Muny presents “Hairspray” from June 15 to 21 at 8:15 p.m. nightly on the outdoor stage in Forest Park. For tickets and more information, visit www.muny.org

Madison Thompson (left) and Sara Gettelfinger in the 2026 Muny production of “Hairspray.” Photo by Phillip Hamer

Wackiness Ensues in Stray Dog’s Broad Farce ‘3 Sheets to the Wind’

Wackiness Ensues in Stray Dog’s Broad Farce ‘3 Sheets to the Wind’

By Lynn Venhaus

They say write what you know, and Gary F. Bell and Robert L. White, former roommates in New York City, have done just that.

They have collaborated on an original broad farce, “3 Sheets to the Wind,” which is about throwing different personalities together in a cramped three-bedroom apartment in New York City.

What happens when three ex-lovers converge in the same space, where neighbors and an out-of-town theater troupe breeze in and out? Wackiness ensues. It’s a familiar plot device not unlike popular sitcoms “The Odd Couple,” “Three’s Company” and “Will & Grace.”

Bell, founder and artistic director of Stray Dog Theatre in 2003, has built a loyal following at the intimate Tower Grove Abbey, producing a season of comedies, dramas and musicals. He and White premiered another collaboration in 2015, an original musical “Spellbound! A Musical Fable.”

Joe Garner, Brady Stiff, Sarah Polizzi, Zack Huels and Jeffrey M. Wright. Stray Dog Theatre photo.

Long a fan of the camp style of playwright and drag queen legend Charles Busch, Bell has directed with great verve the wildly popular “Red Scare on Sunset,” “Psycho Beach Party” and “Vampire Lesbians of Sodom.”

Favoring that type of template, Bell and White blend melodrama with parodies of soap operas and Broadway musicals for this show, sprinkling witty pop culture references – especially clever theater ones – into the dialogue.

But what started out as an interesting premise dissolve into a messy story with too many over-the-top characters that have either too little to do or are entangled in nonsense, so they pull focus away from an already flimsy story.

Sadly, as good as these performers are on paper, the roles are a mixed bag of either over or under-written cartoonish characters that fail to sustain interest through two acts with an overlong runtime of 2 hours, 40 minutes with a 10-minute intermission.

The more may not be merrier in ‘3 Sheets to the Wind.” Stray Dog Theatre photo.

The 9-member cast, a hefty blend of remarkably talented local theater artists, some with St. Louis Theater Circle nominations and wins to their credit, are not having their finest hour, even though they appear to be giving each part their all as consummate professionals.

Improv master Joe Garner, as struggling writer Oliver Morton, and versatile Jeffrey M. Wright, as television therapist Aaron Addison, for lack of a better word, are playing the ‘straight’ guys in this oddball circus. They’re the only ones whose characters seem bland, their wild pajamas notwithstanding.

Aaron plans to move back in with Oliver, as platonic roommates, to help with Oliver’s dire financial straits. Wright, now a reality TV personality, tells Oliver that he and his partner are on the rocks.

Enter the goofy, very theatrical Danny Winslow, embodied by the nimble comic actor Mike Wells, who’s fast-talking spiel is a cross between Harold Hill in “The Music Man” and the con artists in “Dirty Rotten Scoundrels.”

Wright, Mike Wells, Garner. Stray Dog Theatre photo.

He arrives needing a place to stay, because he’s brought good news with him. Once a couple, the pair collaborated on a high-concept musical, which flopped, leaving Oliver in massive debt (and very angry). Lo and behold, Danny announces that a wealthy benefactor wants to remount the show in Guam and Yap, part of Micronesia in the Western Pacific.

But Danny is not alone — he has three actors in tow: a flamboyant diva and two young very fit dancers. Danny’s raring to revise their songs with Oliver, as the clock is ticking.

But more may not be merrier. Larina Delagostino (Sarah Polizzi) is an unfiltered prima donna without any boundaries who specializes in treating everyone like servants, drinking too much, yammering about her life in the theater, and dipping in not-safe-for-work territory.

That type of exaggerated role is Polizzi’s forte, but the character is so off-putting and rambling that she can’t muster any sympathy, and her affectations are a cross between Norma Desmond in “Sunset Boulevard” and a Southern belle, sporting an ill-fitting red wig. Larina is soon wearing out her welcome, not to mention the cringy bathroom humor at her expense.

Oliver with his neighbors Maddie and Cal O’Connor (Sarajane Clark and Jason Meyers. Stray Dog Theatre photo)

Oliver’s busybody and TMI neighbors, Maddie and Cal O’Connor (Sarajane Clark and Jason Meyers), stop by, either for cocktails or to dish, as Maddie is fond of telling everyone else what they should do. The two young guys trying to make sense of all the chaos are Zack Huels as Abe Feldman and Brady Stiff as Jake Hershman.

Wells, clad in outlandish outfits designed by Colleen Michelson, incorporates physicality as this silly trickster, an extreme sidekick in the mold of Cosmo Kramer. But he is dead serious about one thing – Danny recommends the playwrights ‘kill their darlings.’ He encourages Oliver to nip and tuck, and that’s good advice for the play itself.

Rob Lippert’s set design includes multiple doors, a la “Lend Me a Tenor” and “Noises Off!”, for comedic purposes. Tyler Duenow took care of the lighting design. As usual, sound designer Justin Been selected peppy and upbeat musical transitions including TV theme songs.

Wells, Garner, Polizzi, Wright. Stray Dog Theatre Photo.

For “3 Sheets to the Wind” to work, the well-intentioned playwrights need to tighten the rambling story, for when Liz Michel shows up as Russian-accented emissary Zolda (think Natasha of “Rocky and Bullwinkle”) near the two and a half hour mark, it goes off the rails.

Suddenly, we have spies, a dictator who’s madly in love with Larina, and a charade about why the show is going overseas, all told in a very long-drawn-out monologue. Shades of the Cold War? Isn’t Guam a U.S. territory? What am I missing? By this point, connecting the dots has become confusing, and the sound isn’t helping these dialogue-heavy sequences, especially with accents in play.

In this case, less would be far more appealing. Snip some tangents and characters for a less bumpy dynamic and inject more likability to connect with the audience.

Stray Dog Theatre photo.

Besides the shenanigans going on, the play takes place in the present-day, in August and September, when NYC is experiencing a heat wave. Is that weather factor necessary?

Old partners working again on a show after much time apart, when old resentments surface and new acquaintances appear, would be a terrific starting point going back to workshop.

Stray Dog Theatre presents “3 Sheets to the Wind” from June 4 through 20 at Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis. Performance dates are Thursday through Saturday at 8 p.m., with Sunday matinee performances at 2 p.m. on June 7 and 14. For more information, visit www.straydogtheatre.org

Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

Ebullient Cast Uplifts Stages’ Buzzy ’25th Annual Putnam County Spelling Bee’

By Lynn Venhaus

A personality-powered gem, “The 25th Annual Putnam County Spelling Bee” is a rambunctious musical comedy that celebrates American meritocracy, eccentric nerds and freak flag waving.

Produced with extra oomph by Stages St. Louis, a sagaciously cast sextet has nimbly mastered wordplay and improvisations in this offbeat musical that’s as accessible to logophiles as it is to class clowns.

Inside a typical middle school gymnasium, dweeby sixth graders compete for a $200 savings bond, a shot at the national bee, and a towering trophy.

All triple threats, this enthusiastic cast has got game – showing heart, humor and humanity. The boys are Michael Schimmele as returning champ Charlito “Chip” Tolentino, who is struggling with puberty; Matthew Cox as Leaf Coneybear, the wide-eyed home-schooled son of hippies; and Bryce A. Miller as showboating misfit William Morris Barfee.

The Spellers are ready to rock. Photo by Phillip Hamer.

A running gag is the constant mispronunciation of Bar-Fay, because of an accent aigu, and not Bar-Fee.

The girls are Abigail Isom as high-strung Logainne SchwartzandGrubenierre, a positive political activist pushed by her two dads to be best; Alexis Kinney as exuberant wordsmith Olive Ostrosky, whose mom is in India and dad is always working; and Sarah Wilkinson as pedantic Marcy Park, an over-achieving transfer student.

The annual event is a big deal in the town, with three adults in charge – ‘comfort counselor’ Mitch Mahoney (Omega Jones), an ex-con who gives the eliminated contestants a juice box and a hug; former champ and returning moderator Rona Lisa Peretti (Jennifer Theby-Quinn), a successful realtor who enjoys reliving her glory days; and Vice Principal Douglas Panch (Christopher Hickey), who has returned as a judge after personal time off to work out some ‘things.’

Their innuendos and double entendres elicit laughs – and the show’s mature content is aimed for a PG-13 audience.

Christopher Hickey as vice-principal. Photo by Phillip Hamer.

The catchy music and lyrics by William Finn, of “Falsettos” and “A New Brain,” give each character their moment to shine and explain their character’s drive or idiosyncrasies.

Their signature songs are Leaf: “I’m Not That Smart.” Olive: “My Friend, The Dictionary.” Marcy: “I Speak Six Languages.” Logainne: “Woe Is Me” and Chip: “Chip’s Lament.”

The coming-of-age stories about their home lives are poignantly delivered, and they perform the funny parts with gusto. The spellers have crafted realistic kids – not to mock but to enjoy their characteristics and identify with their emotions, and you root for them to stay golden.

Barfee, unfortunately hampered by one working nostril, has a peculiar way of spelling out the words – with his “Magic Foot.” (Fun fact: Dan Fogler, of “Fantastic Beasts,” won a Tony Award for originating the role).

Sarah Wilkinson as Marcy Park. Photo by Phillip Hamer.

The convivial show, workshopped into an off-Broadway hit, transferred to Broadway in 2005 – and was nominated for six Tony Awards, winning two (book by Rachel Sheinkin, featured actor). It was originally conceived by Rebecca Feldman and based upon “C-R-E-P-U-S-C-U-L-E,” a play by her improv collective, The Farm. Additional material was supplied by Jay Reiss.

The fluid script allows producing companies to insert topical and local references. It also includes audience participation, and patrons can fill out a slip in the lobby before the show.

Four names are drawn backstage, so no one is tipped off in advance, and they join the spellers to take their turn at the microphone. All good sports, this is a key element to the fun, producing good-natured laughter from the audience. No special treatment – they might get to spell “Cow” or a consonant heavy four-syllable word.

The crowd’s perspicacity was evident on opening night June 3 and embraced the experience. The ingenious construction keeps it fresh, and that spontaneity is appealing.

Abigail Isom, Bryce A. Miller and Alexis Kinney. Photo by Phillip Hamer.

Detail-oriented co-directors Ron Gibbs and Gayle Seay also co-choreographed the show, achieving a terrific level of energy. The upbeat title song introduces the characters, and “The Spelling Rules” brings out their quirks and “Pandemonium” is just that.

In stand-out moments, dynamic Wilkinson showcases her gymnastic skills in her peppy number “I Speak Six Languages” and her prayer for change, “Jesus,” while gifted comic actors Miller and Kinney display charming chemistry leading up to and including their duet “Second.”

Another highlight is the tender ballad “The I Love You Song” that heart-tugging Kinney sings with her parents – as the absentee mom, Jennifer Theby-Quinn’s strong mezzo-soprano is in lovely harmony with workaholic dad Omega Jones’s warm vocals.

As Rona, Theby-Quinn confidently commands the stage in “My Favorite Moment of the Bee,” and in two reprises. As Mitch, Jones demonstrates expressive vocals in “The Prayer of the Comfort Counselor” and in “Woe Is Me” reprise with the vivacious Isom.

Michael Schimmele as Chip. Photo by Phillip Hamer.

And Schimmele is a trouper with his sudden onset of a puberty issue, and feigning discomfort in his public humiliation. If you know, you know. (Refer to mature rating).

The junior high vibes are boosted by scenic designer Rachel Seabaugh’s school gymnasium set that is a nifty flashback to every community event ever, with sly nods to the civic organizations and school sports teams that are delightful to notice.

Lighting Designer Sean M. Savoie’s expertise is apparent in the harsh gym glare, which shifts to the warm intimate interaction moments. Sound designer Hankyu Lee’s work is remarkably crisp, without any dead spots in the KPAC’s Ross Family Theatre.

Costume Designer Cat Lovejoy has jauntily defined every character through their distinct outfits, and the addition of a makeshift cape and roller-sneakers for Leaf Coneybear is inspired. Cox gives his movements extra flair with those accessories.

Matthew Cox as the free-spirited Leaf Coneybear. Photo by Phillip Hamer.

Music Director Michael Kaish smoothly kept the tempo on track, and is on one keyboard, joined by Randon Lane on a second keyboard, Lea Gerdes on reeds, Marcia Erwin on cello and Jonathan M. Taylor on percussion.

The Bee is a buzzy, playful communal experience, one that celebrates smart kids without any stigma – a proud revenge of the nerds, and the relatable rituals of youth. To be a part of the glee expressed by cast and crowd alike will lift spirits of any age.

Note: Understudies include Julie Hanson, Lillie Self-Miller, Bradford Rolen and Connor Kelly-Wright.

Stages St. Louis presents the musical “The 25th Annual Putnam County Spelling Bee” through June 28. Performances take place at the Kirkwood Performing Arts Center, 210 E. Monroe Ave. For more information: stagesstlouis.org.

Jennifer Theby-Quinn as Rona, with Omega Jones as Mitch in background. Photo by Phillip Hamer.

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

Dense ‘Disclosure Day’ Has Big Ideas but Fails to Spark Much Wonder

By Lynn Venhaus

Earthlings, we may not be alone. If you believe that aliens have visited our planet, “Disclosure Day” reinforces that opinion. Just don’t expect the big-ideas film to effectively connect dots or spark much wonder.

Unlike director Steven Spielberg’s superior supernatural sci-fi thrillers, the classics “E.T.: The Extra-Terrestrial” and “Close Encounters of the Third Kind,” this mostly incoherent and inconsistent ramble fails to pull heartstrings and mutes the director’s trademark shock and awe.

Spielberg front-loads the action with shadowy figures at breakneck speed, when whistleblower Dr. Daniel Kellner (Josh O’Connor), rescues his girlfriend Jane (Eve Hewson) from black-clad goons working for the Wardex Corporation.

As part of a rogue movement led by virtuous Hugo (Colman Domingo), Kellner has absconded with archival film footage of aliens here since the ‘alleged’ UFO crash in Roswell, N.M. in 1947. They plan to tell the world at the same time, but Wardex is in cahoots with the government to make sure the evidence remains top secret.

Josh O’Connor plays a cybersecurity expert on the run in “Disclosure Day.”

The chase is on, from farmhouses to backroad motels, and even a convent. Colin Firth is the stony but dapper villain Noah Scanlon, who doesn’t think the world can handle the truth and gets doomsday vibes.

This heartless honcho hell-bent on covering up can manipulate space and time, and is in possession of some alien teleporter gizmo, not without side effects (or explanations).

Meanwhile, Emily Blunt is Margaret Fairchild, an ambitious meteorologist who lives with her musician boyfriend Jackson (Wyatt Russell) in Kansas City. One morning, a red-feathered Cardinal flies into their spacious loft, stares her down, and afterwards, she can speak foreign languages and telepathically knows what is happening in people’s hearts and minds.

Whoa. That is a gamechanger, and she and Daniel are destined to team up. They share an inexplicable psychic bond, similar childhood memories, and keep running.

Emily Blunt is a meteorologist in Kansas City.

O’Connor’s Daniel is a man of many secrets, and his girlfriend has a few too, but backstories are slim – and Firth’s stony villain only glowers, glares and inflicts pain. While this cast of heavy hitters is appealing, no one stands out besides Blunt. It’s one of her best performances.

After 2 hours and 25 minutes of clunky detours, screenwriter David Koepp’s dense mystery, from a story by Spielberg, mercifully wraps up in an iconic yet implausible Spielbergian way. But lacks a wow factor, to leave us wanting more.

This brainiac blockbuster ultimately fumbles because it has too many elements to process. Koepp, one of the most successful screenwriters in the modern era (“Jurassic Park,” and last year’s taut thriller “Blackbag”) has missed before – “Indiana Jones and the Dial of Destiny” and “Indiana Jones and the Kingdom of the Crystal Skull” among them.

The search for intelligent life in the universe is a staple of pop culture sci-fi, and “The X-Files” kept us riveted for years. In recent years, government agencies have posted records on UAP (Unidentified Aerial Phenomena), no longer referred to as UFOs, to identify mysterious events in the sky. There is that reality check.

Colman Domingo, Tommy Martinez, Emily Blunt and Josh O’Connor are part of an all-star cast.

It’s easy to be dazzled by the dream team cast and the elite artisans who worked on creating a spectacle – Janusz Kaminski’s camerawork is impeccable, and so are Adam Stockhausen’s production designs. A nail-biting car-train collision is shades of Indiana Jones in his prime, but fleeting moments do not make a movie.

For his 30th feature film collaboration with Spielberg, John Williams composed a subtler, more minimalist score rather than his familiar grand sweeping melodies.

Arguably among the Mount Rushmore of directors, Spielberg’s best films extol ordinary people in extraordinary situations. But he doesn’t always reach the stars (“The BFG,” “Ready Player One,” “1941.”)  Here, the all-important heart-tugging beats are missing.

Are we seeing anything fresh, or just a fictional rehash of myths and weaponizing misinformation? The truth is out there, but will we ever know it?

Big action scene in a very long chase movie..

And why would belief in other life forms be a dealbreaker for your faith? And why do aliens only visit America? Too many questions and not enough answers, but then again, I tend to overthink science fiction plots.

For those expecting Spielberg magic, the highly anticipated “Disclosure Day” is a letdown.

“Disclosure Day” is a 2026 supernatural sci-fi thriller directed by Steven Spielberg and starring Josh O’Connor, Emily Blunt, Colin Firth, Colman Domingo, Eve Hewson and Wyatt Russell. It is rated PG-13 for action/violence, some bloody images and strong language and the runtime is 2 hours, 25 minutes. It opens in theatres June 12. Lynn’s Grade: C.

The telltale crop circles.

Paul Rudd, Nick Jonas Strike a Chord in Carney’s Kicky ‘Power Ballad’

Paul Rudd, Nick Jonas Strike a Chord in Carney’s Kicky ‘Power Ballad’

By Lynn Venhaus

What happens when a long-dormant dream resurfaces in your life, and it’s within your reach, only to have cruel fates snatch it away?

Ah, the twists of fate. And when dueling singers Rick and Danny are played by effortlessly charming Paul Rudd and charismatic Nick Jonas in the John Carney Musical Universe, the result is a shaggy look at ambition, what matters in life and how music connects us.

After 20 years of modern musical movies, writer-director John Carney returns with another uplifting journey of self-discovery that has many fine emotional beats, moving us with natural conflicts that veer into farcical territory.

Maybe the two tones don’t always mix well together, but this clever story, co-written with Peter McDonald, who also appears as Rick’s lovably quirky bandmate Sandy, has a sincere beating heart that tackles contemporary music business issues.

Wedding bandmates in The Bride & Groove.

The middle-age bandmates in Ireland’s grooviest wedding band, “The Bride & Groove,” get everyone up on the dance floor with the pop hits of the ‘80s and ‘90s, but there is a restlessness to lead singer Rick.

When a wedding guest is former boy-band member Danny Wilson (Nick Jonas), he’s invited to join the band onstage, and he and Rick hit it off singing Stevie Wonder’s “I Wish.”

Keeping that spark between them, collaboration ensues during their own after-party, where they play music and drink into the wee hours of the morning. They share dreams, their creative processes, what drives them and more.

You feel their connection, so when things don’t later end on a high note, it becomes a series of unfortunate incidents that put the pair on very different trajectories.

Nick Jonas and Paul Rudd jam.

Once back in L.A., Danny’s solo songs aren’t grabbing his record label, and manager Mac (Carney regular Jack Reynor) gives him the tough talk about falling down the relevant scale. The pressure to get back in the game is enormous, especially after the other boy band members have been successful.

So, he steals Rick’s heart-on-his-sleeve intimate acoustic tune and spiffs it up, creating a global smash pop hit and reclaiming the big time – selling out arenas and living the good life.

Shopping in a mall one day, Rick hears the song playing, to his surprise, but can’t prove he wrote it, so his behavior becomes erratic and combative. When Danny won’t return his calls, he takes drastic measures, and heads to L.A. for a confrontation.

One thing is certain. The song in question, “How to Write a Song (Without You)” is an instant catchy earworm. Could it follow Oscar-winning “Falling Slowly” from “Once” as a Best Song candidate?

Paul Rudd and Peter McDonald go from “Dublin to L.A.”

Everyman Rudd, whom audiences usually root for, isn’t afraid to play a flawed character whose behavior at times is questionable. His wife Rachel (Marcella Plunkett) and daughter Aja (Beth Fallon) are baffled but love him, for better or worse.

And Jonas, whom everyone pegs as a scoundrel, is a more conflicted guy, so the lines between hero and villain are blurred.

Carney, the director of “Once,” “Begin Again,” “Sing Street” and “Flora and Son,” is in familiar territory. But he looks at the price of ambition through an older lens here.

And nobody is as perceptive about music’s redemptive impact. In his raw and real explorations, Carney has created authentic characters and original songs that meet the moments.

Nick Jonas as Danny and Havana Rose Liu as Marcia in Power Ballad. Photo Credit: David Cleary

The weathered Dublin setting is cozy and comfortable, while the L.A. paradise is framed as shallow and sterile. The realistic look at musicians and their struggles, how they fit into the world, is one of Carney’s hallmarks. How natural the characters interact is another.

After all, he is the bassist to The Frames. Carney and his longtime songwriting partner Gary Clark penned 12 original songs for the movie. The soundtrack also includes the wedding reception staple “Celebration,” plus nostalgia nods “The Power of Love,” “Summer of ’69,” “Message in a Bottle,” “Maneater,” and “The Boys Are Back in Town.”

For those who believe music unites us, “Power Ballad” is a heart-tugging, funny look at the ever-changing tides in life.

The 2026 musical comedy-drama is directed by John Carney and stars Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunkett and Beth Fallon. It is rated R for language throughout and some drug use and runtime is 1 hour, 38 minutes. It opened in theatres on June 5. Lynn’s Grade: B+.

Beguiling ‘The Tempest’ Makes A Little Magic in Hale Shakespeare Glen

Beguiling ‘The Tempest’ Makes A Little Magic in Hale Shakespeare Glen

By Lynn Venhaus

On a remote island far, far away, a mischievous mix of magic and mayhem mark “The Tempest,” which is the St. Louis Shakespeare Festival’s flagship production now anchored in Forest Park’s Shakespeare Glen.

William Shakespeare’s drama-tinged romantic comedy takes place after a violent storm has washed ashore a merry band of revelers, upending the inhabitants on this island – and nothing is as it seems. Perhaps, someone’s bad dream is another’s hopeful voyage. In any case, there is perceptible verve.

Think of this as a way-back machine “Survivor,” where everyone must outwit, outplay and outlast the people who want power. And Prospero (Nancy Bell) is manipulating a chess game.

A mother and sorcerer, Prospero rules this mystical place, and tensions rise between her, her teenage daughter and now the brother who messed up her future and has reappeared. Haunted by his betrayal, she has vengeance on her mind, for she was once Duke of Milan.

Reginald Pierre and Jeff Cummings as Prospero’s evil brothers. Photo by Phillip Hamer.

Through royal chicanery, Antonio (Jeff Cummings) usurped the title, and with the help of another brother, Alonso (Kathryn Bentley), King of Naples, she was banished 12 years earlier. But they can’t be trusted because another ambitious brother, Sebastian (Reginald Pierre), wants the king’s crown himself.

Ariel (Eliza Pagelle) is a shape-shifting spirit on the island that aids Prospero. Through her occult preoccupation, the boss finds out that her nefarious brothers are on their way from Tunis to Italy, so she conjures a squall, and they wind up where she is. Mama Bear thinks she is in control.

It won’t be long until old wounds resurface and new challenges arise. Oh, be careful what you wish for, as Alonso’s honorable son Ferdinand (an earnest Zay Williams) spies Miranda (Sigrid Wise) and falls in love.

Caliban (Chauncy Thomas) is the only true island inhabitant, a witch’s son, and resents being overtaken by Prospero, who imprisoned him so he doesn’t get too close to her daughter.

A fierce Thomas musters all his fury as a resentful native. Formerly of St. Louis, Thomas is always a welcome addition when he returns, now for the sixth time.

Bell and Chauncy Thomas as Caliban. Photo by Phillip Hamer.

The ensemble includes kindly Gonzalo (veteran Whit Reichert), an elderly Neapolitan lord who helped Prospero survive exile (but secretly), and comic buffoons Stephano (Michael Dougherty) and Trinculo (Jose Sabillon), Alonso’s butler and court jester. That daffy duo plots with Caliban to take over.

Mother and daughter have been marooned since the girl was 2 years old, so one can imagine her naivete and innocence – and yearning to break free of the overbearing parent. Nevertheless, the protective mom wants her daughter to marry for love and position.

Wise, enchanting as the isolated Miranda, is as luminous as she was as Juliet in “Romeo and Juliet” in 2018 and was part of “The Winter’s Tale” the year before. She has tangible chemistry with Williams as a decent prince who can be trusted.

Through her instincts and technique, Bell is a formidable Prospero – and as much of an impact she has had on Shakespeare in this city, one must note that this is her first leading role outdoors in Shakespeare Glen.

Bell and Eliza Pagelle as Ariel. Photo by Phillip Hamer.

 (As Playwright-in-Residence, Bell wrote several “Shakespeare in the Street” productions, earning Best New Play awards from the St. Louis Theater Circle for “The World Begun” and “Old Hearts Fresh,” and two years ago, directed the award-winning “As You Like It.” She also founded the Confluence New Play Festival.)

The Circle’s most awarded theater artist, for acting, writing and directing, Bell commands attention from various vantage points perched on the decaying hull of a shipwreck. Her character must find a way to forgive on this journey.

Director Rick Dildine shrewdly showcases Prospero’s dominance by staging Bell’s position at different heights – when she’s talking to others. It’s rare when she’s on the same level of this imposing set, masterfully adorned with functional nooks and crannies.

The former director of St. Louis Shakespeare Festival (2009 – 2017) emphasizes nature’s impact as well as the colonial-era themes. Dildine’s version is a breezy 90 minutes without an intermission.

Goofballs Jose Sabillon and Michael Dougherty with Thomas. Photo by Phillip Hamer.

He is aided by a talented squad — assistant director Lize Lewy, producer Colin O’Brien, production company Blank Slate, stage manager Sarah Luedloff, and assistant stage manager Britteny Henry.

Dildine won a Circle award for directing a shimmering “A Midsummer Night’s Dream” in 2016 where sound, lighting and scenic design enhanced the production, especially the original music.

The storytelling here is boosted by those same elements. The artisan MVPs who blended music and storm effects to elevate the experience included music director Michael Grieve, sound designer Melanie Chen Cole, lighting designer Jeff Behm and scenic designers Justin and Christopher Swader, all making impressive debuts, as were costume designer Kathleen Geldard and props designer Katherine Stepanek.

Grieve’s captivating immersive upbeat music is a zesty blend of roots music, sea shanties and folk melodies, with lively musicians Harrison Farmer, Crayton Haney and Otto Klemp, also in supporting roles, as is Grieve.

Musicians and partiers aboard a vessel. Photo by Phillip Hamer.

An original prologue on a satellite stage creates a festive atmosphere at Alonso’s daughter Claribel’s wedding, which kicks off the show (starting at 8 p.m.). Paul Dennhardt has provided interesting moves for the musicians and guests. All that’s swept away in the tempest.

Regarded as Shakespeare’s last play, when he was in his late 40s, this tale of forgiveness has the compassion of an experienced man looking at what’s important in life. And that is expressed well in this vibrant setting.

Dildine’s focus on nature’s capacity to heal is a key component to this 26th annual outing in the park, a year after a destructive tornado tore through Forest Park. He interprets that resiliency in the aftermath, as we all weather calm seas and violent storms in life.

A portion of the donations collected during “The Tempest” will go towards the tornado relief funds for the St. Louisans hit the hardest. And thanks to the parks department and Forest Park Forever, we are sitting today in these hallowed grounds of immense cultural importance.

Zay Williams and Sigrid Wise as Ferdinand and Miranda while Bell looks on. Photo by Phillip Hamer.

St. Louis Shakespeare Festival presents “The Tempest” May 27 – June 21 at 8:15 p.m., Tuesdays through Sundays, in Shakespeare Glen in Forest Park, 6604 Fine Arts Drive (next to the Art Museum). Admission is free and accessible to everyone. The Glen opens at 6:30 p.m. and the Teen Green Show takes place at 7:15 p.m. Thursday through Sunday. For more information, visit www.stlshakes.org

Wise, Williams and Bell. Photo by Phillip Hamer.