Lynn Venhaus

Total Post: 1321

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.

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, “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 Christopher Hickey’s warm vocals.

As Rona, Theby-Quinn confidently commands the stage in “My Favorite Moment of the Bee,” and in two reprises. 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, incorporating 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.

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.

‘Fat Ham’ Flips a Family Tragedy to Free Characters Instead in Black Rep’s Spirited Interpretation

‘Fat Ham’ Flips a Family Tragedy to Free Characters Instead in Black Rep’s Spirited Interpretation

By Lynn Venhaus

With a vivacious cast of relatable relatives, The Black Rep delivers a sassy, spirited and sometimes silly “Fat Ham,” which is a modern humorous reinterpretation of Shakespeare’s “Hamlet.”

Surprising in its fresh spin of the play’s universal themes, the 2022 Pulitzer Prize-winner by James Ijames replaces royal revenge with a look at black masculinity, queer identity and cycles of generational trauma — but flips it as a comedy, not tragedy.

This production, deftly directed by Geovanday Jones, focuses on unpredictable storytelling. Jones brought out the playfulness of the performers, who sometimes mirror the Bard’s iconic roles, but mostly differ in humorous delivery and make them broader in body language.

Set at a backyard barbecue in the American South, the key points of Hamlet’s torment, confusion and the weight of heritage play heavily on the mind of gay college student Juicy, who is visited by his deceased father’s ghost. Pap seeks revenge, Juicy wrestles with that directive.

Enoch King as the ghost of Pap, with Marshall W. Mabry IV as Juicy. Photo by Howard Ash.

Pap (Enoch King) was murdered in prison and reveals to his son that his brother Rev (King, in a dual role) arranged the hit. The Rev quickly married Juicy’s livewire mother Tedra (firecracker Angela Wildflower), and disturbed Juicy sorts out a tangled web of betrayal, anger and legacy.

Blustery King capably plays two sides of the coin – the hot-tempered wronged brother Pap and the entitled, selfish bully Rev., whose toxicity signals danger.

But sweet, sensitive Juicy, masterfully portrayed by Marshall W. Mabry IV as an old soul, isn’t keen on vengeance. He summons an inner strength, shows how mature he is, and opts out.

Despite her questionable choices, his Gertrude-like mother relies on him to be steady – “You don’t get to go crazy,” she says when everything seems topsy-turvy.

Juicy breaks the fourth wall to comment on what we’re seeing and what expectations we might have, which is another departure from tradition.

Marshall W. Mabry IV as Juicy, now dressed for the party, with Angela Wildflower as Tedra on the porch. Photo by Howard Ash.

Friends and neighbors come to the party with their own baggage. The only real tragedy is that the characters are types who have never been allowed to be themselves. Tension escalates between the mean-dog uncle/stepfather and Juicy can’t relax and be true to himself.

Pass the potato salad as insights are revealed and the core group question their choices. Nods to the Bard’s great tragedy are in the form of a clever game of charades instead of an elaborate wedding banquet entertainment.

Patrick Huber’s scenic design is a marvel of form and function, creating a porch and yard with nooks and crannies for action – an adjacent shed, lawn chairs for tete a tetes, picnic tables to dance on top of while using a karaoke machine.

Huber’s crisp lighting design boosted key transitions while Tre’von Griffith’s sound design punctuated the action. Music is a key component in the presentation, and Heather Himes’ choreography brings out the show’s celebratory themes.

Olajuwon Davis as Tio, Mabry, Brian McKinley as Larry and Raevyn Ferguson as Opal. Photo by Howard Ash.

Two other stagecraft veterans added oomph, too – Andre Harrington’s costumes smartly conveyed characters and Mikhail Lynn’s props accented the social interactions.

An undercurrent simmers as more truths are exposed – Larry and Opal (aka Laertes and Ophelia) are the children of Rabby, a stylish but bossy busybody version of Polonius, who pushes her children to succeed. In another feisty role, Margery Handy lays it on thick as a boisterous social butterfly while her children are reluctant to fit into polite society.

Brian McKinley is misleading as the rigid, reserved Larry, a Marine in uniform, who needs to break free from societal expectations. He’s the epitome of duty, honor, service. As a fierce Opal, Raevyn Ferguson is mopey, forced to wear a dress, but lets loose as a lesbian who gets louder and prouder. Opal has nothing in common with Shakespeare’s Ophelia, and proclaims: “I ain’t dying for nobody.”

These siblings are the most obvious characters subverting expectations. But the major source of comic relief is naturalistic actor Olajuwon Davis as Tio, a chatty, porn-addicted stoner who serves as Juicy’s unfiltered best friend, like the Bard’s Horatio.

Fat Ham Black Rep. Photo by Howard Ash.

Observing Juicy’s melancholy, he remarks: “Your Pop went to jail, his Pop went to jail, his Pop went to jail, his Pop went to jail and what’s before that? Slavery.”

While action gets heated, don’t expect a bloodbath or even tragic deaths. Even with the tamped-down violence, the legacy between fathers and sons’ bristles, as it should for effect.

Hamlet (Juicy) isn’t home from college but attends an online school instead, majoring in human resources, and he is mocked for his goals.

What might life be like if we chose pleasure over harm? That’s the core of Ijames’ work. The younger generation wants to break the cycles of violence and trauma, opting for emancipation and joy.

The ensemble leans into these timeless elements, finding their voices and defying stereotypes. Juicy would rather live his truth out loud and doesn’t need to conform. The best thing about this twist? We are allowed to revel in his hard-fought victory — and in other characters’ liberations as well.

Mabry in the Hamlet role as Juicy. Photo by Howard Ash.

The St. Louis Black Repertory Company presents “Fat Ham” from May 20 through June 7 at The Edison Theatre on the campus of Washington University in St. Louis. The play is 1 hour and 45 minutes, without intermission. This production concludes the 49thseason. Tickets and information for performances are available at theblackrep.org or through the Box Office at 314-534-3807. Reduced pricing is available for seniors, educators, museum staff, students, and groups of 12 or more

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KSDK Anchor Travis Cummings to Host 26th Annual Arts For Life’s Best Performance Awards June 14

KSDK Anchor Travis Cummings to Host 26th Annual Arts For Life’s Best Performance Awards June 14

Tickets are currently on sale for Arts For Life’s 26th Annual Best Performance Awards at 2 p.m. on Sunday, June 14, which will honor excellence in community musical theater and youth productions.

The ceremony will take place at the Skip Viragh Center for the Performing Arts at Chaminade High School. Travis Cummings, KSDK news anchor and journalist, will be the master of ceremonies. Diana Enloe is the recipient of a Lifetime Achievement Award.

Winners will be announced in 30 categories. Elwyn Dignam and Allison O’Daniels have already been announced as co-recipients of the Best Youth Featured Dancer Award for their performances as Phil Davis and Judy Haynes in “White Christmas.”

Numbers from the three categories of nominated musicals will be performed, including “Always, Patsy Cline,” “Bright Star,” “Fiddler on the Roof,” “A Gentleman’s Guide to Love and Murder,” “Groundhog Day,” “It Shoulda Been You,” “Little Women” “Hadestown Teen Edition,” “Matilda,” “The Prom,” and “White Christmas.”

The Gateway Center for the Performing Arts in Webster Groves and Monroe Actors Stage Company in Waterloo, Ill., lead all groups with 24 nominations each. GCPA has 11 for “The Prom,” eight for “The Wizard of Oz,” and five for “Into the Woods,” and MASC has 23 for “Fiddler on the Roof” and one for “Jekyll & Hyde.”

Next with 23 nominations is the Young People’s Theatre in St. Charles – 10 for “White Christmas,” seven for “Bright Star” and six for “Matilda.”

The Kirkwood Theatre Guild in Kirkwood, Mo., received 12 for “A Gentleman’s Guide to Love and Murder,” Center for the Creative Arts in University City has 12 for “Hadestown Teen Edition,” Christ Memorial Productions in South County has 10 for “Little Women,” Act Two Theatre in St. Peters has nine for “Always, Patsy Cline” while Hawthorne Players in Florissant has nine for “Groundhog Day.”

For more information on nominations, visit www.artsforlife.org

Travis Cummings

Master of Ceremonies Travis Cummings is an award-winning, multi-skilled journalist and anchor of Today in St. Louis Weekend Edition on KSDK (5 On Your Side). He joined the station in December 2021 from WRCB in Chattanooga, Tenn., where he spent two years as a reporter and fill-in anchor. Before that, he worked as a weekend anchor and multimedia journalist at KEVN in Rapid City, South Dakota.

A native of New Orleans, Travis earned his degree in Communication Arts – Journalism from Spring Hill College.He is currently pursuing a master’s degree in Emerging Media from Loyola University Maryland.

Travis Cummings

“I became a journalist because I believe storytelling can spark emotion, inspire change, and give people a voice—something I strive to do every day by helping people feel heard and supported,” he said.

In 2023, Travis won an Emmy Award and a Missouri Broadcasters Association Award for his work on the special program “RACE: Listen. Learn. Live” about teenagers, highlighting the Inner Ear Urban Youth Orchestra, founded by a young woman in the metro east to teach string music and create a creative outlet for local youth.

In 2025, he earned a Regional Edward R. Murrow Award for his work on the Voices of Ferguson special, which was also nominated for an Emmy.

In 2024, Travis was named a Salute to Blacks in Media honoree by the Urban League of Metropolitan St. Louis—one of the youngest journalists ever to receive the honor—recognized for his standout storytelling and commitment to uplifting black and brown voices. That same year, he received the Black Pride St. Louis President’s Award for his community impact.

Beyond the newsroom, Travis has a lifelong love for the performing arts. In 2023, he starred as Harpo in the BPA-winning production of “The Color Purple.” He has also appeared in New Line Theatre’s Broadway Noir for the past two years and performed in the 2025 premiere production of “When It All Falls.” His other stage credits include “The Full Monty” and “The Laramie Project.”

Travis also serves as vice president of the National Association of Black Journalists–St. Louis Chapter, where he leads the annual Student Minority Journalism Workshop, mentoring high school students in the art of storytelling. He is an active member of the national organization and is also a member of Black Pride St. Louis.

Diana Enloe

In a career that has spanned more than six decades, Diana Enloe has enriched the St. Louis area theater community through her artistry, leadership and mentorship.

Diana Enloe

A Granite City native and graduate of Illinois State University, Diana devoted her career to teaching drama and speech at Alton and Wood River public high schools, Southern Illinois University-Edwardsville, and Lewis and Clark Community College.

She also directed productions at Alton Marquette High School and St. Louis Community College – Florissant Valley.

As a director and choreographer, Diana has staged more than 30 productions at seven different schools and colleges, and more than 25 community productions with Alton Little Theater, Curtain’s Up Theater Company and The Pinky Swear Project. As a performer and director, she has received numerous accolades through Arts For Life’s awards.

For the past 25 years, she has also been a driving force behind Vintage Voices, a popular annual production in which actors portray individuals from Alton’s history in live performances at Alton Cemetery.

For Diana, theater is more than performance. “It is truth telling, community building, and an act of generosity,” she said. With her passion for art, she continues to touch many lives, as a role model and friend.

Event Information

The Skip Viragh Center is located at 425 South Lindbergh Blvd. Seating is reserved and doors will open at 1:30 p.m. Formal attire is requested.

Tickets to the show are $30 each with a $2 service fee added, and available online at: https://arts-for-life-2.square.site/ and can be picked up at the box office on event day.

Please let us know which theatre group or individual you would like to sit with in the “notes to seller” section at checkout or email Kim at [email protected].

For special seating needs or other concerns, contact [email protected]. Handicapped seating is available.

A cash bar will be available, with drinks and light snacks for purchase.

 “These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, president of Arts For Life.

Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it in the St. Louis metropolitan and metro-east Illinois region.

Groups participating in this year’s BPAs include Act Two Theatre Company, Alfresco Productions, Center for the Creative Arts, Christ Memorial Productions, Curtain’s Up Theater Company, Gateway Center for the Performing Arts, Goshen Theatre Project, Hawthorne Players, Ignite Theater Company, Kirkwood Theatre Guild, Kirkwood Youth Theatre, Monroe Actors Stage Company, O’Fallon Theatre Works, Take Two Productions and Young People’s Theatre.

For more information, visit the website at www.artsforlife.org

Season 4 of ‘Ted Lasso’ Returns to Apple TV on Aug. 5

Season 4 of ‘Ted Lasso’ Returns to Apple TV on Aug. 5

Apple TV has revealed the premiere date for the highly anticipated fourth season of global hit series “Ted Lasso,” starring and executive produced by Emmy Award winner Jason Sudeikis. “Ted Lasso” season four will make its global debut on Wednesday, August 5, 2026 with one episode, followed by new episodes every Wednesday through October 7.

Season four marks the return of fan favorites including Emmy Award -winner Hannah Waddingham, Juno Temple, Emmy Award -winner Brett Goldstein, Brendan Hunt and Jeremy Swift, alongside new additions Tanya Reynolds, Jude Mack, Faye Marsay, Rex Hayes, Aisling Sharkey, Abbie Hern and Grant Feely.

In season four, Ted returns to Richmond, taking on his biggest challenge yet: coaching a second division women’s football team. Throughout the course of the season, Ted and the team learn to leap before they look, taking chances they never thought they would.

“Ted Lasso” season four adds Emmy Award -winner Jack Burditt as executive producer under a new overall deal with Apple TV. Sudeikis stars and executive produces alongside Hunt, Joe Kelly, Jane Becker, Jamie Lee and Bill Wrubel. Goldstein serves as writer and executive producer alongside Leann Bowen. Sarah Walker and Phoebe Walsh will serve as writers and producers for season four, and Sasha Garron co-produces.

Julia Lindon will write for season four, and Dylan Marron will serve as story editor. Bill Lawrence executive produces via his Doozer Productions, in association with Warner Bros. Television and Universal Television, a division of NBCUniversal content. Doozer’s Jeff Ingold and Liza Katzer also serve as executive producers. The series was developed by Sudeikis, Lawrence, Kelly and Hunt, and is based on the preexisting format and characters from NBC Sports.

Following its global debut on Apple TV, “Ted Lasso” broke records and quickly earned praise from fans and critics all over the world. The first season became the most Emmy® Award-nominated comedy series, and the series went on to land rare back-to-back Outstanding Comedy Series Emmys® for its first two seasons on air.

The first three seasons of “Ted Lasso” are now streaming globally on Apple TV.

Here is the teaser trailer: https://youtu.be/PxZg4SfIURg?si=XR4FosCREeq5wkZS

Music Is Focus In ‘Michael’ Biopic from Jackson Family Perspective

Music Is Focus In ‘Michael’ Biopic from Jackson Family Perspective

By Lynn Venhaus

In contemporary biopics, well-known artists are usually presented in a typical template – rags to riches, bumpy roads and triumphs during a specific period, not spanning womb to tomb, and “Michael” doesn’t stray from that formula.

How this narrative distinguishes itself, in this Jackson family-produced portrait of their singular superstar, is the undeniable impact of his music and the memorable pop culture moments that Michael Jackson was a part of during his brief life. (He died at age 50 on June 25, 2009).

The story of the “King of Pop” begins in the mid-60s in Gary, Indiana, through the Jackson 5 success and their relocation to a family compound, Hayvenhurst, in Encino, Calif., to his breakout solo career, stopping at his “Bad” World Tour in 1988.

As an artistic innovator who redefined music, dance and music videos, he was known as a perfectionist who had a relentless work ethic. That is also shown in “MJ The Musical,” which opened on Broadway in 2022 and continues to tour the country, concentrating on rehearsals for Jackson’s 1992 Dangerous World Tour, and his career pressures.

Michael’s real-life nephew Jaafar Jackson portrays his uncle.

His creative genius and masterful songwriting skills are the major focus of this dramatization, while displaying his painfully shy and sensitive personality. There are glimmers of his compassion (visiting children in hospitals) and humanitarianism (although it doesn’t touch on “We Are the World” or his Heal the World Foundation).

Key moments include meeting Berry Gordy (Larenz Tate) at Motown, and his collaborations with Quincy Jones (Kendrick Sampson) on his first solo album “Off the Wall” in 1979 and then “Thriller” in 1982, which remains the best-selling album of all-time.

But the film really comes alive during the iconic pop essentials – filming of the landmark “Thriller” video, a choreography rehearsal for “Beat It,” the stunning introduction of his famous “moonwalk” on the Motown 25th anniversary special in 1983, besides his solo and group performances with his brothers Jermaine (Jamal R Henderson), Jackie (Joseph David-Jones), Tito (Rhyan Hill), and Marlon (Tre Horton).

Those scenes bristle with electricity and give the film its heartbeat. Jaafar Jackson, who is Jermaine Jackson’s son and Michael’s nephew, is remarkable in his uncanny portrayal of Michael from his teen years on, while Juliano Krue Valdi portrays him at age 10.

Jaafar has the moves, the speech pattern and the megawatt smile down pat, and Valdi is incandescent as the ebullient child singer fronting the Jackson Five. Suffice it to say he thrived in the spotlight. It’s the real-life stuff he had difficulties with (although it’s only hinted at briefly).

The struggles with his controlling and abusive father Joseph (Colman Domingo) and sweet but passive caretaker mother Katherine (Nia Long) are shown, but the family’s input on this heavily redacted narrative is obvious. After all, the list of producers includes everyone but his sister Janet and his daughter Paris. who did not sign off on this version.

So, you know you are getting a sanitized version of his life. This is the story the family wants to tell, and this is the movie that resulted – 2 hours and 15 minutes, from modest beginnings in Gary, Ind., to stopping at his Bad World Tour at Wembley Stadium the summer of 1988. Supposedly, a second part is in development. (To be continued, a screen says at the end).

If you want juicier details, look elsewhere. But if you want an entertaining slice of life that takes you back to the days when you first heard Michael Jackson and saw his evolution in the music business, those scenes pop with energy and excitement.

Colman Domingo as domineering Jackson patriarch Joseph.

Antoine Fuqua, who has directed action movies like “Training Day” and “The Equalizer,” helmed this, and his early career as a music video director is evident. His concert footage is beautifully shot by cinematographer Dion Beebe, who captures the electricity of live performances.

They also recreate the 1984 filming of the Pepsi commercial accident where Michael’s hair caught on fire from pyrotechnics and he suffered second and third degree burns on his scalp. That alludes to taking painkillers, which later caused issues for the star.

Screenwriter John Logan, who has been nominated for three Oscars for writing “Gladiator,” “The Aviator” and “Hugo,” and won the Tony Award for Best Play with “Red” in 2010, knows how to weave a compelling tale about larger-than-life personalities.

Logan also highlights Jackson as a savvy businessman, knowing exactly what he wanted, in meeting scenes with record company executives and managers.

the early beginnings of the Jackson 5 band.

This film was made for his legions of fans, and from the preview audience reaction, this will be a massive crowd-pleaser for those who separate the art from the artist, and is not for the cancel culture.

In quieter life moments, the film touches on Michael’s loneliness as a boy, his retreat into a fantasy life involving Peter Pan, old Hollywood movies, and his big dreams to be the best at what he did as an entertainer. It’s meant to tug at the heartstrings, the perennial man-child dilemma..

Yet, the film shows a loving relationship between Michael and his brothers — even when they’ve grown up and he hasn’t. In their younger days, those roles are played with great zest by Jayden Harville as Jermaine, Jaylen Lyndon Hunter as Marlon, Judah Edwards as Tito, and Nathaniel Logan McIntyre as Jackie, with Amaya Mendoza as a young LaToya.

His eccentricities include housing exotic animals that were a major part of his menagerie, including Bubbles the Chimp (a horrible CGI visual)..

The cast includes Laura Harrier as sharp Motown talent scout and later executive Suzanne de Passe, Jessica Sula as La Toya, KeiLyn Durrel Jones as Michael’s bodyguard/confident Bill Bray, and Miles Teller as lawyer and manager John Branca, who is also credited as a producer. Branca is co-executor of the Michael Jackson Estate.

Mike Myers, who also had a cameo in “Bohemian Rhapsody,” shows up here as CBS Records president Walter Yetnikoff, who puts the squeeze on MTV to play Michael Jackson’s “Billie Jean” in heavy rotation, threatening to pull his artists like Bruce Springsteen, Journey, Billy Joel, and other big names on the label if they didn’t.

While “Michael” is not a documentary or a complete picture, this fictional account encapsulates how Jackson’s talent endures and reminds the audience why they admired his unique four-decade contributions. This is definitely geared to a specific audience who is willing to get lost in the music.

“Michael” is a 2026 music drama biography about the late Michael Jackson, produced by his family and estates. It is directed by Antoine Fuqua and stars Jaafar Jackson, Colman Domingo, Nia Long, Juliano Krue Valdi, Larenz Tate, Kendrick Sampson, KeiLyn Durrel Jones, Ryan Hill, Miles Teller, Mike Myers, Jamal R. Henderson, Joseph David-Jones, Tre Horton, Jessica Sula and Laura Harrier. The film runs 2 hours, 15 minutes and is Rated PG-13 for some thematic material, language, and smoking. It opens in theatres April 24. Lynn’s Grade: B

Tickets on Sale for Arts For Life’s Theatre Mask Awards April 25

Tickets on Sale for Arts For Life’s Theatre Mask Awards April 25

Professional Actress Amy Holland Pennell Will Host

John K. Mefford to posthumously receive the Lifetime Achievement Award

Clayton Community Theatre leads all community theater groups with 22 nominations for this year’s 11th annual Theatre Mask Awards, followed by Kirkwood Theatre Guild with 17, Monroe Actors Stage Company in Waterloo, Ill., with 14, and O’Fallon Theatre Works” with 10.

Sponsored by the non-profit organization Arts For Life, the TMAs will take place starting at 11 a.m. on Saturday, April 25, at the Royale Orleans banquet center, 2801 Telegraph Road, St. Louis, Mo. 63125. Doors open at 10:30 a.m.

The Theatre Mask Awards, which began in 2015, honors comedies and dramas produced by local community theatre companies. Awards will be presented in 17 categories in production, performance and creative design.

Among the 2025 plays garnering the most nominations are CCT’s “Who Killed Aunt Caroline?” with 11 and “The Graduate” with 9; KTG’s “Into the Breeches” with 8 and “God of Carnage” with 7; OTW’s “The Complete Works of William Shakespeare Abridged” with 9; and MASC’s “Outside Mullingar” with 8 and “Crimes of the Heart” with 5.

Goshen Theatre Project in Collinsville’s production of ‘The Lion, The Witch and The Wardrobe” earned six nominations. Other theater companies participating in AFL include Act Two Theatre, Alfresco Productions, Hawthorne Players, KTK Productions and Theatre Guild of Webster Groves.

Nominations are listed at artsforlife.org

This year’s master of ceremonies is award-winning actress Amy Holland Pennell, and the Lifetime Achievement Award winner is John K. Mefford, who died in January after supporting community theater as a performer, volunteer and patron throughout adulthood.

Amy Holland Pennell

A native of Granite City, Ill., Pennell is a professional actress who has appeared in movies, television shows and on stage in plays and musicals.

Amy Holland Pennell

She earned Bachelor of Arts degrees in theatre and communication at Saint Louis University, honored as the outstanding graduate for performance and academic excellence. During her days here, she was a captain of the NFL St. Louis Rams Cheerleaders.

She has had recurring and guest-starring roles on HBO’s “The Newsroom,” Nickelodeon’s “Instant Mom,” Disney’s “Mighty Med,” CBS’s “NCIS: Los Angeles” and “How I Met Your Mother,” FX’s “It’s Always Sunny in Philadelphia” and ABC’s “Scandal.”

Her movie roles include “I Am,” “The Importance of Doubting Tom,” “Game Day” and “Exorcist House of Evil.”

On stage, she has played such iconic characters as Eliza Doolittle in “My Fair Lady,” Abigail in “The Crucible,” and Annie Sullivan in “The Miracle Worker.”.

Pennell said she remains deeply grateful for her faith, family, and friends, and continues to bring passion, heart, and humor to everything she does—onstage, on camera, and in life.

.John K. Mefford

John K. Mefford

Mefford, a lifelong resident of southern Illinois and longtime Granite City resident, passed away on Jan. 31, 2026, leaving behind a legacy of storytelling, service, and unforgettable characters—both on and off the stage.

 For 25 years, John served the Six Mile Regional Library District, where generations came to know him fondly as “the bookmobile guy.” He considered libraries were living places—vehicles of imagination, history, and connection—and he brought books, curiosity, and kindness to every stop he made.

 A lifelong lover of history, John immersed himself fully in the past. He was a dedicated historical reenactor with the Milice de Ste. Famille, a member of the Victorian Mourning Society of St. Louis.

That same passion for embodiment and storytelling carried naturally onto the stage. An accomplished actor who performed with Masquers, Summerstage, Alfresco Productions, and many others.

In recent years, John became a beloved part of St. Charles Christmas Traditions, portraying Clement Moore, author of “A Visit from St. Nicholas.” His readings of “’Twas the Night Before Christmas” enchanted audiences with warmth and humor.

Among his favorite roles were in “1776,” “The Rocky Horror Show” and “Alice in Wonderland.”

He was a cherished father, grandfather, husband, brother, friend and colleague who will be remembered for his generosity, creativity, and unmistakable spirit.

Tickets for Sale

Combination tickets for both TMAs and BPAs are available for $50 with a $2 service fee but must be purchased by April 10. After that, each event is $30 plus the $2 service fees.

Tickets are available at: https://arts-for-life-2.square.site/. Table seating is available at 10 per table. Cocktail attire is suggested. A buffet meal will be served, and a cash/card bar will be available.

The menu includes top round of beef with special LaFitte sauce, chicken parmesan, home-style green beans, pasta primavera, potatoes royale, salad and fresh bakery bread with butter. Special cupcakes from the Blue Owl Restaurant and Bakery in Kimmswick, Mo., are dessert.

Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.

For more information, email [email protected] or visit the website.

‘Playlist: Symphony Happy Hour’ – John Williams Finds Its Power in the Invitation

‘Playlist: Symphony Happy Hour’ – John Williams Finds Its Power in the Invitation

By CB Adams

There is a particular intelligence in how the St. Louis Symphony Orchestra has shaped its “Playlist: Symphony Happy Hour” series, and it has less to do with programming than with invitation. These one-hour concerts feel calibrated for the way people actually live now, attentive to time, to curiosity, and to the social dimension of music that often gets sidelined in more formal settings.

This “Playlist: Symphony Happy Hour — John Williams” evening, led by Stéphane Denève, offered the expected pleasures, iconic themes, gleaming orchestration, a shared recognition that rippled easily through the hall. Yet one of the most engaging elements arrived before the downbeat.

Denève’s brief, lucid introductions opened a window into Williams’ compositional thinking, drawing connections across scores and highlighting how closely related some of these themes are in their construction.

They carried the same quiet pleasure as a poet stepping forward to frame a work before reading it, offering just enough origin and intention to deepen what follows without overdetermining it. His explanation of the “Lydian” quality in Williams’ writing, that lifted, slightly otherworldly brightness created by a raised fourth, gave listeners a way into the sound itself.

Stephane Deneve

Paired with his observation about the kinship between the musical DNA of “Star Wars” and “E.T.,” the effect was cumulative, sharpening the ear and turning what might be passive recognition into active listening. It is a small intervention with an outsized effect.

The more lasting impression, though, came from the frame around the music. The option to enjoy a drink, a concise set of insights, and the easy permeability between audience and musicians before and after the performance created something closer to a salon than a concert. It is a format that lowers the threshold without lowering the standard.

The series understands that access is not dilution. It is design. By compressing the program into a single, purposeful hour, Playlist concerts sharpen attention and invite newcomers without asking them to decode tradition first.

For seasoned listeners, there is a different reward, the chance to hear familiar repertoire reframed, and to experience the orchestra as a living, social organism.

If there is a drawback, it is a telling one. This Playlist made a compelling case for itself, and in doing so, it sparked a quiet regret at not being able to take in the orchestra’s full weekend program. A smart entry point that leaves you wanting the deeper dive.

The SLSO’s “Playlist: Symphony Happy Hour — John Williams” was presented March 19 at Powell Hall.

Deneve conducts the SLSO during a rehearsal for a Playlist.

Photos provided by the St. Louis Symphony Orchestra.

Space Odyssey ‘Project Hail Mary’ Is a Heavenly Heart-Tugging Triumph

Space Odyssey ‘Project Hail Mary’ Is a Heavenly Heart-Tugging Triumph

By Lynn Venhaus
Clever, funny and heart-tugging – all the crucial qualities for a crowd-pleasing movie – are abundant in “Project Hail Mary,” an unlikely epic space opera that feels intimate with a smart script that isn’t dumbed down for mass appeal but comprehensible nonetheless.

Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out.

He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction — but an unexpected friendship means he may not have to do it alone.

Savvy minds, rejoice! Respectfully silly at times and eager to please in one of the year’s most entertaining offerings, wildly creative directors Phil Lord and Christopher Miller take us on a journey that never loses sight of what connects us as earthlings and in the universe.


Oscar winners for the 2018 best animated feature, “Spider-Man: Into the Spider-Verse,” Miller and Lord have a track record of turning films like “The Lego Movie” and “The Mitchells vs. The Machines” not only into innovative works but surprising emotionally rich stories too.

“Project Hail Mary” is the perfect vehicle to showcase their strengths, combining scientific theory with solid storytelling. They found the heartbeat in Andy Weir’s best-selling 2021 sci-fi novel by casting Ryan Gosling as Ryland Grace, a lovable middle school science teacher who is clearly capable of pushing boundaries with his molecular biologist research.

Grace is tapped by a task force to help uncover why the Sun is dimming, leading to the formation of a dim infrared line from the sun to Venus dubbed the Petrova line, which would cause a catastrophic ice age within 30 years.

Asked to study a sample from the Petrova line, he discovers it is made up of single-celled organisms that consume electromagnetic radiation. He calls it ‘astrophage,’ and it breeds by absorbing energy from the Sun and carbon dioxide from Venus.


Without getting too much into the weeds, this astrophage is infecting stars, too, and a nearby star, Tau Ceti, is where the “Hail Mary” spaceship is bound. Grace is reluctant to participate in this space probe, which likely means he may not make it back home, but Eva Stratt, superbly played by Sandra Huller, is persistent.

Drew Goddard’s nimble screenplay adaptation makes it all understandable, while Gosling does the heavy lifting. With his megawatt charm, quick wit, and agility to immerse himself in any character, Gosling slam-dunks the Everyman-turned-superhero role.

If he is the soul, then the alien Rocky is the heart. Emphasizing empathy, the movie turns into an affectionate buddy relationship after Grace emerges 13 years later aboard the Hail Mary. Once he figures out things, he discovers he is not alone.

Enter an alien being, which he dubs Rocky. To communicate with this eyeless, spider-like five-legged creature, he develops a system, and Rocky, a skilled engineer, is trying to save his star home too, so they collaborate. And thus, the beginning of a beautiful friendship. James Ortiz voices the creature.


Hooray for the creators who resisted having a strictly CGI creature, but instead, puppeteers maneuvered this “Rocky.” We like our aliens lovable (“E.T.: The Extra-Terrestrial” being the prime example), and Rocky strikes a common chord, as homesick as E.T. and as logical as half-Vulcan Mr. Spock on “Star Trek.”

For its celestial atmosphere, cinematographer Greig Fraser, Oscar winner for “Dune,” blends digital technology with practical realism, and expertly crafts shadows and light. Composer Daniel Pemberton ingeniously uses organic matter, like glass and a squeaky water tap, and percussive sounds, to flavor his interesting score. He also uses choirs for a grand effect.

The use of Harry Styles’ 2017 song, “Sign of the Times,” in a karaoke scene, is a standout, beautifully underscoring the film’s themes.

The movie’s supporting players include Lionel Boyce, Emmy nominee as pastry chef Marcus on “The Bear,” as a government security guy, and Ken Leung and Milana Vayntrub as astronauts.


Goddard, an Oscar nominee for “The Martian,” another Weir novel, deftly delivers the contrast in big ideas and caring for others. Weir’s characters are indelible on the page, and Goddard makes them as memorable on the big screen.

Yes, it’s a long film, at 2 hours, 36 minutes, but it never loses momentum.

A thrilling triumph, “Project Hail Mary” is both classic in themes and far-reaching in scope, proving there is an audience for high-stakes storytelling that hits all the feels in a visually stunning cinematic experience.

“Project Hail Mary” is a 2026 space sci-fi thriller directed by Phil Lord and Christopher Miller and starring Ryan Gosling, Sandra Huller, Lionel Boyce, Ken Leung and Milana Vayntrub, It is rated PG-13 for some thematic material and suggestive references and the run time is 2 hours, 36 minutes. Opens March 20 in theaters. Lynn’s Grade: A-