Lynn Venhaus

Total Post: 1142

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.

Southwestern Illinois Creative Arts Syndicate Announces Fall Schedule

Southwestern Illinois Creative Arts Syndicate Announces Fall Schedule

Listen to a guest speaker, view student films, gaze upon art or enjoy the sounds of the United States Air Force Band of Mid-America at Southwestern Illinois College this fall.
The college’s arts series, called the Southwestern Illinois Creative Arts Syndicate, features a variety of events ranging from the Film and Mass Communication programs’ open house Sept. 25 to a lecture and demonstration by film makeup artist Jeff Lewis on Oct. 22, and the SWIC Holiday Concert Dec. 4.
“There is something for everyone whether you’re into chamber music, love art or want to find out more about filmmaking,” said Nicole Dutton, Schmidt Art Center curator. “We want our students and the community to enjoy the arts right here in the Metro East.”
The fall 2018 SWICARTS calendar is below. For details on individual events, visit swic.edu or facebook.com/swicarts.

SPEAKER SERIES 
Sept. 18 – Guest Lecture: SWIC Clarinet Instructor Meghan Yankowskas, 2 p.m., The Schmidt
Sept. 19 – Guest Lecture: Humans of STL Creator Lindy Drew, 3 p.m., The Schmidt
Oct. 3 ­­­– Faculty Speaker: Associate Professor of Music Ed Jacobs­ – Operatic Empathy, 3 p.m., The Schmidt
Oct. 22 – Guest Lecture and Demonstration: Jeff Lewis – Film Make Up Artist, 6 p.m., The Schmidt
Oct. 23 – Sound Meditation with Pati Pellerito, 4:30 p.m., The Schmidt
Nov. 1 – Guest Lecture: Sarah Borgstede – Empathy, Government, and YOU: Advocacy with RESULTS, 3 p.m., The Schmidt
Nov. 7 – Faculty Panel Discussion: Dan Cross, Paula Haniszewski, Ed Jacobs and Julie Willis – 2001: A Space Odyssey The Film Reviewed after 50 Years, 3 p.m.,
The Schmidt
Nov. 15 – Tellebration: A Storytelling Event, 6 p.m., The Schmidt
FILM  
Oct. 29 – Documentary Film Screening: ‘Whose Streets’ Co-Directed by Sabaah Folayan and Damon Davis, 11 a.m., 3 p.m., 7 p.m., LAC Theater
Nov. 20 – Alumni Student Film Screening: ‘A Blast from the Past,’ 3 p.m., LAC Theater
ART 
For exhibition information, visit swic.edu/theschmidt.
Oct. 25 – Finocchio-Clary-Barnes-Méthot Exhibition Opening Reception, 4-7 pm., The Schmidt
Nov. 29 – Pottery Sale, 10 a.m. to 2 p.m., The Schmidt
MUSIC  
For concert information, visit swic.edu/music.
Sept. 18 – Music Faculty Recital: Meghan Yankowskas, Electric Clarinet 3 p.m., The Schmidt
Sept. 25 – Chamber Music Recital: U.S. Air Force Band of Mid-America 7 p.m., The Schmidt
Oct. 19 – Jr. High Band Concert: Empathy Is Created – Teaching Human Beings Through Music ALL DAY, Varsity Gym
Oct. 20 – SWIC Choirs & St. Paul UCC Chancel Choir: From the Heavens to Earth 7 p.m., St. Paul United Church of Christ, Belleville
Oct. 30 – Chamber Music Recital: Sound Czech, 7 p.m., The Schmidt
Oct. 31 – SWIC Student Recital, 3 p.m., The Schmidt
Nov. 3 – No-Name Chorale 7 p.m., The Schmidt
Nov. 5 – Jazz Band: America’s Original Art 7 p.m., MC Theatre
Nov. 15 – SWIC Concert Band: Salvation is [Re]Created 7 p.m., St. Clare of Assisi Church, O’Fallon
Dec. 4 – SWIC Holiday Concert 7 p.m., Varsity Gym
Dec. 5 – SWIC Student Honors Recital 3 p.m., The Schmidt
Dec. 8 – SWIC Concert Choir & Chamber Singers: Carols by Candlelight IV 7 p.m., Union United Methodist Church, Belleville
MASS COMMUNICATION
Sept. 25 – Media Arts Open House, 5 p.m., LA 1342 and 1348
Oct. 5 – College Radio Day, ALL DAY Listen on Blue Storm Radio on TuneIn
About the cover photo: A photograph of a bike in Venice is from the Schmidt Art Center’s current exhibition, “Art at the Speed of Light” by Donald Bevirt, which opened Aug. 23 and runs through Oct. 5.

Strong Acting Complements Rich Voices in Stirring ‘Lost in the Stars’ Opera

Strong Acting Complements Rich Voices in Stirring ‘Lost in the Stars’ Opera

By Lynn Venhaus
Managing Editor
A compelling plea for compassion and understanding, Kurt Weill’s mighty “Lost in the Stars” will break your heart and uplift your spirit in Union Avenue Opera’s stirring production.
This ambitious vibrant opera features more than 50 performers, many new to the art form, and that provides some of St. Louis’ finest dramatic artists with an opportunity to stretch their acting muscles. Under Shaun Patrick Tubbs’ fluid direction, they seamlessly blend into Weill’s powerful operatic retelling of “Cry, the Beloved Country.”
Alan Paton’s 1948 novel is set in South Africa during the 1940s era of apartheid, a time of great racial and economic divide. Adapted the following year into the opera “Lost in the Stars,” Weill wrote his last score, and famed historical playwright Maxwell Anderson wrote both the book and lyrics.

This hard-hitting work resonates today, demonstrating a need for humanity in a time of intolerance, misunderstanding and prejudice.
Rev. Stephen Kumalo (Kenneth Overton) travels to Johannesburg, and hopes to locate his son, Absalom (Myke Andrews), whom he hasn’t seen for a year. At the railroad station, he talks to Arthur Jarvis (Stephen Peirick), a white lawyer who is a benefactor of the church and believes in treating all people the same. He is with his disapproving father, wealthy plantation owner James Jarvis (Tim Schall), whose bigotry runs deep.
While Absalom is out on parole for a crime and is living with Irina (Krysty Swann), pregnant with their child, he is convinced to be part of a burglary with two others. It’s at the Jarvis plantation, but Arthur walks in and is shot by Absalom, who got flustered and scared. A legal scheme is hatched for acquittal but Absalom will have none of it, he confesses and while honorable, will be sentenced to death.
The Reverend can’t save his son, and the elder Jarvis has lost a son too. Eventually some common ground can be achieved. But it’s a hard road, and old ways must be forgotten to forge a new understanding.
In an emotional powder-keg of a role, Kenneth Overton soars with his potent baritone and poignant renditions of every number.  He pulls everyone’s heartstrings tight and has the ability to take your breath away and reduce you to tears. His showstopping “Lost in the Stars” delivery to close Act I is haunting and will remain one of my favorite and best moments of Union Avenue Opera’s 24th season.
He anchored an outstanding youthful ensemble displaying a notable energy and passion. Speaking roles included Jeanitta Perkins as Grace Kumalo, Stephen’s wife and Absalom’s mother; Reginald Pierre as Stephen’s lawyer brother John; Carl Overly Jr. as burglar Matthew Kumalo, Abraham Shaw as burglar Johannes Pafuri and Chuck Lavazzi as parole officer Mark Eland. Their mastery of their Afrikaner accents and their projection was noteworthy.
Tim Schall and Stephen Peirick excelled in their roles as the Jarvis father and son on opposite ends of their beliefs.
Myke Andrews, who was impressive in The Black Rep’s “Torn Asunder” and Metro Theatre Company’s “Bud, Not Buddy,” turned in his best work yet as Absalom. He is stunning, maneuvering a wide range of emotions with conviction. His ‘goodbye’ scene will rip your heart and have you reaching for tissues, along with soprano Kristy Swann as Irina, showcasing a warm rich voice.
Rising star Melody Wilson has a fetching turn as Linda and Roderick George sang the Leader role with authority.
Young Charlie Mathis, so impressive as Dill in “To Kill a Mockingbird” at The Rep, was at home here as Arthur Jarvis’ young son, Edward, as was Sherrod Murff as Alex, Stephen Kumalo’s nephew. Sherrod delivers a sweet solo song at a time where a break from all the intense melodrama was welcome.
Artistic Director Scott Schoonover conducted the orchestra with crisp precision, emphasizing the cultural context in a meaningful way. And the orchestra was quite robust.
The creative team also contributed key elements to the overall period feel of the production. James W. Clapper’s lighting design was eloquent, and his “stars” lighting a few at a time was just beautiful. Teresa Doggett’s costume design nailed the time and place, as did Roger Speidel’s minimal set design that doubled as multiple interiors with ease.
“Lost in the Stars” delivers a forceful message with not only an urgency but with kindness. It remains a timeless work of historical significance that needs to be seen now.
“Lost in the Stars” is presented by Union Avenue Opera for four performances Aug. 17, 18, 24 and 25 at the Union Avenue Christian Church. For more information, visit ww.unionavenueopera.org.

Photos by John Lamb

Go See a Play! What’s Happening Aug. 23 – 29

Go See a Play! What’s Happening Aug. 23 – 29

By Lynn Venhaus
Managing Editor
It’s back to school and back to work after vacation as summer winds down. It’s also back to the boards for local theater companies, as we do not have any openings, only shows returning for more performances.
The St. Louis Fringe Festival returns, as voices continue to be unleashed Thursday through Saturday in the Grand Arts Center.
Two showcases for primo voices have final performances this weekend, so you do not want to miss “The Light in the Piazza” and Kurt Weill’s “Lost in the Stars.”
And the drama goes on in Jean-Paul Sartre’s “No Exit” and “King Charles III.”
Go, See a Play!

Britteny Henry and James Reiss. Photo by Ron James.“King Charles III”
St. Louis Shakespeare
Aug. 17 – 26
The Ivory Theatre
7620 Michiganwww.stlshakespeare.org
314-361-5664
What It’s About: Mike Bartlett’s controversial 2014 play is “a future history” about what happens after Queen Elizabeth II dies, and the prince ascends to the throne after a lifetime of waiting. But how to rule? Who are these people beneath the crowns, the conscience of Britain’s most famous family and the unwritten rules of our democracy.
Director: Donna Northcutt
Cast: Colin Nichols, Jeremy Goldmeier, Andra Harkins, Britteny Henry, Lexie Baker, Michael Bouchard, Patience Davis, Hannah Pauluhn, Donna Postel, James Reiss, Jeff Lovell and William Pendergast.
Of Note: This is the first production of St. Louis Shakespeare’s 34th season.
Photo by Ron James
Kay Love as Margaret.“The Light in the Piazza”
R-S Theatrics
Fridays and Saturdays at 8 p.m., and Sundays at 7 p.m.
Aug. 10 – 26
The Marcelle Theatre
3310 Sam Shepard Drive
www.r-stheatrics.org
What It’s About: Winner of numerous Tony Awards in 2005, this musical tells the story of a young American woman vacationing with her mother in Florence in the 1950s. When the woman falls for a local Italian man, uncomfortable truths come to light about what was past and what may be future.”
Director: Christina Rios, with music direction by Sarah Nelson
Starring: Kay Martin Love as Margaret, Macia Noorman as Clara, Tielere Cheatem as Fabrizio, Stephanie Merritt as Franca, Micheal Lowe as Guiseppe, Kent Coffel as Signor Naccarelli, Jodi Stockton as Signora Naccarelli and Avery Smith as Young Clara.
Ensemble includes Robert Doyle, Lindy Elliott, Anthony Randle, Melissa Felps, Ann Heir, Chris Kernan, Jason Meyers and Louisa Wimmer.
Of Note: St. Louis premiere.
“Lost in the Stars”
Union Avenue Opera
Aug. 17 – 25
Friday and Saturday at 8 p.m.
Union Avenue Christian Church
733 Union at Enright.www.unionavenueopera.org
314-361-2881
What It’s About: Kurt Weill’s provocative work addresses the weighty moral issues of racism and injustice, more relevant now than ever in St. Louis. For his final Broadway score, Weill took “Cry, the Beloved Country” – a powerful, uncompromising social indictment of apartheid South Africa – and gave it a passionate voice.
Two aging men – a black country parson and a white British planter – are drawn into friendship by a shared grief. The parson’s faith is challenged by his son’s unintentional murder of the planter’s son, while the planter acquires faith through the loss of his son.
Director: Shaun Patrick Tubbs
Cast: Leader – Roderick George, Nita – Evan Adams*, Grace Kumalo – Jeanitta Perkins*, Stephen Kumalo – Kenneth Overton*, James Jarvis – Tim Schall*, Edward Jarvis – Charlie Mathis*, Arthur Jarvis – Stephen Peirick*, John Kumalo – Reginald Pierre*, Alex – Sherrod Murff*, Foreman – Ross Rubright, Mrs. Mkize – Rose Fischer, Hlabeni – Michael Hawkins, Mark Eland – Chuck Lavazzi*, Linda – Melody Wilson, Johannes Pafuri – Abraham Shaw*, Matthew Kumalo – Carl Overly, Jr.*, Absalom Kumalo – Myke Andrews*, Irina – Krysty Sawnn*, Burton – Anthony Heinemann and The Judge – Joel Rogier.
Ensemble – Evan Adams*, Sharifa Black*, Madeleine Buckley*, Erika Cockerham*, Laurel Ellison Dantas, Ebony Easter*, Rose Fischer, David Goldman*, Brittany Graham*, Michael Hawkins, Anthony Heinemann, Merry Keller, Lisa Khaimova*, Gina Malone, Randell McGee, Maika Miller*, Paul Herbert Pitts*, Joel Rogier, Ross Rubright, Mark Saunders, Moses Anthony Weathers* and Benjamin Worley*.
*Union Avenue Opera debut
Photo by John Lamb
“No Exit”
Slightly Askew Theatre Ensemble
Aug. 15 – Sept. 1
Wednesday through Saturday at 8 p.m.
The Chapel
6238 Alexander Drive
www.slightlyoff.org
What It’s About: Jean-Paul Sartre’s existential play “No Exit” is about three damned souls are brought to the same room in hell by a mysterious Valet. Expecting medieval torture devises to punish them for eternity, they are surprised by the deceptively simple and relatively ugly room. As they are all introduced, none of them will admit the reason for their damnation. But Inez demands that they all stop lying to themselves and confess to their crimes. The play is an exploration into the human psyche and the invisible wounds we are capable of inflicting upon others, and ourselves.
Director: Bess Moynihan
Cast: Rachel Tibbetts, Shane Signorino, Sarah Morris, Katy Keating
Of Note “No Exit” is the source of Sartre’s famous quotation ‘L’enfer, c’est les autres’ or “Hell Is Other People.”
Photo by Joey Rumpell
“Race Cars and Romance”
St. Louis Fringe Festival National Headline Act
Aug. 23 – 25
The Grandel Theatrewww.stlouisfringe.com
What It’s About: A Fringe Family-Friendly Event starring “Something Rotten!’s” Kate Bailey and Ralph Meitzler, and directed by St. Louis native and Broadway star Brandon Bieber.
“Race Cars and Romance” is a fast-paced, hilarious rom-com that tells the story of a young woman mechanic fighting to earn professional respect in the male-dominated world of stock car racing. She is torn between her desires to find love in a traditional relationship and the reality of her agitated, greasy, masculine working conditions. Her fortunes turn for the better after an unexpected meeting with an old foe and down-and-out race car driver leads to a winning relationship on the track but troubled romance off the track. Meanwhile, traditional relationships are redefined when her best friend, the playful Louraine finds her first “respectful” relationship, former shop owner Paw Paw offers dear Grandma Myrtle appreciation that’s long overdue, and other colorful customers find their connections while keeping the oil change business in non-stop laughter.”
St. Louis Fringe Festival
Aug. 23 – 25, Thursday through Saturday
Grand Arts Centerwww.stlouisfringe.com
www.MetroTix.com
What It’s About: Original material – theater, dance, music, comedy, circus arts, performance art, cabaret and burlesque – are accepted for the annual festival. Tech is minimal and shows are often brief.
Fringe builds community by connecting uncensored, unjuried performing arts with accessible and affordable performances for audiences.
Venues: Kranzberg Art Center Black Box and Studio theatres, The Duet Gallery, The Grandel and .Zack.
Here is the line-up Aug. 23-25. For dates and locations, visit www.stlouisfringe.com
“Any Man in America” – Declaration Stage Company
“The Bothered” – Rogue Theatre Company
“Broadway Favorites” – Debut Theater Company
“The Countdown” – Open House Theatre
“The Devil’s Passion” – Bankside Repertory
“Ectopic: A Hypersexual Play” – Tesseract Theatre Company
“Grim Tales, Horific Vignettes” – Spooky Scary Productions
“Intervals” – Mill Hill Productions
#MeToo, Her Voice Must be Heard” – Until You’ve Walked in Her Shoes Inc.
“Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond – The Midnight Company
“Pain” – Tony Marr Jr.
“Perennial Growth” – Whale of the People
“Political Snarkasm” – The Riccardi’s
“Race Cars and Romance” – National Headline Act
“Tall Tale Camp Tale” – On a Wing and a Prayer
“Til the Cold Winter’s Through – because, why not?

Muny Announces $20 Million Pledge For Second Century Campaign

Muny Announces $20 Million Pledge For Second Century Campaign

The Muny has announced a remarkable pledge of $20 million from The JSM Charitable Trust for its Second Century Capital Campaign. This fundraising effort will fund major capital improvements, including a complete rebuild of the Muny stage, the support, maintenance and upkeep of the aging 11.5 acre campus, and the building of the theatre’s endowment, which supports The Muny’s ever-growing education and outreach programs.
Elizabeth and James McDonnell“As one of the lead supporters of this campaign, James and Elizabeth McDonnell, through The JSM Charitable Trust, have once again set the tone for philanthropy in the St. Louis community and we are incredibly humbled and grateful to be on the receiving end of their generosity,” said Muny President and CEO Denny Reagan. “This gift helps secure a thriving future for The Muny and the generations of St. Louisans we will continue to serve.”

“There’s music and magic on that stage, but behind the scenes are dated technologies and a crumbling infrastructure that hold it all together,” said James S. McDonnell III, Trustee of The JSM Charitable Trust, Honorary Campaign Chair, Board Member and long-time Muny supporter. “This is our chance to give a gift of great value to generations and secure the future of this civic institution for years to come.”
This announcement was part of The Muny’s official kick-off event, Intermission: Setting the Stage for the Next Act, for the upcoming stage renovation. Major donors were invited for an intimate evening onstage that included brief remarks regarding the Second Century Capital Campaign and the upcoming major renovations to the theatre.
Mike Isaacson, artistic director and executive producerPhotos by Phillip Hamer

Many St. Louisans Met at The Muny This Summer: Attendance Figures Released

Many St. Louisans Met at The Muny This Summer: Attendance Figures Released

100th Season Included Two Regional World Premieres
The numbers are in: 393,398 people attended the Muny’s Centennial season under the stars at America’s oldest and largest outdoor musical theater.
It is a six percent increase over 2017, and that includes an 11 percent growth in season tickets. Nearly 100,000 guests experienced a Muny production at no cost through The Muny’s free seat and community access programs.
Of the seven shows, “Meet Me in St. Louis” drew the biggest crowds, with  76,500 in attendance.  The season included “Annie,” 69,638; “Singin’ in the Rain,” 56,385; “Jersey Boys,” 54,766;  “The Wiz,” 49,486;  “Gypsy,” 43,712; and “Jerome Robbins’ Broadway,” 42,911.
“This season – from that magnificent Gala all the way through the fireworks finale of Meet Me In St. Louis – was truly a community-wide celebration,” said Muny President and CEO Denny Reagan. “We are so proud to have had this opportunity to share this summer with the hundreds of thousands of audience members who have made The Muny’s storied past and inspiring future possible.”

“Muny 100 was a season we will all remember the rest of our lives,” said Muny Artistic Director and Executive Producer Mike Isaacson. “The passion and joy we received from the audience was palpable, and everyone on and backstage gave their extraordinary best. The only response I can have is profound awe and gratitude.”
 In addition, 6,804 guests attended The Muny’s Centennial Gala, An Evening with the Stars. When combined, total attendance for the seven-show summer season and An Evening with the Stars: 400,202.
VIDEO recap of 2018 Season: https://youtu.be/WsMENOI8yv4
100th Season attendance by show:
Jerome Robbins’ Broadway: 42,911
This monumental world regional premiere was a celebratory start to our centennial season! Scenes from some of Robbins’ biggest hits, including West Side Story, On the Town, Peter Pan, The King and I and Fiddler on the Roof showcased the talent of Tony Award-winning director and choreographer, Jerome Robbins. In its first ever staging since its original Broadway production and national tour, it enchanted audiences.
The Wiz: 49,486
In its first Muny production in 36 years, this feel-good favorite had audiences clicking their heels in the aisles all night long. Sparkling with heart-pounding soul, unforgettable gospel and infectious rock rhythms, this reimagined familiar favorite had audiences ready to “Ease on Down the Road” to meet The Wiz!
Singin’ in the Rain: 56,385
Known for its splashy production numbers and snappy dialogue, this timeless Muny favorite was a downpour of pure delight. The forecast predicted sunny smiles and dazzling dancing, and stars Corbin Bleu, Berklea Going and Jeffrey Schecter splashed right into audiences’ hearts.
Jersey Boys: 54,766
The story of the magic behind the music of international sensation Frankie Valli and The Four Seasons arrived at The Muny in style in its world regional premiere. The star-studded cast even captured the heart of real-life Four Seasons member Bob Gaudio, who stopped by to give our production his heartfelt blessing.

Annie: 69,638
Everyone’s favorite plucky, freckle-faced orphan did not disappoint! Audiences took a stroll down “Easy Street” to follow the story of Annie’s journey from a “Hard Knock Life” to her forever home. With songs and kick-lines that entertained the entire family, this production was a multigenerational hit!
Gypsy: 43,712
Fans were awestruck by the countless showstoppers and striking backstory of famous burlesque dancer Gypsy Rose Lee. The hidden hardships and highlights of show business came center stage with a heart-stirring performance by Beth Leavel as Momma Rose in this cherished classic. We loved letting them entertain us all night long!

Meet Me In St. Louis: 76,500
Zing, zing, zing went our heartstrings! Meet Me In St. Louis was the perfect finale to our majestic centennial season. Showcasing a boy-next-door romance and a close-knit, Midwestern family, this production was the perfect ribbon on a monumental season…right here in St. Louis.

The Muny’s 101st Season announcement will take place at Muny Magic at The Sheldon on October 17 and 18 at 7:30 p.m. Tickets are available now, online at muny.org, by phone 314-534-1111 or at The Muny Box Office.
 
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 390,000 theatregoers over our nine-week season.
Celebrating 100 seasons in St. Louis, The Muny remains one of the
premier institutions in musical theatre. For more information about The Muny, visit muny.org

A Few Good Performances but Mostly ‘King Charles III’ is Royal Pain

A Few Good Performances but Mostly ‘King Charles III’ is Royal Pain

By Andrea Braun
Contributing Writer
“King Charles III” by Mike Bartlett is set in the indeterminate future when Elizabeth, Queen of England, has died and Charles (Colin Nichols) is now, at last, King.
We meet him as he addresses the audience and is soon joined by Camilla, Duchess of Cornwall (Donna Postel); Prince William, Duke of Cambridge (Michael Bouchard); Catherine, Duchess of Cambridge (Lexie Baker); and Prince Harry, Duke of Sussex (Jeremy Goldmeier) immediately following the Queen’s funeral.
Harry begs off the rest of the ceremonies, as we might expect from what we know of pre-Meghan Harry; the rest remain to talk. And exactly here is where the play went off the rails for me, and it did not manage to get back on for nearly three hours.

I realize information that the audience may not know must be conveyed through the characters, but Catherine, of all people, cannot possibly be ignorant enough of protocol to think that Charles isn’t King until his coronation three months hence. “The Queen is dead. Long live the King,” etc. Nevertheless, Camilla goes into lecture mode and Catherine (aka Kate) just listens, putting in a word here and there.
There’s an easy fix for that as the action quickly shifts to a club where Harry’s mates introduce him to Jessica Edwards (Britteny Henry), a Republican, who might well NOT know how succession works.
Back to the castle. Once Camilla gets her tutorial out of the way, the family exits and Charles has his first meeting with Prime Minister Kristin Evans (Andra Harkins), and we quickly learn they are at odds over a bill putting some restrictions on freedom of the press that Parliament has passed and now only requires the King’s signature to take effect.
The Queen would have done her duty and signed. But Charles, determined to be his own man, believes no restrictions should be placed on the media. Now, is this about the issue or the true belief of man himself? PM Evans spends most of her time in a frustrated huff, demonstrating that by her decidedly perfunctory curtsies, and it is difficult to blame her, even if one agrees with Charles.
This contretemps between Charles and his government, the ones whose power, unlike his, is not mainly symbolic, furnishes the major plot of the story. Subplots include Charles’s own self-doubt, and his relationship with his wife.
Harry and Jess have a rocky road. They have fallen in love “just like Romeo and Juliet” —that is, quickly and irresponsibly, but their story creates another annoyance: She keeps saying that she’s breaking up with him, but then she’s baaack, every time!
There is the balancing act performed by MP Margaret Stevens (Patience Davis), Leader of the Opposition, to placate both the King and the PM, and the question of who should have the throne, as it has long been known that many subjects prefer William to Charles.
It doesn’t help that Diana, Princess of Wales (Hannah Pauluhn) drifts through a couple of times, telling both her husband and son individually that each will be “the greatest King England ever had.”
The ghost is only one of the many Shakespearian references and allusions sprinkled throughout its five acts. A few more of these include casting Kate as a Lady Macbeth and William her reluctant Lord. It has been called “a future history play,” as it is styled in much the same way as Shakespeare’s own. Blank verse is employed, with touches of prose and a soupcon of iambic pentameter. The King seems weak (“Henry VI,” “Hamlet”), given to the grand gesture when it is not in his best interests (“King Lear”).
Prince Harry is beset with self-doubt (Prince Hal) and he calls himself a “ginger joke.” Even a kabob seller reinforces the younger prince’s doubts representing the common people, worried about the future of Britain; and that when so much of it has been taken away, it really isn’t the country they recognize any more.
Of course, the difference between this play and Shakespeare’s is that we don’t know how this one will come out, so that suspense adds some interest. There is good work from several of the actors, but Nichols could be stronger. In attempting to capitalize on Charles’ perceived weakness, he becomes almost devoid of personality, and if that is a directorial choice, I don’t think it works. Nichols’ is, at least until the last act, a one-note performance. There are hints of “accents” that make one long for a dialect coach.
Donna Northcott is a talented veteran director, and there are certain aspects she handles well, especially moving the actors around the stage and scene changes that are gracefully choreographed.
The play does develop momentum in the last half hour or so, but then someone fluffs (another) line, and takes us right out of the scene. And there were just too many of those mistakes. Presumably they will be corrected during the run.
Robin Weatherall’s sound design is fun and appropriate—varying between classical selections to represent the older royals and rock and roll for the younger. Costumes aren’t always flattering, but they are interesting, particularly Harkins’, Henry’s, and Baker’s. But Davis’s character only gets one brown suit? S.H. Boygan’s set is simple with basic elements added and shifted as needed. He seems to have done a lot with a little.
Britteny Henry and Dustin AllisonOverall, I’d choose James Reiss (Dustin Allison), Press Adviser, as best in show. It’s not that he doesn’t make mistakes like nearly everyone else, but he has many balls in the air and handles them all with a sort of jittery style, and he’s funny. There is more humor in the text than is noticeable in performance.
Davis is excellent and Harkins, is properly strong in her portrayal of where the real power lies. The actors who play multiple parts—the aforementioned Pauluhn is very good as a TV producer, Michael B. Perkins and William Pendergast are fine in all their roles.
The only exception here is Jeff Lovell, who as the Speaker of the House and the Archbishop of Canterbury, needs to back off a bit, lest he remind us even more of Peter Cook in “The Princess Bride” than he already does..
I am aware of the awards and nominations “King Charles III” has received since its first mounting in 2014, but this production by St. Louis Shakespeare doesn’t make it clear why it has been so honored.
“King Charles III” opened Aug. 17 with weekend performances, and continues next week with a Thursday performance Aug. 23 at 7:30 p.m. Evenings are at 8 p.m. Aug. 24 and 25, and Sunday matinee at 2 p.m. Aug. 26 at the Ivory Theatre, 7620 Michigan Ave. Tickets are available through brownpapertickets.com.

Photos by Ron James

Take Ten with Jeffrey M. Wright

Take Ten with Jeffrey M. Wright

By Ken Brostow
Contributing Writer
Do nice guys always finish last?
Not in Jeffrey M. Wright’s case.  The cliché doesn’t apply to him. A very popular entertainer here in St. Louis, his stellar reputation as an actor, singer, cabaret performer and emcee has spread to other cities as well.
By day, Jeff works as a physical therapist and in business development. But when dusk falls, he’s singing or acting, or both.
Jason Graae, an LA-based singer/actor, hears in Jeff  “…the voice of an Angel.” But adds that Jeff also has “the smile of a Devil.”
On the other coast, NYC-based singer-songwriter Lina Koutrakos described Jeff as “music’s contemporary ‘matinee idol,’ …He is heart, voice, looks and very much his own man…”

Jeff as Nathan Detroit in KTG’s “Guys and Dolls.”For the past 20 years, Jeff has worked with Stray Dog Theatre, New Line Theatre, Kirkwood Theatre Guild and others in St. Louis. His musical roles have included the famous gamblers Nathan Detroit and Nicky Arnstein, and run the gamut between comical, from Elijah Whitney in “Anything Goes,” to dramatic, as Tateh, the Jewish immigrant father, in “Ragtime.”
He’s amassed more than 50 theatrical credits, and about 30 cabaret appearances.
His cabaret performances have branched out to New York City.
“My New York debut was in May of 2015 at 54 Below in ‘The Music of Alex Rybeck.’  Since then, I’ve been fortunate to return several times to appear in concerts at other venues including The Metropolitan Room, the Iridium on Broadway and the Laurie Beechman Theatre,” he said.
A recent autobiographical cabaret, “The 40s – Theirs and Mine,” included anecdotes about turning the big 40 milestone and songs from the 1940s, reflecting his broad musical interests.
In September, he is headed back to be featured in The Concert Across America to End Gun Violence at a well-known jazz/cabaret club called Don’t Tell Mama.
“I’ve attended shows there, but it will be a new performance venue for me, so I’m especially excited about that,” he said.
Tina Farmer of KDHX noted that his voice “wavers between silky smooth and slightly gritty.” That’s why he can cover both American Songbook standards and rock ‘n roll anthems – moving effortlessly between “Sentimental Journey” and “I Still Haven’t Found What I’m Looking For.”
As the quintessential “people person,” his art, his job, his recreational time—all revolve around people.  He works to heal people through physical therapy, and then entertains them socially through his devotion to theater.
This summer, he has been playing a colorful character in the musical comedy “The Robber Bridegroom,” which is ending its three-week run at Stray Dog Theatre. The play has been a joyful homecoming for Jeff.
“This is a hilarious, rowdy, Southern farce.  It’s full of fantastic bluegrass music, and Stray Dog’s production is a rare opportunity to see this lesser-known, but very fun show.  The cast and production team are awesome, and I really think the audience is going to have a great time!” he said.
“Since I grew up in the South and I love country/bluegrass music — my first album, besides Sesame Street and other kids’ stuff, was Kenny Rogers’s ‘The Gambler.’ I’m having lots of fun with it!” he said.
For more information, visit his website, www.jeffreymwright.com

Kimi Short, Jeffrey M. Wright and Ryan Scott Foizey in “Next to Normal” at New Line Theatre
Here are Jeff’s answers to our Take Ten Q&A:
1. Why did you choose your profession/pursue the arts?“I was always fascinated with the idea of being an actor/entertainer, even from a very young age, but there were not a lot of opportunities to explore this in my schools or hometown (Little Rock, Ark.).In high school, I remember attending the annual school play as a freshman and thinking I would like to do that as an upperclassman. I volunteered for stage crew of ‘The Sting’ as a sophomore, with the idea that I would get to know some of the theatre crowd better, as preparation to audition the following year. Unfortunately, after that show, the drama department folded for my junior and senior year because the volunteer director for the program retired, so I did not get that chance.”

 
“I was heavily involved in athletics throughout grade school and high school, and many different organizations in college, so my plate was pretty full of extra-curricular activities that did not include performing.  Once I graduated from college and got into the work force, I decided I really did want to pursue the arts in my spare time.
“I didn’t know the first thing about how to do this, but a friend took me under his wing in 1998 and encouraged me to audition for a summer musical with Studio J Productions. He told me that ‘they always need guys’ and if I could sing, there was a good chance I would be cast. I had never attended an audition before, or ever sung in front of people, outside of occasional karaoke, so I had no idea what or how to prepare. I sang ‘Edelweiss’ acapella from “The Sound of Music,” which was a horrible choice for the raucous comedy I was auditioning for, but somehow I was cast in a small ensemble role. I was instantly hooked after that first experience, and I’ve never looked back!”
2. How would your friends describe you?
“I believe most people think of me as a nice guy, which hopefully is true.  I’d like to think that people would also describe me as fun, caring, loyal, driven, and a good listener.”
3. How do you like to spend your spare time?
“Much of my spare time is spent around performing in some way.  For big chunks of the last 20 years, I have spent many evenings either rehearsing or performing, thanks to the many opportunities I’ve been fortunate enough to receive.  When I do find myself with free time, I enjoy seeing friends perform, spending time with my dog, sleeping in, traveling to visit friends and family, and going to the movies.”
4. What is your current obsession?
“I’ve recently discovered the world of podcasts and have subscribed to several.  I really enjoy having them on in the background if I’m doing office work, driving, etc. I think my favorite thus far is “Awards Chatter,”in which the Hollywood Reporter interviews various celebrities. Many are actors, who frequently describe how they got into show business, which I find fascinating.”
5, What would people be surprised to find out about you?
“Probably that I have a moderate case of ‘road rage,’ and I love to honk my car horn.  It’s unexpected because I am usually fairly low-key in most aspects of my life, but that’s not always the case when I’m driving.”
6. Can you share one of your most defining moments in life?
“Becoming an uncle has been incredibly rewarding and special for me.  I don’t have children of my own, but in the past five years, I’ve been blessed with two adorable nephews and one beautiful niece.
“In the performance world, I think discovering cabaret has been very defining for me. The people that I’ve met and learned from have certainly shaped me as a singer and actor, and several of those relationships have led to performance opportunities in New York that I never would have imagined.”
7. Who do you admire most?
“I have a great deal of admiration for my parents. They’ve been married for almost 45 years and are extremely caring and kind-hearted people. I also think a great deal of many people I know who quietly do amazing things for people and never expect anything in return.  Selflessness is such a rare and special attribute.”
8. What is at the top of your bucket list?
“There are a lot of international destinations that I’d like to see. I’ve been to parts of Italy and France, but otherwise I have not traveled outside of the US. I’d love to see Ireland, Australia, and New Zealand for sure.”
9. What is your favorite thing to do in St. Louis?
“Outside of seeing all of the amazing performances that we have available, I love exploring our awesome restaurant and bar scene with good friends.”
10. What’s next?
“After ‘The Robber Bridegroom’ is over, on Sept. 23, I’ll be in NYC to perform in a concert at Don’t Tell Mama. Soon after that, I’ll begin rehearsals for my fourth run of “All Is Calm” with Mustard Seed Theatre, which will run from Nov. 15 to Dec. 16.”
Jeff as Tateh in “Ragtime” at Stray Dog TheatreMORE ON JEFFREY M. WRIGHTBirthplace:  North Little Rock, ArkansasCurrent location: Southampton neighborhood of south St. LouisFamily: Both parents, two brothers, two nephews, one niece.  Single with no children and one dog.Education:  Bachelor of Science in Physical Therapy from Saint Louis UniversityDay job: Outreach Services Executive with SSM Health Saint Louis University Hospital.  This is a business development role in which I visit other hospitals and physicians to teach them about our services, ensure that patient transfers to our facility go smoothly, etc.First role: Mayor Dan’l Dawgmeat and other small roles – “Lil Abner” with Studio J Productions, 1998.Favorite roles/dream roles: I have been extremely fortunate to play several dream roles already – including Pippin in “Pippin” with Stray Dog Theatre, Jamie in “The Last Five Years” with New Jewish Theatre, and Dan in “Next to Normal” with New Line Theatre. Other favorite roles include Rob Gordon in “High Fidelity,” Bobby in “Company,” Jimmy in “Thoroughly Modern Millie” (twice), Finch in “How to Succeed in Business without Really Trying,” Nathan Detroit in “Guys and Dolls” and more.
The one dream role that I’ve yet to play is Billy Flynn in “Chicago,” and I’m truly hopeful to perhaps someday get that chance.Awards/honors: I share St. Louis Theater Circle Awards for Best Ensemble in a Musical with the cast of Stray Dog Theatre’s “Ragtime,” and the original company of “All is Calm” with Mustard Seed Theatre.
I also received Arts for Life’s Best Performance Awards for Best Actor in a Musical (Finch in “How to Succeed” with Kirkwood Theatre Guild) and Best Actor in a Non-Singing Role (Harry the Horse in “Guys and Dolls” with Alpha Players)Favorite words to live by: Work hard, play hard.A song that makes you happy:  From popular music, “Uptown Funk” by Bruno Mars.  From musical theatre, many come to mind, but in recent years I’d choose “Alexander Hamilton” from “Hamilton.”

Todd Schaefer and Jeffrey M. Wright in “Hands on a Hardbody” at New Line Theatre.
Photos by Gerry Love, Jill Ritter Lindbergh, Peter Wochniak
 
 

Go See a Play! What’s Happening Aug. 16 – 22

Go See a Play! What’s Happening Aug. 16 – 22

By Lynn Venhaus
Managing Editor
Voices are unleashed at the St. Louis Fringe Festival now underway in the Grand Arts Center.
Voices are soaring in the St. Louis premiere of “The Light in the Piazza” and Kurt Weill’s “Lost in the Stars.”
Voices are having fun in “Mamma Mia!”, “The Great American Trailer Park Musical” and “The Robber Bridegroom,” which all end their run this weekend.
Voices are questioning in a post-modern twist on Goethe’s “Faust (Go Down with All the Re$t),” Jean-Paul Sartre’s “No Exit,” the regional premiere of “King Charles III” and a comedy about online dating in “Maybe This Time.”
Go, hear these voices, see a play!

 “Faust (Go Down with All the Re$t)”
Equally Represented Arts (ERA Theatre)
Aug. 15-18
Foam
3359 S. Jefferson Ave. 63118www.eratheatre.org
What It’s About: How much is a soul worth? Based on Goethe’s most celebrated work, ERA’S experimental production, “Faust” (go down with all the re$t), is a post-modern, rock-opera-adaptation in which Heaven is the bank and everyone prays to the Almighty Dollar.
“Faust” is a full-length theatrical production created by ERA’s ensemble of theatre artists with text from Goethe’s “Faust,” Mikhail Bulgakov’s “The Master and Margarita” and contemporary television game shows. The script was created by the ensemble. The music was created by Kid Scientist.
Join us for this capitali$t tragedy with music, dancing, and drinking!
Directors: Lucy Cashion and Gabe Taylor
Cast: Will Bonfiglio as Mephistopheles, Miranda Jagels Félix as Dineras, Grace Langford: God & Margaret’s Mother, Alicen Moser as Margaret Dustin Sholtes, Gabe Taylor, Joe Taylor as Faust, composer and music director, and Erica Withrow: Dark Pearl the Magnificent.
Of Note: This is the first show of the “Faustival.” For more information, visit www.faustival.org.
“The Great American Trailer Park Musical”
Act Two Theater
Aug. 8 – 19
St. Peters Cultural Arts Center
1 St. Peters Centre Blvd.
St. Peters, MO 63376
https://www.acttwotheatre.com/…/the-great-american-trailer…/
What It’s About: A country-rock and blues musical about agoraphobia, adultery, ‘80s nostalgia, spray cheese, road kill, hysterical pregnancy, a broken electric chair, kleptomania, strippers, flan and disco.
Norbert and his agoraphobic wife Jeannie are living in Armadillo Acres when a hot young stripper Pippi moves in and threatens their marriage. Linoleum, Betty and Pickles also live in the trailer park and act like a Greek chorus.
Director: Brooke Viegut, with music direction by Karla Curry
Starring: Betty – Theresa Peters Nigus; Lin – Laura Deveney; Pickles – Abby Cockerham; Jeannie – Dana Wachtel; Norbert – Jeffrey Pruett; Pippi – Katy Leigh; Duke – Jack Theiling.
Photo by Lori Biehl
“King Charles III”
St. Louis Shakespeare
Aug. 17 – 26
The Ivory Theatre
7620 Michiganwww.stlshakespeare.org
314-361-5664
What It’s About: Mike Bartlett’s controversial 2014 play is “a future history” about what happens after Queen Elizabeth II dies, and the prince ascends to the throne after a lifetime of waiting. But how to rule? Who are these people beneath the crowns, the conscience of Britain’s most famous family and the unwritten rules of our democracy.
Director: Donna Northcutt
Of Note: This is the first production of St. Louis Shakespeare’s 34th season.
Photo by Ron James
“The Light in the Piazza”
R-S Theatrics
Fridays and Saturdays at 8 p.m., and Sundays at 7 p.m.
Aug. 10 – 26
The Marcelle Theatre
3310 Sam Shepard Drive
www.r-stheatrics.org
What It’s About: Winner of numerous Tony Awards in 2005, this musical tells the story of a young American woman vacationing with her mother in Florence in the 1950s. When the woman falls for a local Italian man, uncomfortable truths come to light about what was past and what may be future.”
Director: Christina Rios, with music direction by Sarah Nelson
Starring: Kay Martin Love as Margaret, Macia Noorman as Clara, Tielere Cheatem as Fabrizio, Stephanie Merritt as Franca, Micheal Lowe as Guiseppe, Kent Coffel as Signor Naccarelli, Jodi Stockton as Signora Naccarelli and Avery Smith as Young Clara.
Ensemble includes Robert Doyle, Lindy Elliott, Anthony Randle, Melissa Felps, Ann Heir, Chris Kernan, Jason Meyers and Louisa Wimmer.
Of Note: St. Louis premiere.
“Lost in the Stars”
Union Avenue Opera
Aug. 17 – 25
Friday and Saturday at 8 p.m.
Union Avenue Christian Church
733 Union at Enright.www.unionavenueopera.org
314-361-2881
What It’s About: Kurt Weill’s provocative work addresses the weighty moral issues of racism and injustice, more relevant now than ever in St. Louis. For his final Broadway score, Weill took “Cry, the Beloved Country” – a powerful, uncompromising social indictment of apartheid South Africa – and gave it a passionate voice.
Two aging men – a black country parson and a white British planter – are drawn into friendship by a shared grief. The parson’s faith is challenged by his son’s unintentional murder of the planter’s son, while the planter acquires faith through the loss of his son.
Director: Shaun Patrick Tubbs
Cast: Leader – Roderick George, Nita – Evan Adams*, Grace Kumalo – Jeanitta Perkins*, Stephen Kumalo – Kenneth Overton*, James Jarvis – Tim Schall*, Edward Jarvis – Charlie Mathis*, Arthur Jarvis – Stephen Peirick*, John Kumalo – Reginald Pierre*, Alex – Sherrod Murff*, Foreman – Ross Rubright, Mrs. Mkize – Rose Fischer, Hlabeni – Michael Hawkins, Mark Eland – Chuck Lavazzi*, Linda – Melody Wilson, Johannes Pafuri – Abraham Shaw*, Matthew Kumalo – Carl Overly, Jr.*, Absalom Kumalo – Myke Andrews*, Irina – Krysty Sawnn*, Burton – Anthony Heinemann and The Judge – Joel Rogier.
Ensemble – Evan Adams*, Sharifa Black*, Madeleine Buckley*, Erika Cockerham*, Laurel Ellison Dantas, Ebony Easter*, Rose Fischer, David Goldman*, Brittany Graham*, Michael Hawkins, Anthony Heinemann, Merry Keller, Lisa Khaimova*, Gina Malone, Randell McGee, Maika Miller*, Paul Herbert Pitts*, Joel Rogier, Ross Rubright, Mark Saunders, Moses Anthony Weathers* and Benjamin Worley*.
*Union Avenue Opera debut
Photo by John Lamb
“Maybe This Time”
Madden Productions
Aug. 17-19
Friday and Saturday at 8 p.m., Sunday at 2 p.m.
The Gaslight Theatre, 358 N. Boyle
www.brownpapertickets.com
What It’s About: The 90-minute play is about four online dates with good, bad, humorous and sad results.  You not only see and hear two people on a blind date, but you also see and hear what their brains are thinking. It shows how miscommunication and misunderstanding can lead to unexpected and unwarranted consequences.
Director: Pamela Reckamp
Cast: Mara Bollini, George Doerr IV, Carrie Priesmeyer, Paul James, Tonya Darabcsek and Todd Micali.
Of Note: Written and produced by Michael Madden.
“Mamma Mia!”
Stages St. Louis
July 20 – Aug. 19
Robert G. Reim Theatre at the Kirkwood Community Center, 111 S. Geyer Road.
www.stagesstlouis.org
What It’s About: The musical phenomenon uses the music of ABBA to tell the story of a teen’s search for her birth father. Sophie lives on a Greek island paradise with her mother, who runs a taverna. There are three possible dads, whom she invites to her wedding. Humor, heart, and lots o’ song and dance ensue.
Director: Michael Hamilton
Cast: Corinne Melancon, Greg Goodbrod, Dana Winkle, Dan’yelle Williamson, Summerisa Bell Stevens, David Sajewich, David Schmittou and Steve Isom
Of Note: There have been 30 sold-out performances and the advance single ticket sales have been the highest yet.
Photo by Peter Wochniak
““No Exit”
Slightly Askew Theatre Ensemble
Aug. 15 – Sept. 1
Wednesday through Saturday at 8 p.m.
The Chapel
6238 Alexander Drive
www.slightlyoff.org
What It’s About: Jean-Paul Sartre’s existential play “No Exit” is about three damned souls are brought to the same room in hell by a mysterious Valet. Expecting medieval torture devises to punish them for eternity, they are surprised by the deceptively simple and relatively ugly room. As they are all introduced, none of them will admit the reason for their damnation. But Inez demands that they all stop lying to themselves and confess to their crimes. The play is an exploration into the human psyche and the invisible wounds we are capable of inflicting upon others, and ourselves.
Director: Bess Moynihan
Cast: Rachel Tibbetts, Shane Signorino, Sarah Morris, Katy Keating
Of Note “No Exit” is the source of Sartre’s famous quotation ‘L’enfer, c’est les autres’ or “Hell Is Other People.”
Photo by Joey Rumpell
“The Robber Bridegroom”
Stray Dog Theatre
Aug. 2 – 18
Tower Grove Abbey
Thursdays through Saturdays at 8 p.m.
Additional performances at 2 p.m. Sunday, Aug. 12 and 8 p.m. Wednesday, Aug. 15
www.straydogtheatre.org
What It’s About: A bawdy, rousing Southern fairy tale is set in Mississippi follows Jamie Lockhart, a rascally robber of the woods, as he courts Rosamund, the sole daughter of the richest planter in the country. Thanks to a case of double-mistaken identity, the entangled relationship begins to unravel. Throw in an evil stepmother, her pea-brained henchman, and a hostile talking headin-a-trunk, and you have a rollicking country romp.
Director: Justin Been, with music direction by Jennifer Buchheit and choreography by Mike Hodges.
Starring: Phil Leveling, Dawn Schmid, Jeffrey Wright, Logan Willmore, Bryce Miller, Kevin O’Brien, Chris Ceradsky, Susie Lauren, Sarah Gene Dowling, Christen Ringhausen, Shannon Lampkin and Rachel Sexson.
Photo by John Lamb
 
St. Lou Fringe Festival
Aug. 15 – 26, Wednesday through Sunday
Grand Arts Centerwww.stlouisfringe.com
www.MetroTix.com
What It’s About: Original material – theater, dance, music, comedy, circus arts, performance art, cabaret and burlesque – are accepted for the annual festival. Tech is minimal and shows are often brief.
Fringe builds community by connecting uncensored, unjuried performing arts with accessible and affordable performances for audiences.
Here is the line-up Aug. 15 – 19. For dates and venues, visit www.stlouisfringe.com
“Any Man in America” – Declaration Stage Company
“Aphrodite’s Refugees” – MonTra Performance
“As We Stumble Along” – Desire Declyne
“Bae” – Prime
“The Bothered” – Rogue Theatre Company
“Broadway Favorites” – Debut Theater Company
“The Countdown” – Open House Theatre
“The Depths” – State of Clayton
“The Devil’s Passion” – Bankside Repertory
“Empathy on Sale” – Krish Mohan
“The Gringo” – Colin Healy/Fly North Music
“Intervals” – MillHill Productions
#MeToo, Her Voice Must be Heard” – Until You’ve Walked in Her Shoes Inc.
“Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond – The Midnight Company
“Pain” – Tony Marr Jr.
“Pollack” A Frequency Parable – Unconventional Empire
“The Vicious Hillbilly or Dating in the Deep South”
“Til the Cold Winter’s Through – because, why not?

R-S Theatrics’ Stunning ‘The Light in the Piazza’ Glows

R-S Theatrics’ Stunning ‘The Light in the Piazza’ Glows

By Lynn Venhaus
Managing Editor
With its lush, unusual score and seductive setting, “The Light in the Piazza” is swoon-worthy in many aspects.
Regarded as demanding to present because of its music and dramatic complexities, this intricate musical heightens realism and challenges the most confident vocalist.
Its Tony-winning neoromantic score and orchestrations by Adam Guettel, grandson of icon Richard Rodgers, have more in common with opera and classical music than traditional showtunes, without any pop references.
Nevertheless, the cast of R-S Theatrics’ production rises to master the harmonies and embrace la dolce vita. Guided by music director Sarah Nelson, whose work is exceptional, with assured stage direction from Christine Rios, they project a confident grasp of the material.

Some of the lyrics are in Italian, and silky-smooth voiced Tielere Cheatem, as Fabrizio, is impressive, particularly in his fluid renditions of “Il Mondo Era Vuoto” and “Passeggiata.” His family, the Naccarellis, speak impeccable Italian and deliver richly textured vocals – Kent Coffel as Signor, Jodi Stockton as Signora, Stephanie Merritt as Franca and Micheal Lowe as Giuseppe.
Special mention must go to Italian language coach Myriam Columbo, for it feels organic.
It’s the summer of 1953, and the well-to-do Southern matron Margaret (Kay Love) returns to Florence, Italy, where she spent her honeymoon. With her innocent 26-year-old daughter in tow, her joy is tempered by the special needs of the developmentally delayed Clara (Macia Noorman), who was hit in the head by a Shetland pony at age 10. She matured physically but not emotionally/mentally. It is more subtle than obvious, but when Clara gets upset, she behaves like a petulant child.
The melodramatic story is adapted from a novella by Elizabeth Spencer, which became a turgid 1962 movie starring Olivia de Havilland, Rossano Brazzi, Yvette Mimieux and George Hamilton (?!? as Fabrizio). The 2005 Broadway show was nominated for 11 Tony Awards and won five. It had both fans and detractors, and I was one of its sharpest critics, particularly of the book by Craig Lucas.
Not a fan of the 2007 touring production, which was swallowed in the Fox, was devoid of sympathy for the mother and did not have an ounce of nuance in what I considered a duplicitous transaction.
Not so here – surprise! – because of the performances and the interpretation, although they can’t help that the book has some issues.
Several key elements soothed my misgivings, but mainly it was because of Kay Love’s splendid performance as the Southern matron Margaret, which is the lynchpin to the whole show.
Love earns our sympathy right away – it is a virtuoso performance that highlights her outstanding vocal talent while giving her a juicy role in which to shine. You feel her dilemma, and the emotional rollercoaster she endures. Her North Carolina accent is refreshingly soft and does not overpower her character,  thanks to dialect coach Mark Kelley.
All that guilt Margaret carries is shown on Love’s face, along with the regrets of a lackluster marriage, and a life, though comfortable, spent in service to others. She’s exasperated keeping tabs on an excited Clara, who encounters a young Florentine, Fabrizio. It’s love at first sight for both.
As Clara, Macia Noorman’s accent weaves in and out. Noorman and Cheatem work well together, but she seems more tentative in the duets and went sharp or flat more often in her vocals, particularly when paired with someone. However, her “Clara’s Interlude” is quite lovely.
Rios does not make this entanglement of two star-crossed families overwrought, rather keeps focus on the complicated romance and culture clash. As Margaret wrestles with the couple’s wedding plans, she must decide if she believes in love and her daughter’s happiness. Her husband Roy (Robert Doyle) is of no help, or empathy.
In addition to their superb vocals, the actors playing the Naccarelli family stand out. Kent Coffel plays the haberdasher father with such authority that you believe he is a Florentine of stature while a winsome Jodi Stockton has a nice motherly moment explaining the proceedings to the audience.
Stephanie Merritt gives considerable oomph to the tempestuous Franca so that she is not just a caricature, and soars in her number, “The Joy You Feel.”
While Love imbues her numbers with emotion, her rendition of the finale “Fable” is stunning, all the more remarkable because it follows a fabulous “Love to Me” sung by Cheatem. Love has a sweet duet with Coffel, “Let’s Walk,” before two families join together.
The power of the cast’s voices match the character demands, and Nelson’s musical work must be recognized, for the level of difficulty is understood.
The expressive orchestra adds so much, with Terri Langerak playing a glorious harp, Emily Lane on cello, Kelly LaRussa on violin, Jacob Stergos on bass and Nelson on piano. Their expert skill provided a luxurious sound that elevated this show.
The location also prominently figures into the presentation. Florence is an alluring city of Renaissance masterpieces in the Tuscany region of Italy, with its postcard Mediterranean landscapes, ancient history, and extraordinary art, culture and cuisine. It’s also a character.
The look and feel of this show combines tantalizing adventure with a traveler’s awestruck sense of wonder, providing atmosphere along with sense of time and place.
The piazza, a town square, is where we meet a very tight ensemble, crisp in purposeful movements and welcoming in demeanor. Chris Kernan, Jason Meyers, Louisa Wimmer, Robert Doyle, Melissa Christine, Lindy Elliot, Ann Hier and Anthony Randle are a compelling chorus.
Keller Ryan’s scenic design allows for this tableau to come alive with a captivating vibrancy while Nathan Schroeder’s lighting design provides a burnished glow.
They all look marvelous, too — chic fashion choices by costume designer by Ashley Bauman enhanced the characters’ personalities.
Margaret can’t help but be swept away by the scenic views and the teeming crowd, and neither could I. The intimate staging, the strong creative aspects and the level of talent add up to a must-see production.
R-S Theatrics opens its eighth season – The Season of the Not-so-Perfect Past — with the St. Louis premiere of “The Light in the Piazza” Aug. 10 – 26, Friday and Saturday at 8 p.m. and Sunday at 7 p.m., at the Marcelle Theatre, 3310 Samuel Shepard Drive, St. Louis, 63103. Tickets can be purchased through Metrotix.com. For more information, visit r-stheatrics.org.

 

Bright Lights Column: Twinkle Twinkle Little Stars

Bright Lights Column: Twinkle Twinkle Little Stars

By Lynn Venhaus
Managing EditorA STAR WAS BORN: It was as if scripted in a movie. You’ve heard of that classic moment in the 1933 movie “42nd Street” when an understudy takes over for an injured diva. Well, it really happened right here in St. Louis one summer 46 years ago at The Muny.
On Aug. 14, 1972, MGM musical star Ann Miller was playing Reno Sweeney to Michael Callan’s Billy Crockett in “Anything Goes.” The classic Cole Porter romantic romp was underway when right after the song “Friendship” during a scenery change, Miller was conked on the head by a steel boom. Callan had followed her off-stage, then found her on the floor, dazed and bruised.

“Is there a doctor in the house?” A call went out from the stage and 15 doctors responded. The show was cancelled and Miller taken to Deaconess Hospital with a mild brain concussion and loss of equilibrium. She spent 23 days there.With Miller out but not wanting to cancel the week, Muny brass sought a replacement. They plucked Pat St. James, a senior at Webster University, from the ensemble. She rose to the occasion.
St. James, whose parents were local broadcast celebrities Clif and Nance St. James, was praised for her soaring performance. She later thrived in a musical theater career.
But in 1999, she switched gears, earning a degree in theology and ordained an Episcopal priest. She was married to David Roberts, and they lived in Atlanta with their two children, Oliver and Julia. At age 61, after a four-year battle with cancer, she died on Dec. 5, 2010.
Her moment in the sun became a Muny legend.
“Anything Goes” may have been Miller’s first appearance at The Muny but it wouldn’t be her last. She would be persuaded to return in the next decade, for ‘Sugar Babies” with Mickey Rooney in 1984.
Miller starred in “Kiss Me Kate,” “Easter Parade,” “On the Town,” “Stage Door,” “Room Service” and “Mulholland Drive” (?!?).Side Note: I actually saw Pat St. James as Reno Sweeney that week at The Muny. Everyone was abuzz.
(“Anything Goes” photo from Muny archives, from left, Pat Paulsen, Pat St. James, Michael Callan.)
***HELLO, USA!: Congratulations to Madison Johnson of St. Louis, who has been cast in the national tour of “Hello, Dolly!” that begins in late September. She is part of the ensemble and understudy for Minnie Fay.This tour of the Broadway revival, which won four Tony Awards in 2017, will feature Betty Buckley as Dolly Levi and Lewis J. Stadlen as Horace Vandergelder. Stadlen, a three-time Tony nominee, has been in several Muny shows, including “The Producers,” “Damn Yankees,” “Meet Me in St. Louis” and “Fiddler on the Roof.”
Madison has been part of the Muny ensemble the past six years, recently playing Lucille Ballard in “Meet Me in St. Louis.” She was Kristine in “A Chorus Line” last summer and Frenchie in 2014’s “Grease.” She started at age 7 as a Muny Kid. A graduate of Whitfield School and Elon College, she moved to New York City in 2016.
***
SIX DEGREES OF ST. LOUIS: John David Washington is starring in “BlackkKlansman” as undercover cop Ron Stallworth, who wrote the book that Spike Lee has adapted into this acclaimed film.

He was signed by the St. Louis Rams in 2007 after he was not drafted in the NFL Draft. Later cut from the Rams, he was a running back for the Hamburg Sea Devils, a German team playing in the NFL Europe League. Fun fact: Eldest son of two-time Oscar winner Denzel Washington.
Photo: Adam Driver and John David Washington
***GO SEE A PLAY! POLL: The St. Louis Fringe Festival’s local headlining act is an original musical written and composed by Colin Healy called “The Gringo.” The world premiere will be performed four times from Thursday, Aug. 16 through Sunday, Aug. 19, at the .Zack, 3224 Locust.
It’s about how art can bring a community together. Set in Miami, a local street artist is wrongfully gunned down by police. As told through the lens of a successful painter, this community faces injustice and rapid gentrification. They learn what it means to fight for your home.
The cast includes Gheremi Clay, Kevin Corpuz, Robert Crenshaw, Evann De-Bose, Riley Dunn, William Humphrey, Omega Jones, Tim Kaniecki, Alicia Revé Like, Brittany Losh, Samantha Madison, Gabby McNabb, Carly Niehaus, Janine Norman and David Zimmerman.
Healy directs, with Bradley Rohlf assistant director; Christopher Page-Sanders choreographer and Carly Uding costume design.Tieliere Cheatem contributed the artwork. On opening night, they will give this portrait away that has been signed by the cast and the crew. Tickets available at Metrotix.com

For a chance to win two tickets to one performance, enter our poll drawing!Poll Question: What Is Your Favorite Show About Art? “Art”
“Is He Dead?”“Red”“Sunday in the Park with George”“Sight Unseen”
Submit your selection to lynnvenhaus@gmail.com by noon on Wednesday, Aug. 15. Please include your phone number. You will be notified that afternoon if you won, and you can select what performance so that tickets can be arranged. The show is at 8 p.m. Wednesday through Saturday, and Sunday at 2 p.m. Thanks for participating.
Winner of our two tickets to “Meet Me in St. Louis” was Chuck Brinkley. Thank you, Muny!
“Meet Me in St. Louis” received the most votes as the favorite local movie shot in or made about St. Louis.
***TRIVIA TIME-OUT: Oscar winner Shelley Winters, whose career spanned five decades, was born Shirley Schrift on Aug. 18, 1920, in St. Louis to Jewish immigrant parents. Her father, a tailor, moved the family to Brooklyn when she was a child. She died at age 86 in 2006.
Once nicknamed “The Blonde Bombshell,” she later became known for forceful dramatic roles.For what movie performances did she win her two Academy Awards for Best Supporting Actress?Answer: “The Diary of Anne Frank” in 1959, as a shrill Mrs. Van Daan, and “A Patch of Blue” in 1965, in which she played a slatternly mother cruel to her blind daughter.
Her breakthrough role on stage was as Ado Annie in “Oklahoma!” five years into the run, and she was noticed in “A Double Life” starring Oscar winner Ronald Coleman in 1947.But after a dissatisfying number of movie roles, she finally got the role of her lifetime in “A Place in the Sun” with Montgomery Clift and Elizabeth Taylor.
Some of her other big movies were “A Night of the Hunter” in 1955 and “The Poseidon Adventure” in 1972. Earlier, she had returned to studying at the Actors Studio and became a big advocate of the Lee Strasberg method.
A lifelong progressive Democrat and outspoken on feminist issues, she became quite a raconteur on talk shows during the 1970s and ‘80s. Her two tell-all autobiographies created quite a stir, as she had some high-profile leading-men dalliances.
Fun fact: She roomed with Marilyn Monroe when they were just starting out in Hollywood.
Happy Birthday, Shelley! (She would have been 98 Monday).Photo at right: Marilyn Monroe, Robert Mitchum and Shelley Winters.
***ICYMI: A movie adaptation of Lin-Manuel Miranda’s Tony-winning “In the Heights” is planned for summer release 2020. Jon M. Chu, who helmed the new romantic comedy “Crazy Rich Asians,” will direct.Andrew Lloyd Webber’s “Cats” will be made into a movie, and production is to start in November. Stars signed so far are Tony winners James Corden and Ian McKellen, along with Oscar winner Jennifer Hudson and Grammy winner Taylor Swift.
***WORD/DOWN MEMORY LANE: “Would you shut your phones off for Christ sakes?” – Stanley Tucci, during the Aug. 14, 2002, performance of “Frankie and Johnny in the Clair de Lune” at the Belasco Theatre on Broadway. An audience member’s cell phone kept ringing. Calls for a ban on cell phones at NYC’s theatres grew louder, and a law was put into effect in 2003.
***Have any tidbits for this people column? Contact Managing Editor Lynn Venhaus – lynnvenhaus@gmail.com
.All photos from archives or submitted. Featured image is of St. Louis native Shelley Winters.