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.

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

Girl Power and Positivity Triumph in Tesseract’s Heartfelt ‘Legally Blonde’

By Lynn Venhaus

‘Tis the season to emphasize “Believe,” and that’s a fitting attitude about the iconic Elle Woods, the musical “Legally Blonde,” and Tesseract Theatre Company itself.

The “Little Engine That Could” theater group, which mirrors Elle’s plucky, positive demeanor, has produced a fresh, fun, fizzy and feisty reimagining of the upbeat 2007 musical adaptation of the smash hit 2001 romantic comedy.

As the iconic Elle Woods, Grace Seidel is at her best, strong in portrayal of the bubbly California sorority girl who gets into Harvard Law School after a crushing break-up. As she discovers how smart, resilient and dedicated she is, finding her purpose, Seidel triumphs, tossing the blonde ‘bimbo’ first impression out the door.

She defies the stereotype and smoothly slips into champion mode – representing anyone who has had to fight to be seen and heard. And rocks the pink outfits, too.

Known for her powerful vocals, she strikes the right chord with her passionate delivery of Elle’s breakthrough anthem “So Much Better” and turning point “Chip on My Shoulder.” She wins over the other characters in vibrantly staged ensemble numbers, including “Positive,” the ebullient “Legally Blonde” and rousing finale “Find My Way.”

Seidel is not the only bright spot who has a renewed, refreshed take on the musical. Just as you shouldn’t underestimate Elle’s inner light to shine through, there are a few memorable debuts joining reliable veterans in the ensemble.

Marsiya Miller as Paula. Photo by Florence Flick.

In a knockout debut, Marsiya Miller is a hoot as Paula Buonufonte, the hairdresser with heart of gold. She is a skillful vocalist in her solo “Ireland,” and has sharp comic timing too, as she develops a palpable bond with Elle.

Fellow newcomer Kyle Rudolph is delightful as the UPS delivery man, also named Kyle, a definite scene-stealer with fleet footwork in the Irish step dance part of “Ireland.” His high-energy performance is noteworthy in ensemble numbers, too.

In another impressive debut, Mason Ramsey portrays the shallow, privileged Warner Huntington III, who breaks up with Elle because she’s not “Serious” enough. He has the poise of someone that’s already a stage veteran.

Newcomer Aditi Seetharaman embodies the haughty Vivienne Kensington, Warner’s new girlfriend and condescending law student who humiliates Elle — but eventually has her ‘aha’ moment.  

Seasoned pros who contribute their customary excellent work include Dawn Schmid as exercise guru Brooke Wyndham, who is accused of killing her husband; Jon Hey as the distinguished, demanding Professor Callahan; and Katie Orr hilarious as quirky activist Enid Hoopes.

Kevin Corpuz is charming as the lovable, smart Emmett Forrest, a law student who befriends Elle and sees her potential, helping her to realize it. He and Grace have worked together multiple times, most notably in the two-hander “The Last Five Years” at Tesseract in 2023. They have a noticeable ease with each other in the makeover number “Take It Like a Man” and the turning point “Chip on My Shoulder.”

The Delta Nu sorority. Photo by Florence Flick.

The Greek Chorus of Delta Nu sorority sisters is sprightly support – Natalie Sannes as energetic Serena, Lillie Self-Miller as chipper Margot, and Evan Lee as sassy Pilar, starting off with the cheery “Omigod You Guys” and being Elle’s sounding board.

Ella Drake, Martin Ibarra, Molly Stout (dance captain), Loren Goudreau, Aadi Kadam and Rudolph are supple in supporting roles that range from shop clerks, students, frat boys, scummy ex-boyfriend, presiding judge, trial witnesses, salon customers and assorted others.

Jo Palisoc’s choreography is crisp and snappy, notably the standout jump-rope number “Whipped into Shape” that is a demanding aerobics workout routine. Admirably, the dancers don’t miss a beat. Always a favorite, the “Bend and Snap” is as fun as ever.

The band is an expert group of eight musicians under the musical direction of virtuoso Larry D. Pry, who kept the music by Tony nominees Laurence O’Keefe and lyrics by Nell Benjamin tight and bright. Pry joined Becca Bessette and Brayden Bessette on keyboards, Chuck Evans on violin, Mary Jewel Wiley and Lea Gerdes on reeds, Joe Winters on percussion, Mat Coble on guitar and Jonah Larsen on bass. They were polished and peppy.

Inventively staged by director Will Bonfiglio in the cozy confines of The Marcelle Theatre, he keeps the scenes moving along, from the Hair Affair Salon to Harvard Yard, dorm rooms and shops, using different nooks that scenic designer Brittanie Gunn has crafted in imaginative ways.

He has adroitly mixed humor with a courtroom drama and boosted the girl power. He focused on bringing out the heart and humanity, spotlighting a community coming together and people finding out where they belong.

Kevin Corpuz, center, as Emmett. Photo by Florence Flick.

If you look beyond the fluff, which is why both the movie and musical endure, the show is thematically strong by exposing prejudice, harassment and discrimination. The Tony-nominated book by Heather Hach is an adaptation of Amanda Brown’s 2001 novel, which was based on her experience at Stanford Law School.

When Elle saves the day using her sparkle and coming up with her unconventional legal strategies, it’s a satisfying victory that feels earned. I mean, look at this logic: “Exercise gives you endorphins. Endorphins make you happy. Happy people just don’t shoot their husbands, they just don’t.” — Elle

Carly Uding’s costume design, along with Sarah Gene Dowling’s wig design, created appropriate looks for every character. Morgan Brennan’s lighting design and Jacob Baxley’s sound design suited the show, with Kevin Sallwasser technical director, Sarah Baucom production manager and Lexi Sims stage manager keeping elements on task. Sims was aided by assistant stage managers Jae North and Josh Neighbors.

This production radiates warmth, good humor and empowerment. If you need a cup of kindness this holiday season, Tesseract’s “Legally Blonde: The Musical” overflows with cheer and optimism.

The Tesseract Theatre Company presents “Legally Blonde: The Musical” Dec. 5 – 21 at the Marcelle Theatre, 3310 Samuel Shepard Dr, St. Louis, Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m. For tickets or more information, visit www.TesseractTheatreco.org

‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

‘The Housemaid’ is Twisty, Trashy Fun Adaptation of Popular Page-Turner

.By Lynn Venhaus

Good trashy fun, “The Housemaid” is a psychological domestic thriller with a dash of dark comedy that is ideal alternative programming this holiday season when all the prestige awards-hopefuls are released.

Millie (Sydney Sweeney), a plucky young woman with a secret criminal past, takes a live-in job as a housekeeper for the wealthy Winchester family – high-maintenance wife Nina (Amanda Seyfried) and handsome husband Andrew (Brandon Sklenar). While they look perfect, her new employers have secrets of their own.

None of the three stars – currently having moments – will be on year-end awards shortlists for their performances, yet they lean in and act with an intensity that merits them serious kudos for their earnest approach to over-the-top melodrama.

Let the mind games begin! As Nina, the suburban princess living luxuriously, Seyfried can fly into Defcon 5 rage with a frightening ferocity and assuredly drives this effort.

Knowing what’s at stake is her forte here. To watch her alternate wild histrionics with an icy-cold façade as a Real Housewife archetype is amusing.

Sweeney’s star has risen ever since “Euphoria” shook up streaming and may tie with Josh O’Connor for having the most movies released this year, even besting Pedro Pascal. She plays forlorn Millie just-right with a shaggy poor-girl-trying-to-please demeanor and a palpable desperation to escape her past.

Sklenar, who was swoon-worthy as the rugged hero Spencer Dutton in Taylor Sheridan’s “Yellowstone” prequel “1923,” is in yet another handsome, chiseled guy role. This time, he’s Andrew, a gracious, well-mannered scion of an influential family, flashing his pearly whites often.

It’s a perfect threesome for this type of suburbanites’ unraveling story. For fans of the popular 2022 page-turner by Freida McFadden, you know the delectable unpredictable twists. But for those of us in the dark, the reveals are a surprise – and boost the audience-participation feel of the film.

Smartly directed by Paul Feig, whose comedy pedigree is stellar (“Freaks and Geeks,” “Bridesmaids,” and episodes of “The Office”) and his thriller portfolio is gaining traction after “A Simple Favor,” he is one step ahead of us as we uninitiated try to figure out where these deceptions are leading.

He also strikes the right engrossing tone, mixing suspense, shock and silliness to guarantee gasps and build momentum. The screenplay by Rebecca Sonnenshine, a two-time Emmy nominee as a writer on “The Boys,” draws us into the chills by smoothly weaving backstories in, adding gaslighting and tension in the home.

Elizabeth Jones’ lavish production design is Martha Stewart-worthy in a sprawling, airy McMansion in Great Neck, N.Y. As the live-in housekeeper, Millie’s bedroom is a cozy A-frame attic nook that has a door that locks from the outside.

In shades of Stepford wives, supporting players are stereotypical privileged upper-class women who are condescending of others not in their same social register – and even if they are, finding ways to be critical. Millie overhears the local elitist moms gossiping about Nina, which is unexpected, as are other remarks by ‘the help’ in the community.

Those are interesting nuggets that illuminate what’s happening – or not – but it keeps us guessing as the plot thickens. The dialogue is often cheesy, but that’s part of the fun, too. This material is far from Tolstoy or Chekhov – it’s “Dynasty” glammed up for the 21st century.

It’s best to know as little as possible going into the movie, so no spoilers here.

Elizabeth Perkins has a few defining moments as Andrew’s snobby mother Evelyn Winchester, dismissive of her daughter-in-law and demanding in snide ways. After all, she’s more concerned with appearances than anything else.

Young actress Indiana Elle is the Winchester’s snotty, indulged daughter Cecelia “CeCe,” whose sense of entitlement shows signs of creating a monster, but whose actions later indicate she’s been paying attention. It would have been nice to have more character development in that regard.

Michele Morrone, who played Emily’s fiancé Dante in Feig’s “Another Simple Favor,” is well-cast as mysterious handyman Enzo, but sadly, it’s an underdeveloped character.

“The Housemaid” is nothing more than a pulpy “popcorn” thriller, well-suited as escapist fare, especially during a dreary winter and in a disconcerting world. It’s a film that knows exactly what its mission is, and how it fits into the entertainment landscape.

“The Housemaid” is a 2025 psychological thriller directed by Paul Feig and starring Amanda Seyfried, Sydney Sweeney, Brandon Sklenar, Elizabeth Perkins, Michele Morrone and Indiana Elle, Its runtime is 2 hours, 11 minutes, and it’s rated R for strong/bloody violent content, sexual assault, sexual content, nudity and language. It opens in theaters Dec. 19. Lynn’s Grade: B.

The Rep’s Fresh Twist on ‘Emma’ is a Charming and Delightful Romp

The Rep’s Fresh Twist on ‘Emma’ is a Charming and Delightful Romp

By Lynn Venhaus
Bristling with refreshing feminist energy, rom-com vibes, and clever wit, “Emma” bounds onto The Repertory Theatre of St. Louis’ well-appointed mainstage with verve.

Stuffiness, be gone! This charming adaptation of Jane Austen’s novel “Emma” by Kate Hamill is redolent with both style and substance. Adept at physical comedy, a spirited ensemble revitalizes this classic 1815 tale of a zealous matchmaker whose meddling complicates matters of the heart for friends and acquaintances.

As the titular character, Adelin Phelps exudes confidence and determination as the young maiden who is convinced that she knows best. On her hard-fought journey of self-discovery, she engages us for the entire two acts, always on stage, and breaks the fourth wall with glee. She has a thing or two to say about love.

Hamill’s pared-down, smaller cast version remains an interesting look at Austen’s societal themes – those on class and gender opportunities, but her reimagining feels modern and relatable.

Michael James Reed and Kathryn Bentley as The Westons. Photo by Jon Gitchoff.

First presented in 2022 at the Guthrie Theatre in Minneapolis, she polished it with delightful humor, poking fun at people’s foibles. But she doesn’t lose sight of a smart woman’s predicament at a time when ladies didn’t have rights.

The Rep’s casting is impeccable, and its seasonal timing. The world is celebrating Jane Austen’s 250th birthday this month, so a dip back into the world of Highbury is well-suited for a holiday show.

The guests look merry and bright for the parties, with sprightly choreography from Sam Gaitsch, and director Tracy Brigden ensures they not only move briskly, but each carve out a distinct character.

As Emma’s protégé Harriet Smith, Liz Lewe steals the show as the sweet-natured boarding school student who becomes Emma’s primary project, because she is convinced Harriet needs a higher social standing.

Jack Dryden as Mr. Eldon, Adelin Phelps as Emma and Liz Lewe as Harriet. Photo by Jon Gitchoff.

Lewe’s flair for comedy, their crisp timing and pleasant demeanor endears. It’s a breakout role for Lewe, a local theatre professional who is also an accomplished writer and director. Casting Director Delaney Piggins’ keen eye was serendipitous, for when Lewe, as a reader during auditions, stood out, it was clear they were a perfect fit.

The ease at which the ensemble embraces their roles is noteworthy – in their formal 19th century manners and speech, and fluid entrances. The skillful dialect work by coach Joanna Battles helps define the time and place.

Costume designer Dottie Marshall Englis’ dandy Regency finery works for all seasons, her ingenious layering that captures the era and economic status perfectly. Dennis Milam Bensie’s wig designs are terrific, too. The springtime berry-picking scene bursts with color and frolic.

With his exceptional dialogue delivery, Louis Reyes McWilliams is dashing once more as George Knightley, after his zesty swashbuckling turn as the mischievous hero in The Rep’s “Sherwood: The Adventures of Robin Hood” last spring.

Louis Reyes McWilliams as George and Maggie Newstead-Adams as Jane. Photo by Jon Gitchoff.

He’s well-suited to embody Emma’s close friend who challenges her and often argues about what he perceives as her flightiness and immaturity. He and Phelps are a dynamic duo, and you root for them.

Before they can figure out their course, we learn about other men in town. Jack Dryden, hilariously over-the-top as the buffoonish Clark in “The Cottage,” is back again as another goofball – Mr. Eldon, who is smitten with a woman not named Harriet.

Ryan Omar Stack suavely portrays Frank Churchill, a prized suitor who is fond of Jane Fairfax, but not if Emma can interfere. His arrival causes some upheaval and a few hearts to flutter. Yet, his intentions suspect, for he has not been entirely forthcoming with information, and there are some questions about his inheritance.

Michael James Reed again demonstrates his versatility as a character actor by portraying two – Emma’s daffy health-conscious father Mr. Woodhouse, who is obsessed with the benefits of gruel, and the good-natured widower Mr. Weston, who remarries at the start (and Emma had something to do with it).

Louis Reyes McWilliams as George and Adelin Phelps as Emma. Photo by Jon Gitchoff.

Kathryn Bentley delivers a feisty performance as his happy bride, Mrs. Weston, and the ever-reliable Nancy Bell is the genteel but talkative school headmistress Miss Bates. Maggie Newstead-Adams is pert as the popular and pretty Jane.

Taking on a dual role as Elton’s ill-mannered wife Augusta is live wire Olivia Balicki, who must giggle – and snort – as the frisky Augusta, then switches gears as the infirmed Mrs. Bates in a wheelchair.

Janeites looking for strict historical accuracy may be surprised but could be won over by the production’s effervescence. Margery and Peter Spack’s captivating set design, with a focus on florals, is enhanced by Jason Lynch’s lighting design.

John Gramada’s compositions are a festive element, and his sound design superb.

A festive occasion. Photo by Jon Gitchoff.

The excellence of Brigden’s seamless work doesn’t lose sight of the present while creating an ode to the past, making it resonate in several ways, and Brian Coats’ dramaturg reflects that too.

Austen’s work has been celebrated at The Rep notable times – including “Pride and Prejudice” in 2019, “Miss Bennet: Christmas at Pemberley” in 2017 and “Sense and Sensibility” in 2013, and this may be the best one yet.

“Emma” was Austen’s fourth published novel, and it has been adapted into four films (if you count “Clueless” in 1995), the most recent in 2020 starring Anya Taylor-Joy.

This version is a fitting salute to her legacy, and a wonderful showcase for outstanding talent. Don’t miss this joyous collaboration, preferably with a side of biscuits.

Ryan Omar Stack and Liz Lewe. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “Emma” Dec. 3-21 at the Loretto-Hilton Center, 130 Edgar Road. For more information, visit www.repstl.org

Post-show discussions follow the Dec. 14 and 17 performances at 2 p.m.

Photo by Jon Gitchoff.

Nazi Mind Games in ‘Nuremberg’ Reminds About Need to Vanquish Evil

Nazi Mind Games in ‘Nuremberg’ Reminds About Need to Vanquish Evil

By Lynn Venhaus

English philosopher R.G. Collingwood said, “The only clue to what man can do is what man has done.”

That is the direction this historical drama takes as it revisits the Nuremberg trials but delves more into a psychological perspective on what led the Third Reich to invade other countries and commit Holocaust atrocities, overseeing the extermination of 6 million Jews.

Based on the 2013 non-fiction book, “The Nazi and the Psychiatrist” by Jack El-Hai, writer-director James Vanderbilt looks back through a modern lens to send an urgent message about justice, intolerance, and cruelty to contemporary audiences.

The Nazi regime had their day in court during the main Nuremberg trials, held between Nov. 20, 1945, and Oct. 1, 1946. Beforehand, the Allies prepared to unveil the horrors for the world to hear as they wanted the highest-ranking officials to answer for their war crimes.

The chief prosecutor, Robert H. Jackson (Michael Shannon) wants to expose evil. Army psychiatrist Lt. Col. Douglas Kelley (Rami Malek) attempts to understand their complex psyches, and front and center is Hermann Goering (Russell Crowe), Hitler’s right-hand man.

Leading the legal team, ever-reliable Shannon portrays Jackson, who worked diligently to bring 12 members of the Nazi High Command to trial for war crimes.

While others just wanted to put the war in the rear-view mirror, and favored executing those responsible for the genocide, Jackson wanted the world to see and hear what they had done. He was responsible for this international tribunal that involved the U.S., England, France and the Soviet Union, the first of its kind.

Jackson, later a Supreme Court justice, didn’t want these ‘monsters’ to become martyrs upon their deaths. His instincts were correct, but the proceedings were not smooth because this was new territory.

How do you define evil? Oscar winner Malek stars as dedicated Kelley, an Army mental health professional tasked with analyzing Hitler’s henchmen. His methods come under fire as he appears to be sympathetic to the prisoners.

He was attempting to build trust. But really, who is trying to outmaneuver whom? It becomes mainly a cat-and-mouse mind game with malevolent Goering, not unlike Jodie Foster and Anthony Hopkins in “The Silence of the Lambs.”

Goering was second in command to Hitler, engineering the horrors of what transpired without any remorse. At the time of this trial, he was the highest-ranking Nazi still alive. (Rudolph Hess is also a fellow prisoner).

Kelley wrote a personal account in his book, “22 Cells in Nuremberg,” but the movie indicates his fall from grace, so he’s been historically ignored, until now. His book’s final chapter is a cautionary tale about how he could see the mindset of pre-World War II Germany happening in the United States.

For those who don’t believe the Holocaust happened, this film won’t let anyone forget. The stakes, past and present, should remain in the forefront.

The chess-like match between the men, especially with Oscar winner Crowe in full command, is fascinating. However the account is fictionalized, Crowe is back to displaying the power he had in his prime, igniting the screen as the cagey, cunning and diabolical Goering.

With his keen intelligence and massive ego, narcissist Goering believed he could justify his actions on this global stage, and it’s chilling to see it unfold.

The 1961 classic Oscar-nominated film “Judgment at Nuremberg,” directed by Stanley Kramer, was mostly a courtroom drama while the current film spends more time behind the scenes on the dangers of unchecked malice.

While this 2-hour, 30-minute film gets ham-fisted in its editing and bogged down in its cumbersome narrative that makes its points repeatedly, the performances are uniformly strong.

Standouts include Leo Woodall as interpreter Sgt. Howie Triest, John Slattery as Col. Burton C. Andrus, who oversaw the prison, and Richard E. Grant as Sir David Maxwell-Fyfe, who is a British co-counselor.

The film’s other strengths include period-accurate designs – production (Eve Stewart), costume (Bartholomew Cariss) – as well as cinematographer Dariusz Wolski’s interiors in ​the secret military prison and​ German homes.

The most powerful scene is what was shown at the trial 80 years ago, the same disturbing archival footage of skeletal victims at work camps being bulldozed into their graves. The six gut-wrenching minutes are from the 1945 “Nazi Concentration and Prison Camps,” which was partially shot by director John Ford and included in George Stevens’ 52-minute film.

This footage showed the world what really happened, what these Nazi leaders were capable of, and that they must be punished for their crimes.

​N​ot just a reminder of the past, the film​s​ ​strives to be clear that the prevention and proliferation of evil is always necessary. One recalls Edmund Burke’s famous quotation: “The only thing necessary for the triumph of evil is for good men to do nothing.”

Triest, the German-born translator, says at one point: “Do you know why it happened here? Because people let it happen.”

While the film doesn’t reveal anything new, it is committed to being a clarion call. People have been quoting philosopher George Santayana a lot these days — “Those who cannot remember the past are condemned to repeat it,” from his “The Life of Reason” in 1905.

The fact that we must be nudged out of complacency and realize the consequences on a global stage is the reason that films like “Nuremberg” are made.

“Nuremberg” is a 2025 historical drama written and directed by James Vanderbilt and starring Russell Crowe, Rami Malek, Michael Shannon, John Slattery, Leo Woodall and Richard E. Grant. It is Rated PG-13 for violent content involving the Holocaust, strong disturbing images, suicide, some language, smoking and brief drug content and the runtime is 2 hours, 28 minutes. It opened in theatres Nov. 7. Lynn’s Grade: B.

Brilliance Blazes Bright in ‘The Brothers Size’ at The Rep’s Studio

Brilliance Blazes Bright in ‘The Brothers Size’ at The Rep’s Studio

By Lynn Venhaus

An extraordinary work of vision, power and poetry, “The Brothers Size” is one of The Repertory Theatre of St. Louis’s finest achievements to date.

Because of a cohesive collaboration between some of the most talented artists in St. Louis, this spiritual exploration of brotherhood and the black male experience has a dramatic impact that may leave you emotionally spun and moved to tears.

Directed with grace and deep understanding by multi-hyphenate Jacqueline Thompson, Metro Theater Company’s artistic director and winner of multiple St. Louis Theater Circle Awards for acting and directing, this gritty tale is staged in a lean, deliberate manner.

This immersive triumph is enhanced by the muscular choreography of Kirven Douthit-Boyd, artistic director of Saint Louis Dance Theatre; the memorable music composition and sound design of Tre’von Griffin and David A. N. Jackson; and the atmospheric lighting of Jayson Lawshee.

Nic Few as Ogun and Christian Kitchens as Oshoosi. Photo by Jon Gitchoff.

Their artistic vision, along with other artisans behind-the-scenes and the dynamic performances of Nic Few, Christian Kitchens and Donald Jones Jr., make this an unforgettable presentation.

They strived to make this resonate emotionally and do so in waves, for it grows in intensity and richness. Artistic consultant LaWanda Jackson and dramaturg Taijha Silas helped make that happen.

In his signature lyrical style, playwright Tarell Alvin McCraney, who won an Oscar for the screenplay of “Moonlight,” unfolds a common man story, with heart and humor, in the Louisiana bayou, which he wrote 20 years ago.

He examines the complex bonds of family, how love and loyalty affect relationships, the ripple effects of crime and punishment, systemic racism, and the hard road to healing.

Christian Kitchens and Donald Jones Jr. Photo by Jon Gitchoff.

Nic Few is big brother Ogun, a responsible, hard-working auto mechanic whose younger brother Oshoosi (Christian Kitchens), has been released from prison. He’s restless, impulsive, trying to carve out a new life.

Can they reconnect or will the youngest return to his old habits when his ex-con friend Elegba (Donald Jones Jr.), his former cellmate, comes by for visits.

Ogun is tough on Oshoosi, annoyed by his swagger and aimlessness, and that chafes his little brother. It’s complicated when the oldest wants stability and the youngest is content to be carefree, tempted by a friend who’s a bad influence.

The brothers are eager to succeed, but they tussle often, like many siblings. Their temperaments are different – Few embodies fierce physicality and weighted down by the world and Kitchen imbues his part with musicality and a lightness of being.

Photo by Jon Gitchoff.

The charming Elegba seems to want the same things but actually is a detriment to Oshoosi and Ogun’s goals. Ogun is suspicious but Oshoosi is faithful. Are we our brother’s keeper?

The effects of incarceration and the never-ending fight to be free, to make something better for their futures, shape this raw portrait. When danger lurks, they wrestle with decisions (Shades of “Nickel Boys.”)

Few, Kitchens and Jones corral an electrical charge to deliver honest characterizations that are physically and emotionally demanding. Their chemistry personifies their close ties. They are natural in their interactions – arguing, goofing off, trash talking, soul-singing, dancing and expressing their feelings.

Thompson was determined to find entry points for everyone watching, illuminating what could be considered abstract elements. The trust between everyone is obvious, their artistry elevated through her guidance.

Photo by Jon Gitchoff.

The minimalist staging, with action taking place within a circle, is reflected in Kristie C. Osi’s costume design, Jayson Lawshee’s scenic design and Eric William Barnes’ props design.

A regional premiere, “The Brothers Size” is the first time one of McCraney’s plays are staged in St. Louis. Considered a modern-day fable, “the script includes stage directions in the dialogue to heighten the encounter between the actor and the audience.

McCraney was inspired by the Yoruba people of West Africa – their rituals and religion, so he incorporated symbolism. His stylistic choices are rhythmically distinctive, seamlessly blending verse and conversation. In his original way, he aims for a mythical quality, making it about something larger than our daily lives. That adds a potency and an urgency.

The first show this season in the Steve Woolf Studio Series, it’s a play that was made for the intimate space and the series, praised for its risk-taking. The former artistic director, who retired in 2019 after 33 years at The Rep and died during the pandemic in 2021, encouraged theatregoers to be adventurous with newer works and unknown playwrights. What a fine legacy.

Photo by Jon Gitchoff.

Opening night bristled with electricity, the kind of buzz that marks a big deal event. After this profound, gut-wrenching experience, the audience leapt to their feet as soon as it ended, with an outpouring of love and thunderous applause. It was indeed a moment (well, several).

“The Brothers Size” boldly represents The Rep’s vision and demonstrates their commitment to produce works of daring imagination and transformative symmetry with exceptional casts and crews.

The Repertory Theatre of St. Louis presents “The Brothers Size” from Oct. 22 to Nov. 16 as part of the Steve Woolf Studio Series in the Emerson Studio of the Loretto-Hilton Center, 130 Edgar Road, St. Louis.

The play is 90 minutes without intermission. A post-show discussion follows the performance on Sunday, Nov. 2, at 2 p.m.

To purchase tickets, visit www.repstl.org or call the box office Monday through Friday noon to 5 p.m. at 314-968-4925.

Photo by Jon Gitchoff.

Stylish and Surreal ‘Ballad of a Small Player’ is Not a Good Gamble  

Stylish and Surreal ‘Ballad of a Small Player’ is Not a Good Gamble  

By Lynn Venhaus
Stylish but slow and shallow, “Ballad of a Small Player” is an underdeveloped and overproduced drama that drowns in its own pretentions.

Despite its visual splendor, the storytelling is scattered and too surreal to sustain interest. A mystifying misfire from director Edward Berger, it’s disappointing because his two previous films were Oscar nominees for Best Picture – the international winning feature “All Quiet on the Western Front” in 2023 and “Conclave” in 2024. He knows how to frame a narrative – the conundrum is do we want to spend nearly101 minutes on this one?

Colin Farrell plays an addict, liar, thief and fraud masquerading as a high roller with a fake aristocrat name, Lord Doyle, hiding out in the opulent gambling mecca Macau, and trying to score. He plays baccarat wearing a lucky pair of leather gloves.

Doyle is really Reilly, and he is wanted for swindling an old rich woman out of her life savings. He is trying to escape his past, but with self-destructive tendencies, he makes reckless decisions and is spiraling on his way to rock bottom.

Sweating profusely, a portrait of desperation, he’s also a ticking time bomb with heart issues — drinks too much, eats too extravagantly and smokes (even when he’s having chest pains). He continues to live large while the wolves are at the door. Why not give us a reason to care if he can put his life back together?

Somehow, he is given grace by a casino floor manager, Dao Ming, who turns out to be an angel of mercy. As delicately played by Fala Chen, she’s a mysterious, kindred spirit who recognizes a fellow lost soul. (Does this remind anyone of “Leaving Las Vegas”?)

Dao Ming explains The Festival of the Hungry Ghost in Hong Kong, and screenwriter Rowan Joffe ties his streak of good fortune to a ghost story. This mystical turn adds another bizarre twist. Is it instead a dance with the devil?

The plot thickens — or rather falters. Joffe’s script, adapted from a 2014 novel by Lawrence Osborne, has too many unexplained occurrences. He seems to rationalize it to luck or wizardry, messing with dream-like with time and place. And do we really need another gambler’s one-last-time trope? Yawn.

Joffe has danced around spiritual, moral and philosophical entry points that are merely teases. Brief nods to the seven deadly sins appear but are not satisfyingly threaded to make an impact.

Farrell has become one to watch, especially after his tour de force as Oswald “Oz” Cobble in the HBO mini-series “The Penguin” (and the movie “The Batman”), as well as his superb Oscar-nominated turn in “The Banshees of Inisherin.” He’s accomplished at playing a smooth talker at the end of his rope, and this performance is intense.

While he has played likeable scalawags before, he has been more appealing as a rude hitman in “In Bruges” and as a gangster coach in “The Gentlemen,” because this wheeler-dealer is pathetic.

In an obscure, shadowy role, the always aces Tilda Swinton plays yet another quirky character in her canon of peculiar portrayals. She is Cynthia Blithe, a debt collector hot on Reilly’s tail, but he calls her Betty. (If you haven’t checked out by the time the credits’ roll, there is a strange dance she and Farrell do. Just because, I suppose.)

Alex Jennings coyly plays Adrian Lippett, a cryptic figure who owes Reilly money, and is always looking for a deal himself.

The enigmatic storytelling takes a back seat to the striking colorful aesthetic. Macau, a former Portuguese colony that’s a special region of the Republic of China, is a glitzy, glamorous neon-drenched adult playground that is luxuriously packaged, in James Field’s cinematography and Jonathan Houlding’s production design.

They are so meticulous in beautiful textures, it seemed like a nod to Wes Anderson’s visual style. Friend won an Oscar for his work on “All Quiet on the Western Front,” and he dazzles again.

Ultimately a letdown, “Ballad of a Small Player” doesn’t pay off, despite skilled artisans at work. In the words of Notorious B.I.G.: “Mo Money, Mo Problems.”

“Ballad of a Small Player” is a 2025 drama directed by Edward Berger and starring Colin Farrell, Tilda Swinton, Fala Chen and Alex Jennings. It is rate R for language and suicide, and its runtime is 1 hour, 41 minutes. It is currently in theaters and streaming on Netflix beginning Oct. 29. Lynn’s Grade: C-.

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

Albion’s Mysterious ‘I Have Been Here Before’ Shrewdly Ponders Time

By Lynn Venhaus

Marked by twists, turns and a “Twilight Zone” flair, Albion Theatre Company’s latest whip-smart production “I Have Been Here Before” ponders the construct of time in a shrewd yet abstract way.

An adroit ensemble of six piques our curiosity, each one developing layers of their characters’ personalities and motivations. They seamlessly embody different classes, all at crossroads (whether they realize it or not).

The Black Bull Inn in Grindle Moor, part of the remote Yorkshire countryside, is where the story takes place in 1937. Set designer Rachel St. Pierre has fashioned a cozy, modest parlor, with Brad Slavik the astute set builder and Gwynneth Rausch specific in appropriate time-period props.

They have effectively set the period and place, so that co-directors Robert Ashton and C.J. Langdon were able to keep the characters on the move, so they weren’t as stodgy as they probably were nearly 90 years ago.

The six accomplished performers were notably well-rehearsed with distinct dialects and physically nimble in their mannerisms, driving the story with more verve than playwright J.B. Priestley’s dated drama indicated.

Photo by John Lamb

Today, the show hasn’t aged as well or is as suspenseful as an Alfred Hitchcock classic or even an Agatha Christie drawing room mystery. The set-up in the first act is intricate and lengthy, then has more engaging action in second act, while the third act teeters on implausible. Nevertheless, the sheer will and the skills of the actors make this watchable.

Priestley continued his fascination with theories of time here; one of the 39 he wrote. “Time and the Conways” and “Dangerous Corner” were among his most successful plays about time – he wrote seven.

He believed different dimensions could link past, present and future, and philosophizes, using Russian teacher P.D. Oupensky’s theory of eternal recurrence, which are life circles or spirals.

Robert Ashton and Anna Langdon are the reliable Sam Shipley and Sally Pratt, father and daughter innkeepers. He’s amiable, she’s pragmatic in their portraits. They are expecting three guests while a quiet but agreeable young headmaster, Oliver Farrant (Dustin Petrillo), is already spending a vacation there, for a rest. He relaxes by reading and going for long walks.

The upcoming holiday is known as Whitsuntide, around the time of the Christian holy day the Pentecost. In the south of England, it was the first official holiday of the summer (until replaced in 1971).

Photo by John Lamb

But the guests that reserved the rooms have cancelled. That allows a foreign guest, professor Dr. Gortler, (Garrett Bergfeld) and a wealthy businessman and his stylish wife, Walter and Janet Ormund (Jeff Kargus and Bryn McLaughlin), to book separate rooms.

Tall, gruff and exiled from Nazi Germany, the mysterious professor has already startled Sally by practically predicting future outcomes. He seemed to know who would be staying and not who originally booked rooms.

Are they thrown together by chance or is it on purpose?  That is one of the many questions raised as the plot thickens. It is rather odd that somehow, they seem inter-connected. Their decisions could have consequences that would affect others.

There is a nagging feeling that they may have lived through this experience before. But how could that be? The cosmic undertones seem to rattle some cages, especially suspicious Sally.

 An expert in math and science, Gortler is blunt at asking perceptive questions, revealing predictions, and shares a precognitive dream describing preposterous occurrences between everybody there. Dun dun dunnn!

Photo by John Lamb

Quite surprising is an assured, imposing performance by Garrett Bergfeld as the enigmatic professor. It’s been 20 years since he stepped on a stage, and one hopes it will continue.

Dustin Petrillo, who is always authentic in his portrayals, displays emotional depth and an unmistakable connection with Mrs. Ormund, who is unhappy with her workaholic – and alcoholic – husband.

Petrillo and Bryn McLaughlin worked together beautifully as husband and wife in “The Immigrant” at New Jewish Theatre two years ago, and they smoothly convey an ease with each other.

As restless Janet, McLaughlin contrasts her comfort with Farrant by showing unease with her inattentive husband.

Jeff Kargus is striking as the swaggering Ormund, used to getting what he wants and believably upper crust in speech and movement. He commands the stage, appearing as a manipulative mover and shaker, giving off shady vibes. One wanted to know more about these puzzling people.

Photo by John Lamb

As impressive as the actors are, so is the creative team that collaborated on a well-worn look, including the aforementioned scenic/prop designers. Costume designer Tracey Newcomb, whose work is always memorable, has economically created status in her ideal apparel choices. Lighting designer Eric Wennlund and sound designer Leonard Marshell set the mood well.

In 1970, rock group Crosby Stills Nash and Young released an album, “Déjà vu,” including a song of the same name.

If I had ever been here before
I would probably know just what to do
Don’t you?
If I had ever been here before on another time around the wheel
I would probably know just how to deal
With all of you

It later ends with the lyric, “We have all been here before” repeated several times. (“It’s déjà vu all over again,” in the words of an epic St. Louis philosopher-raconteur Yogi Berra.)

I was frequently reminded of those lyrics, as the play attempted to explain unnatural phenomenon. Had it followed through with a more convincing ending, it would have stuck the landing, but this is an observation in hindsight 90 years later.

Priestley worked with what was known at the time, and his own viewpoint on another life ahead as a do-over. Food for thought, to be sure.

In their customary fine fashion, Albion presented an unfamiliar play effectively, driven by excellent performances and strong contributions by local artisans.

 Albion Theatre presents “I Have Been Here Before” Thursday through Saturday at 7:30 p.m. and Sundays at 2 p.m., on Oct. 23-26, 30-31; Nov. 1-2 at the Black Box Theatre at the Kranzberg Center, 501 N. Grand in Grand Center. The show runs 2 hours, 30 minutes, with two 10-minute intermissions. For more information: albiontheatrestl.org.

Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

Savvy Performances Heighten Chorus of Fools’ ‘Elsinore’ Clever Prequel

By Lynn Venhaus

Laying the foundation for the palace intrigue in Shakespeare’s tragic “Hamlet,” the original play “Elsinore” is an interesting interpretation of those familiar characters in an affecting prequel.

Known for its bold choices, local theater company Chorus of Fools has mounted artistic director Eric Satterfield’s 2021 play updated by co-playwrights David Nonemaker and Satterfield, who also directed.

How did Denmark become so rotten? Satterfield wants answers and his strong cast will tell a more nuanced story.

Through compelling performances, this ensemble delves into the unraveling of the royal family and how the political scheming escalates, which eventually leads to the kingdom’s instability and headed to war with Norway.

Most remarkable is how much the language sounds like the Bard in tone and tempo. Smartly written with style, wit and theatricality, “Elsinore” plausibly imagines the backstories.

John Wolbers is the domineering King Hamlet. Photo by David Nonemaker.

The playwrights obviously have read and studied Shakespeare, presenting a new angle on one of literature’s most influential works. After all, “Hamlet” has been adapted in many ways (“The Lion King,” anyone?)

A rewarding aspect is its exploration of many of the same universal themes, such as making one’s mark, duty, honor, loyalty, destiny and revenge. However, in these earlier incarnations, character transformations and motivations give the actors a juicy challenge.

We may think we know these characters, but by the time Shakespeare crafted them, they had been developed by circumstances, revealing their true nature.  In the prequel, they are forging their paths.

While the prince of Denmark has always been fascinating, in the before times he is secondary to Claudius, who has the most complex character arc. Joseph Garner, one of the region’s most versatile performers, has been a formidable stage presence in supporting roles. As the king’s brother and emissary, he delivers a dynamic characterization rich in detail.

Initially, a dedicated selfless royal, Claudius undergoes personal tragedies and moral dilemmas that lead to his stunning power-grab as he ascends to the throne while breaking up his brother’s family.

Joseph Garner and Jocelyn Padilla as Claudius and Gertrude. Photo by David Nonemaker.

King Hamlet is not a benevolent ruler. John Wolbers portrays him as imperious and devious, and with his son Hamlet, he is demanding and impatient. The young heir is finding his way, clashing with his father and being more comfortable around his uncle.

He starts brooding, and Andre Eslamian gives the intense, rebellious lad an emotional depth while conveying quicksilver moods. He’s confused and angry in interactions with his father, merry with his goofy friends Rosencrantz and Guildenstern, playful with his cousin Claudius, and tender with Ophelia.

His father is not fond of his childhood pals, and Xander Huber, as Rosencrantz, and Zach Pierson, as Guildenstern, display why. As the bumbling buddies, they demonstrate sharp comic timing and play off each other well, adept at slapstick.

Chuck Brinkley, equally good at comedy and drama, adds moments of daffiness to the garrulous Polonius, who is Claudius’ trusted advisor. But he’s capable of conniving. (And what a trouper — he really did break his ankle, hence the assistance.)

Madness has not yet affected major players. Ophelia becomes a handmaiden for Queen Gertrude. She is an intelligent, curious girl, devoted to her father Polonius and gives her heart to Hamlet. Hannah Geisz plays her as a spirited, virtuous member of the court – but one who won’t be an afterthought.

Hannah Geisz and Chuck Brinkley as Ophelia and Polonius. Photo by David Nonemaker.

As Gertrude, Jocelyn Padilla is an obedient wife and dutiful mother. She is hurt by the king’s gruff treatment of her, and after his untimely death, brightens under the gaze of Claudius.

Huber and Pierson each fill another role – Huber is Lord Waldemar and Pierson as young Claudius. Joe Kercher handles three brief roles – Lord Olaf, Laertes and a hooded figure. Rose Reiker is Osric, a courtier and messenger.

Claudius, who becomes a widower after his loving wife Colette (Lexie Johnson) and their beloved son Claudius (Zach Pierson), died in a shipwreck, has somewhat of a reset.

He has lost faith after those devastating losses, becoming bitter and angry. He disagrees with his brother’s decisions and ruthlessly sets a course to takeover.

“Hamlet” was Shakespeare’s longest play, and this version is in three acts, with two intermissions. The second act resumes 14 years later, and the third is one year after that.

Joseph Garner, Andre Eslamian as Claudius and Hamlet. Photo by David Nonemaker.

The small company, with a modest budget, cleverly depicts the castle’s throne room, Claudius’ family sitting room, and the orchard where King Hamlet often napped. Vickie Delmas worked on the set design with Satterfield, and took care of props..

With its “Downtown Abbey” inspired Edwardian setting and period costumes, “Elsinore” creates an insular world where loyalty is demanded while secrets and lies are part of the growing corruption.

Costume designer Celeste Gardner paired different textures together to appropriately outfit the characters, with her work particularly noteworthy for Ophelia and Gertrude.

Bradley Rohlf’s atmospheric lighting design highlighted an impending doom, while giving the ghosts an other-worldly illumination. Satterfield’s outstanding sound design included imaginative needle drops and a regal music score to reflect the spreading darkness.

Other contributors were Ryan Lawson-Maeske, fight choreographer; Jen Kerner, accessibility consultant; Tress Kurzym, intimacy director; and Nikki Pilato, dramaturg (and also assistant director). Moira Healy was the stage manager.

With a castle community sensibility, the savvy cast transported us to a troubled time that has been examined through the ages, and managed to engage us with different, interesting angles. They skillfully conveyed Satterfield’s and Nonemaker’s intentions in a smart, entertaining presentation.

Andre Eslamian, Zach Pierson as the young Hamlet and young Claudius. Photo by David Nonemaker.

Chorus of Fools presents “Elsinore” Thursdays through Saturdays at 7:30 p.m. from Oct. 9 through Oct. 19 at The Greenfinch Theatre and Dive Bar, 2525 S. Jefferson. For more information: greenfinchstl.com/events

Masterfully macabre ‘The Woman in Black’ Thrills in The Rep’s Staging

Masterfully macabre ‘The Woman in Black’ Thrills in The Rep’s Staging

By Lynn Venhaus

With every door creak, candle flicker, wind moan, and eerie shadow glimpse, “The Woman in Black” immerses us in a haunting and unforgettable ghost story.

The Repertory Theatre of St. Louis has impeccably presented a London West End production that will live in my head for a while, a gripping suspenseful classic Gothic fiction that is best experienced with a receptive audience.

The 1987 play earns its jump scares as an edge-of-your-seat feeling grows, building nearly unbearable tension for a pulse-pounding climax. It is an outstanding example of how our minds process strange things.

Stephen Mallatratt’s clever theatrical adaptation of Susan Hill’s 1983 mystery has engrossed audiences over 30 years. Reminiscent of Henry James’ unsettling “Turn of the Screw,” this is about a haunted house whose terror uncomfortably lurks through the ages. But that’s really only the start of horrifying consequences.

A lawyer, Arthur Kipps, has been bedeviled by a spectral figure in black for years, and to relieve his misery, he has hired a young actor to share his captivating story. He feels it must be told.

James Byng, Ben Porter. Photo by Jon Gitchoff.

While the first act is much slower as it sets up the action, the second act ramps up the shocks and scares so effectively, we are totally enthralled in mutual shivers.

Our imaginations work overtime, and that’s such a wonderful communal feeling to be bonded with total strangers (and friends and family) over our fears, waiting for the next spine-tingling moment – or gasp or scream or the occasional giggle and sigh in relief.

This chilling tale unfolds as a play within a play, and the duo becomes ensnared in a terrifying sequence of events in an isolated old house near misty marshes. David Acton, who plays the tormented Arthur Kipps, works in tandem with James Byng as “The Actor,” to convince us we should be very afraid.

Acton and Byng’s superb storytelling deliver the well-timed frights – and the welcome doses of humor. Both actors were in productions at London’s Fortune Theatre, and their interactions are flawless.

Ben Porter. Photo by Jon Gitchoff.

As a young solicitor, doing estate legal work for his firm’s clients, Kipps traveled to a remote village in northern England to sort through the documents of the deceased Alice Drablow, who owned Eel Marsh House. Byng portrays his younger self, lonely without his fiancé Stella nearby.

 He writes letters home and begins to read some of Mrs. Drablow’s alarming personal correspondence. The house’s unfortunate location means that it is cut off from the local village when the tide comes in. Kipps notices the villagers’ unwillingness to talk about the Eel Marsh House, but he does get assistance from local guys Samuel and Jerome (and an unseen dog named Spider).

One dark night, Kipps is alone with his thoughts in the creaky old house. Or is he? For the audience, the ‘flight or fight’ feeling escalates, not to mention the overwhelming atmosphere of dread. (This is the period where people were clutching others).

James Byng. Photo by Jon Gitchoff.

As Kipps becomes aware of another presence, whoa. It’s truly a marvel of Swiss watch timing how exemplary the presentation is.

Because of the show’s emotional heft, another actor, Ben Porter, can perform both roles in repertory, and sometimes does. He was nominated for a Drama League Award in 2020 for distinguished performance in this play.

Original director Robin Herford has seen to it that every eerie detail isn’t missed on The Rep’s thrust stage. He has worked with touring director Antony Eden, associate director Maggie Spanuello, designer Michael Holt, lighting designer Anshuman Bhatia, sound designer Sebastian Frost and vision producer Imogen Finlayson.

The masterful use of sound and lighting adds to the creepy atmosphere, enhancing the minimalist set and ensuring the horror is believable in every moment. These visions will linger.

This production is being produced in a special arrangement with PW Productions, the original West End producers. After opening in London in 1989, it was performed there until March 4, 1923, for 13,232 shows, the second longest-running non-musical in West End history, second only to Agatha Christie’s “The Mousetrap.”

James Byng, Ben Porter. Photo by Jon Gitchoff.

Pemberley Productions, a tour booking company in New York and Chicago, has produced and general managed “The Woman in Black” in North America since 1918.

The effective shadows and the unnerving scares are in the well-crafted storytelling. With its twisty tricks unveiled, the play is a thrilling treat, as satisfying as the best horror movies. It’s as if we’re all at a bonfire, mesmerized by the evil conjured up at a most entertaining evening. The execution is sensational, and the pair of actors make it a must-see spellbinding experience. I’m leaving the lights on.

The Repertory Theatre of St. Louis presents “The Woman in Black” Oct. 8 – 26 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. To purchase tickets, visit www.repstl.org or call the box office, Monday – Friday noon – 5 p.m.  at (314) 968-4925.

The play is 2 hours with a 15-minute intermission. Post-show discussions follow the Sunday, Oct. 19 and Wednesday, Oct. 22 performances.

Pretentious, Murky ‘After the Hunt’ Is Disturbing Take on Identity Politics

Pretentious, Murky ‘After the Hunt’ Is Disturbing Take on Identity Politics

By Lynn Venhaus

“After the Hunt” is a horrible movie about despicable people that attempts to tackle cancel culture, identity politics and a so-called female generation gap in 2019, which is strategically set during the #MeToo movement.

Ambiguous, pretentious and overlong, the psychological drama is a tedious watch because several lead characters are smug narcissistic liars who are morally bankrupt and intellectual know-it-alls.

These insufferable types are part of the insular world of Ivy League academia, in the philosophy department at Yale. Whether action is in a high-stakes classroom, a snooty Yale Club or a swanky dinner party, these caricatures are either going to pontificate or act out.

Directed by provocateur Luca Guadagnino, who is frustratingly vague about the points he’s trying to convey, meanders more than usual and boxes himself into a corner with Nora Garrett’s baffling screenplay.

Ayo Edebiri and Julia Roberts.




Apparently not a fan of political correctness, Guadagnino really does a disservice to victims of sexual abuse who deserve to be seen and heard. It’s an insult to anyone who has had the courage to come forward, at the risk of damage to their reputation. #MeToo needed to happen and should have much sooner.

While the A-list cast is given juicy, complex roles, the irredeemable parts lack connection and emotional truth.

Julia Roberts, at her most unlikable, plays haughty, viperous professor Alma Imhoff, whose fancy-schmancy lifestyle with her lapdog husband Frederik is built on secrets and lies.

Truly egregious is that Michael Stuhlbarg is wasted in an utterly ridiculous role as an attentive partner who gets little respect. Chances are odd-man-out Frederik will get fooled again, and again.

As this rotten character, Roberts doesn’t elicit one iota of sympathy. She recklessly drinks too much. She has severe abdominal pain and violent vomiting episodes, but instead of going to a doctor she abuses painkillers, which she downs by fistfuls.

Andrew Garfield and Julia Roberts.

She treats students cavalierly and acts superior to her peers. Not exactly role model material. Chloe Sevigny is also wasted as Dr. Kim Sayers in a too brief role as a psychiatric counselor that factors in to yet another subplot thread.

Alma is graduate student Maggie’s thesis advisor, and she attends her mentor’s dinner party. An inebriated Hank Gibson, a cocky professor played by Andrew Garfield, walks Maggie home.

As the star pupil, Ayo Edebiri is miscast as a character that is as nebulous as Garfield is repellent.

Later, a distraught Maggie confides in Alma that Hank, who was in her apartment for a nightcap, sexually assaulted her.

He denies it. She reports it. He’s fired and makes a lot of noise publicly. He was up for tenure, as is Alma, who has conveniently distanced herself from the situation. Or has she?

Ayo Edebiri as Maggie on the Yale campus.

It quickly gets very ugly. Maggie views it as a betrayal. Understandably, the Gen Z students rally around her. She is quite vocal in the press, while Alma becomes very vicious in response, showing a cold and calculating side to her bewildering personality.

Garfield is so off-putting as the swaggering Hank that it would be difficult to conjure up a smidgeon of sympathy over his career in tatters if that is what the film leans towards.

Don’t expect any relatability to these self-important characters. The academia snake pit comes across like an unappealing morass. These are selfish people who have such an inflated opinion of themselves that they think everything is about them.

Doesn’t it matter that Hank’s behavior is troubling and dangerous? In some sort of alternative universe, Maggie is now the subject of derision because her wealthy, influential parents are Yale’s biggest donors. Wait, what?

Is it a witch hunt? Hank’s version accuses Maggie of plagiarism. Oh, as if that’s not enough, they must unravel Alma’s past. There are too many plot points, and none satisfactorily resolved.

This supercilious debate about morality, ambition and ‘woke’ ideology fails to resonate. Is it an unwise battle between trailblazing women who broke glass ceilings and the entitled Gen Z’ers whose lives of privilege have handed them multiple gold-plated opportunities?

Contrivances abound as the plot goes in circles. Hank, longtime friend of Alma’s, perhaps had a sexual relationship with her, or did they just flirt a lot? She’d rather drink at a bar with him than go home to her psychoanalyst husband’s cassoulet.

And Maggie is purposely drawn to be unformed. She is in a relationship that lacks details. Her trans romantic partner and roommate is away when the Hank incident supposedly took place.

Cinematographer Malik Hassen Sayeed makes the hallowed halls of a prestigious university gleam with historic seriousness and the tony Imhoff home cultured and cavernous. The annoying contemporary score by Trent Reznor and Atticus Ross is uncharacteristically too obtrusive.

Chloe Sevigny and Julia Roberts.

Guadagnino is a polarizing director, with detractors saying his style is too murky on substance. His sumptuous locations look beautiful, and the films often superficially and uncomfortably deal with desire – “I Am Love,” “The Bigger Splash,” “Call Me by Your Name,” “Challengers” and “Queer.” Characters often are complicated and meant to be stimulating but lack clear identities.

A better film on this subject, an authentic one set in a college town, is “Sorry, Baby.”

What is “After the Hunt” trying to say, and why does it try too hard to get our attention when there really is no point? We are tasked with the heavy lifting of deciphering the storytelling.

After more than 2 hours, the preposterous conclusion feels like cheating, ending in a very self-indulgent way. 

The Imhoff dinner party in New Haven.

“After the Hunt” is a 2025 psychological drama directed by Luca Guadagnino and starring Julia Roberts, Andrew Garfield, Ayo Edebiri, Michael Stuhlbarg and Chloe Sevigny. It is Rated R for language and some sexual content and the run time is 2 hours, 19 minutes. Opens Oct. 17 in theatres. Lynn’s Grade: F.