Lynn Venhaus

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

An Elegant, Exuberant ‘Anastasia’ Is a Knockout for Tesseract Theatre Co.

An Elegant, Exuberant ‘Anastasia’ Is a Knockout for Tesseract Theatre Co.

By Lynn Venhaus

A zestful and exuberant “Anastasia: The Musical” is a crowning achievement for the Tesseract Theatre Company, which has crafted a big, bold production where every element is in harmony together.

Elegantly produced and seamlessly performed, this intriguing story centering on the legend of a Russian grand duchess is executed with remarkable skill by innovative creatives and a first-rate cast.

Impeccably staged as a swirling mix of constant motion, this adventurous blend of history, mystery and romance engaged from the jump. While this 2017 musical is not a flawlessly constructed show, the company’s determination and their lively interpretation propels it forward.

Using an abstract, intimate stage design at The Marcelle, director Brittanie Gunn, a Tesseract co-founder and creative director along with Kevin Corpuz, has focused sharply on the storytelling. The charming and well-cast 17-person ensemble’s hard work is obvious throughout this emotional journey that leads to a bittersweet finale.

The Press Conference. Photo by FF.

This ultimately is a tale of self-discovery. Gunn wanted Anya to be seen as a strong woman, and Sarah Wilkinson is believable as she works on herself – who is she and who will she become? But other characters find their purpose and their way, too.

Tesseract has been dipping its toe into musical productions for the past two years, with small-scale shows “Ordinary Days” in November 2022, “The Last Five Years” in February 2023, and “The Mad Ones” in November 2023, with its first large-cast splashy musical “Kinky Boots” in August 2023. This year, an original musical “Cascade’s Fire,” and another small-scale effort “My Heart Says Go” were previously performed.

With the ambitious “Anastasia,” they are taking a huge leap forward, and each component is impressive — Gunn’s thoughtful depiction, Zach Neumann’s vigorous music direction, choreographer Michelle Sauer’s graceful ballet and vibrant period dance numbers, and the superb technical team’s designs.

This all-ages show, which has been performed by schools, youth and community theaters in recent years but not yet by regional professional companies, features lyrics by Lynn Ahrens and music by Stephen Flaherty, whose best-known works are “Ragtime” and “Seussical.”

This grand-scale musical is adapted from the well-liked 1997 animated movie, which in turn was inspired by the 1956 “what if” dramatic film “Anastasia” that starred Ingrid Bergman in her second of three Oscar-winning roles.

The Czar’s Family Pre-Revolution. Photo by FF.

Fun fact: The animated musical’s music, composed by Ahrens and Flaherty, also featured music by David Newman, whose father, Alfred, was Oscar-nominated for the original 1956 film. This team earned two Oscar nominations for the film – musical score, and “Journey to the Past” for best song.

That power ballad is reprised in this stage musical, with a dynamic rendition by Sarah Wilkinson ending Act 1. There are five other songs from the movie, including the poignant “Once Upon a December,” and 16 new songs.

Playwright Terence McNally wrote the book, from the play by Marcelle Maurette, as adapted by Guy Bolton. While the late McNally is among the greatest, winning five Tony Awards, this result isn’t among his best. However, he shaped what could have been a too-sprawling complex narrative into several subplots that mesh well.

He has omitted the villain Rasputin and dropped the magic realism that were a major part of the animated tale, replacing the shady wizard with a formidable Bolshevik general Gleb, who seems as obsessed as Javert in “Les Miserables.” In fact, this show may remind you somewhat of “Les Miz,” only not as epic in scope.

Photo by FF.

The character Anastasia has always been enigmatic because she may or may not be who she thinks she is. The story arc begins at the twilight of the Russian Empire and moves to Paris in the 1920s, as this young woman tries to fit the puzzle together of her life.

The real story is that the royal family Czar Nicholas II, his wife, Alexandra; son, Alexis; and four daughters, Olga, Tatiana, Maria, and Anastasia, were taken captive after he abdicated the throne on March 15, 1917. They were executed by a firing squad of Communist Bolsheviks on July 17, 1918, along with four of their servants, but no bodies were immediately found. Reports were so unclear that the dowager empress, then in Crimea, doubted the news of her family’s death.

The musical begins nine years after the Russian Revolution in 1918. Legend has it that Anastasia escaped her family’s murder, but hit her head while running away, causing her to lose all her memories.

Can she reclaim the magic of her childhood? In an interesting contrast, the show flashes back to Anya as a child, and 12-year-old Devynn Phoenix is luminous in her dance sequences as both the young Anastasia and Alexia. Ella Drake demonstrates superb dancing skills in ballet sequences, also.

Ella Drake. Photo by FF.

As the grown-up Anya, she meets two conmen, Dmitry and Vlad, who are looking for a girl to pretend she is the lost princess. Wilkinson easily slips into Anya’s skin, while new-to-professional theatre Aaron Fischer is revelatory as Dmitry, and Kent Coffel, an MVP when it comes to playing comedic sidekicks, works well with both.

The men hatch their imposter plan in “A Rumor in St. Petersburg.” They tutor her, a la “My Fair Lady,” in “Learn to Do It,” then take her to Paris and plan to meet with her grandmother, because they think the Dowager Empress will give them a substantial reward for recovering this long-lost member of the royal family.

Through this process, she slowly starts to regain her memory and believes she is indeed the real Anastasia. Wilkinson’s transformation is palpable, and you see her become more radiant.

Wilkinson, who has been memorable on local stages in “Nine” and “Into the Woods,” is an accomplished singer and dancer. With an opportunity to anchor this production, she grabs it with gusto.

She shines on her solo numbers. “Once Upon a December” is wistfully delivered, as is “A Secret She Kept,” and “In My Dreams” is a touching tribute to starting over. She also possesses considerable poise and carries herself regally on stage.

Danielle Feinstein, Kimmie Kidd-Booker and Lindsey Grojean. Photo by FF.

Act 2 opens with an ebullient “Paris Holds the Key (to Your Heart)” and the chorus also has fun with “Land of Yesterday” led by the intrepid Kimmie Kidd-Booker as the lady-in-waiting Countess Lily.

Anya and Dimitry are in a budding romance that’s straight out of a Hallmark movie template, but Wilkinson and Fischer have a genuine connection. He soars in his strong vocals, especially “Everything to Win” and with Anya in “My Petersburg” and “In a Crowd of Thousands.”

Vlad reminisces about hobnobbing with the aristocracy, and his wit comes through – as does his physical comedy.

In his role as Gleb, Donald Kidd stuns with his sturdy vocals and layered characterization. “The Neva Flows,” along with Anya, showcases his vocal command, and when he realizes he has feelings for Anya, “Still.”

As the Dowager Empress, dauntless Margery A. Handy is imposing, and has a terrific song, “Close the Door.” She is as stately as Lily is goofy. Kidd-Booker is hilarious hamming it up as Vlad’s former mistress, and she and Coffel know how to create an effective chemistry in “The Countess and the Common Man,” ramping up the physical comedy.

Aaron Fischer, as Dmitry, revs up the crowd. Photo by FF.

The ensemble is quite strong, with distinctive characterizations developed by each supporting player. Tielere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt and Kelvin Urday all blend well, but also stand out as different characters.

They harmonize beautifully, and the orchestra’s vitality is noticeable. Besides conducting, Neumann is on keyboards, joining Chuck Evans on violin, John Gerdes on brass, Lea Gerdes and Joseph Hendricks on reeds, Brad Martin on percussion, and Paul Rueschhoff on cello.

The musical’s costumes are an opulent showcase, with costume designer Sarah Gene Dowling assembling a bevy of beautiful gowns, flashy vintage party dresses, textured ethereal whites, working-class garments and heavy wintry outerwear. She collected over 100 looks for this show alone.

The craftsmen meet the moment, with noteworthy sound design by Phillip Evans, lighting design by Kevin Bowman, properties design by Rachel Puleo, and scenic design by Todd Schaefer.

Kevin “Kevlar” Sallwasser was the technical director, Sarah Baucom production manager, and Marisa Daddazio the stage manager, with Bella Lucero assistant stage manager and Hannah Lohmeyer the intimacy coordinator.

Donald Kidd as Gleb. Photo by FF.

The show’s lush qualities combine with the venue’s cozy ambience to create an enchanting experience. “Anastasia: The Musical” will linger for a while. Tesseract’s mission accomplished, and it was refreshing to see how well it all came together.


Tesseract Theatre presents the musical Anastasia Thursdays through Saturdays at 8 p.m. and Sundays at 4 p.m., Nov. 14 – 24. Performances take place at the Marcelle Theatre in Grand Center. For more information: www.tesseracttheatre.com.

Heartfelt Storytelling in PPA Alumni Theatre’s Moving ‘As Told By Us’

Heartfelt Storytelling in PPA Alumni Theatre’s Moving ‘As Told By Us’

By Lynn Venhaus

Two life-affirming original one-acts grab the heart through humor and genuine emotion for a moving night of original stories in “As Told By Us” presented by Prison Performing Arts’ Alumni Theatre Company.

Featuring works by two Missouri playwrights who have written from their heart about home, both strike universal chords with their observations on life, love, loss and surviving despair, heartaches and regrets. These are characters that feel real.

“Go Before I Do,” written by Hazel McIntire, features Katherine Leemon as a world-weary mixologist working at a craft cocktail bar. In walks a daughter who is meeting her father for a drink.

Jocelyn Padilla plays a sophisticated, well-traveled woman, and her dad, played by David Nonemaker is a typical Midwest good guy who likes simple things, and simple pleasures. They are dealing with the loss of their mother and wife – in different ways.

Under Eric Satterfield’s direction, it’s a lived-in portrait, warm with humor from quoting “The Golden Girls” but also expressing the aches of loss, and the daunting task of moving forward.

Jocelyn Padilla and David Nonemaker. Photo by RayBayCreates.

The characters explore grief and loss as they grow and learn to understand. Its emotional impact sneaks up on you when you least expect it. “Go Before I Do” was first presented by SATE at their Aphra Behn Festival in 2022.

It’s a good start to this two-act program, setting the table for “Don’t Be a Hero, Thank You.”

Leemon, who played the bartender in the first one-act, is the playwright of the exceptional “Don’t Be a Hero, Thank You.” Be prepared for its emotional wallop as force of nature LaWanda Jackson is raw and vulnerable in a remarkably honest performance.

Jackson mesmerizes in a hard-fought journey to make sense of her incarceration and moving beyond those years with self-acceptance, and a desire to be everything she can become.

Directed by Rachel Tibbetts, the play unfolds with warmth, humor, sweetness, light, interesting observations and outlooks on life. When everything is taken from you, how do you bounce back and re-enter society?

Kristen Strom and LaWanda Jackson. Photo by RayBayCreates.

This tale also tackles friendship, with Kristen Strom in several supporting roles. When Jackson talks about what it means to be a contemporary woman, she is as funny as a stand-up comedian delivering a monologue. Sarcasm with a smile, delivered sincerely. But she always keeps it real, and her ability to express a full range of emotions in that one-act is impressive..

Jackson’s work is one of my favorite performances of the year, and the play one of the candidates for Best New Play.

The tech work is crisp, with Bess Moynihan’s astute lighting design and a set design that’s reveal is best not spoiled (misty-eyed memories!), Brian Dooley’s expert sound design – and deft needle drops, and Tyler White’s modern casual costume design. Eric Satterfield’s project designs are also noteworthy.

In the intimate confines of the Greenfinch performance space, Prison Performing Arts presented a cozy, comforting environment to share beautiful stories about going through the hard knocks of life and coming through the other side. Poignant and powerful, they resonated deeply because two pieces were a sample of joy that can be found in the unlikeliest of places and with unexpected connections.

PPA presents “As Told By Us” Thursday through Sunday, Nov. 14-17, at the Greenfinch Theatre & Dive 2525 S. Jefferson Avenue, St. Louis, Mo 63104. Sunday matinee at 2 p.m., evenings Thursday – Saturday at 7:30 p.m. Tickets can be purchased through Purple Pass. For more information, please visit www.prisonperformingarts.org. Content warning/Trigger warning:Be advised that this production contains mature content and references to suicide.

LaWanda Jackson as Kate spills her life story. Photo by RayBayCreates.

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

YoungLiars Fracture Fairy Tales in Clever Free-Spirited ‘Wolf Kings’

By Lynn Venhaus

A movable feast of tumbling ideas and kernels of wit, “Wolf Kings” is an inspired piece of inter-disciplinary performance by indomitable producing partners Maggie Conroy and Chuck Harper of YoungLiars.

The producers say they like to set hearts and minds on fire with bold theatricality, and this one has plenty of sparks to ignite. Written and directed by Harper, it’s a one-act fusion of original thought, critical thinking and re-imagined classics that are mysterious puzzle pieces in a larger picture designed to provoke and engage.

Back after a five-year hiatus, the avant-garde troupe was known for interpreting works in a lyrical and collage-like way, comparable to the like-minded experimental theater companies SATE and ERA.

They all draw from a close-knit collective that understands their assignments in interpreting these works. These performers don’t do dull – they bend, stretch and draw from literature to make statements and explore possibilities of live theater.

In “Wolf Kings,” a lionhearted quintet of women and that one-man band Cassidy Flynn take us in multiple directions, and the enigmatic journey appears to start in a Parisian literary salon.

With clever nods to fairy tales, Victorian theatricals, and French writers, Conroy and Harper adapted text and were inspired by the writings of Angela Carter, Alphonse Daudet, Marie de Rabutin-Chantal Sevigne, and Benjamin Walker.

Maggie Conroy and Kay Ailee Bush.

The ensemble had input as well as to shaping what their weekly gathering to ‘divert, distract and delight each other’ would be. Conroy role plays, as does Ashwini Arora, Frankie Ferrari, Keating and Kay Ailee Bush, who show up as if they are visiting Gertrude Stein’s studio at 27 Rue de Fleurus.

Their similar attire suggests a performance within a performance, setting the stage for quick changes – and revolving around a red cape. Marcy Wiegert designed the costumes to reflect a cabaret quality, then transforming into characters.

Flynn arrives, insistent to crash the clandestine soiree. But this eclectic mix – one arrives carrying a hatchet – isn’t exactly a book club although they are smart and could be hobnobbing with Zelda and Scott Fitzgerald, and other intellectuals and philosophers.

Balancing comedy and drama, the players are modern Bohemians who enjoy each other’s company. They demonstrate their verbal dexterity with a fun parlor game called “Compliments,” and quick-witted conversations ensue.

They play vinyl records, offering interesting needle drops for a dance party where they execute precise movements, choreographed by Mikey Thomas. Sound board operator Morgan Schindler, following Harper’s sound design, keeps us on our toes.

Eventually, they land on cloak-and-dagger storytelling, where they probe issues related to the Brothers Grimm fairy tale “Little Red Riding Hood,” but also 17th century folk tale versions. Converging in that proverbial cabin in the woods appears to be somehow connected to Angela Carter’s feminist short stories “The Company of Wolves,” “Wolf-Alice,” and “The Werewolf.”

Cassidy Flynn and Keating.

Who exactly is in danger and how straying from the path can be interpreted are given different options. Some characters go through metamorphosis, and there’s a sharp menacing turn as lines are blurred between those oppressed and who is oppressing in the forest. The actors display a passion and a purpose.

Lighting designer Morgan Brennan enhances the paradoxical elements.

While viewers may not understand where the playwrights are taking us, one constant is unpredictability. The group’s keen observational skills are intriguing to watch unfold through a tight-rope edge.

Because of the perceptive performers and their finely tuned interplay, the evening’s theatrical “Wolf Kings” challenges us as it entertains – taking us in bold directions as we try to find our way.

YoungLiars presents “Wolf Kings” Thursdays through Saturdays at 8 p.m. from Nov. 7 to Nov. 23 at The Chapel, 6238 Alexander Drive in Clayton, Mo. For more information: www.youngliarstheatre.org.

Frankie Ferrari and Kay Ailee Bush.

‘Red One’ Is A Slick Overstuffed Christmas Tale With Synthetic Emotions

‘Red One’ Is A Slick Overstuffed Christmas Tale With Synthetic Emotions

By Lynn Venhaus

Whatever the imaginary magical Christmas feeling we crave to experience every year at this time, we seek it out in holiday traditions, seasonal foods, songs and movies – whether fantasy or funny.

Granted, most holiday movies are a license to print money. A certain greeting card company’s cable television channel churns out cheery Christmas fare for days on end starting when leaves are still on the trees.

Make no mistake, commerce-driven craftsmanship is manufacturing all the warm and fuzzy, and none of the emotions “Red One” is trying to elicit are earned. This poorly executed family fare will live on eventually streaming on Amazon Prime video. Its clash of tones is irritating, but nevertheless, there are elements that can make either the naughty or nice list.

When a villain kidnaps Santa Claus (JK Simmons) from the North Pole, an E.L.F. (Extremely Large and Formidable) operative (Dwayne Johnson) joins forces with the world’s most accomplished tracker (Chris Evans) to find him and save Christmas.

With an abundance of twinkly tinsel, the slickly made fast-paced fantasy action comedy is the latest attempt to please both adults and children alike – and it is likely to be a major crowd-pleasing hit, if the preview audience’s reaction is any indication.

However, upon critical analysis, it’s an overstuffed stocking too big for hanging on the mantel because it sags with extra weight.

“Red One” is altogether too much – aggravating over-the-top computer-generated images (CGI), big beefy actors going through the motions imitating standard characters, derivative storylines from better films, and an overload of shiny distractions. The film cost $250 million to make. And it’s 2 hours and 3 minutes’ long.

The goal is to thwart gigantic gnarly shape-shifting evildoers to save Christmas. Sure, let’s scare the little kids in between the holly and jolly.

With parts both dark and light, weird and wonderful (who wouldn’t want to live and work in Santa’s extravagant futuristic village?), and an occasional sliver of charm and good humor, “Red One” tries to be all things to everyday people, like an all-you-can-eat buffet pre-global pandemic where the budget cuts of meat are over-sauced.

You might have seen the bounteous plot strands before: derelict dad learns the meaning of Christmas after bonding with the son he chose to neglect—reminiscent of “The Santa Clause” from 1994 starring Tim Allen; a Santa Claus kidnap plot in “The Christmas Chronicles” from 2018 starring Kurt Russell; a wintry North Pole wonderland looking like “The Polar Express” with touches of “Elf”; animals out of “Narnia,” and an assortment of ne’er-do-wells, cretins and bad behavior a la “Bad Santa,” “A Christmas Story” and “Jingle All the Way.”

And that’s only the tip of this iceberg. “A miniature sleigh and eight tiny reindeer”? Ha! Santa’s sleigh is souped-up, a marvel of technology that could have been crafted by NASA scientists. The “eight tiny reindeer” that Clement C. Moore wrote about in his “Twas the Night Before Christmas” poem are huge hulking beasts.

JK Simmons created a fine Father Christmas, a good ol’ sincere Nick, who doesn’t have a round belly that shakes like a bowlful of jelly because he’s fit as a fiddle. He works out so he can visit every single home around the world in one night – and sample the cookies left for him. But because he is being held hostage for most of the film, we only experience his delightful performance as bookends.

In a crazy conflict, his adopted brother is Krampus (Kristofer Hivju). This subplot is where it turns nasty and gross, for the mythology surrounding the horned figure is as a punisher of the bad kids.

The mastermind of the nefarious plot is Gryla, a witch who’s got a bee in her bonnet about how the naughty kids don’t really receive the consequences they deserve. She is played, with a lot of CGI enhancement, by Kiernan Shipka, best known as Sally Draper on “Mad Men.” Here she wears glossy dark lipstick and has an ominous magnified voice.

It’s a ridiculous premise, written by Chris Morgan, who is responsible for three “Fast and Furious” franchise scripts that I thought were written by chimps, and Hiram Garcia, who wrote one episode of “Young Rock” and produced two “Jumanji” movies directed by Jake Kasdan, who was at the helm here.

Kasdan is known for broad satire and has missed the mark before in the raunchy “Bad Teacher” and goofy “Walk Hard: The Dewey Cox Story.” This mash-up is just bizarre, devoid of any genuine sentiment, like a chase-based videogame being played while a fake fireplace is on the television screen. Let’s go to a tropical island with babes in bikinis and attacking snowmen — and Nick Kroll as a bad guy!

Among the vacuous thinly developed characters is Jack O’Malley played by Chris Evans, in selfish cad “Knives Out” mode. A revered hacker and tracker who is supposed to be a legend in the high-tech espionage world despite being a scoundrel in real life. He does have a few earnest moments with Wesley Kimmel, who plays his son Dylan (and is a nephew of Jimmy Kimmel).

He’s enlisted to help the very serious Callum Drift, who is Santa’s head of security – of course, it’s Dwayne Johnson in a role he could do sleepwalking. Do not expect a bromance.

Totally wasted is Lucy Liu as a director who oversees the elaborate Santa compound, and the marvelous Bonnie Hunt as Mrs. Claus. Their screen time is as miniscule as a funny bit with real trolls working the cyber-security detail.

Naturally, filmmakers pepper the soundtrack with some snappy Motown-type versions of Christmas classics, distracting from the movie’s flaws with jingly bells.

Everything is wrapped up in a big red bow.  For some viewers, “Red One” is a pleasant holiday movie. For others, it’s time to let out a cranky ‘Bah, Humbug” and turn to a comforting old favorite.

“Red One” is a 2024 action-comedy-fantasy movie directed by Jake Kasdan and starring Dwayne Johnson, Chris Evans, JK Simmons, Kiernan Shipka, Kristofer Hivju, Nick Kroll, Lucy Liu, Bonnie Hunt and Wesley Kimmel. It is rated PG-13 for action, some violence, and language, and its runtime is 2 hours, 3 minutes. It opened in theaters Nov. 15. Lynn’s Grade: C-.

Warm and Genuine ‘A Real Pain’ Explores Family Ties, Heritage

Warm and Genuine ‘A Real Pain’ Explores Family Ties, Heritage

By Lynn Venhaus

Complicated family ties and honoring Jewish heritage are explored in the heartfelt “A Real Pain.” With its strong emotional pull as two once-close cousins reconnect, the comedy-drama is often amusing but also tinged with melancholy. After all, it is a Holocaust tour, and a reverent one at that.

A Real Pain” follows mismatched first cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) who reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd couple’s old tensions resurface against the backdrop of their family history.

Following the adage ‘write what you know,’ writer-director Jesse Eisenberg brings an appealing earnestness to his labor of love. When the cousins visit their grandmother’s home in Poland, this location is actually where Eisenberg’s real-life ancestors settled in diaspora.

In his second directorial effort, Eisenberg is in his acting comfort zone as an uptight worrywart who is a responsible, dedicated family man. (His real-life son Banner is seen briefly as David’s little boy Abe.)

He reveals a remarkable knack for storytelling, and his deft direction makes for a lean 90-minute odyssey where the pair discover themselves and move forward with far more understanding.

Eisenberg, who came to prominence in “The Squid and the Whale,” earned an Oscar nomination as Mark Zuckerberg in “The Social Network,” and has amassed a varied range of roles, including “Zombieland,” “Now You See Me,” “Rio,” two Woody Allen movies, and one of my favorites “The End of the Tour.”

He has terrific chemistry with scene-stealer Kieran Culkin as his free-spirited chatty first cousin who seemingly breezes through life as a carefree adult unencumbered by responsibilities.  In first impressions, he’s fun, funny and rarely uses a filter in conversations, making friends easily.

Culkin’s moving, multi-layered performance as the adrift man-child Benji may just earn him an Oscar nomination for Best Supporting Actor, and for sure he’ll be on the shortlists for other year-end awards consideration. Emmy winner for his role as Roman Roy on HBO’s “Succession,” Culkin’s verbal dexterity and his natural mannerisms are effortless in creating a relatable Benji as someone you know.

Growing up, the boys were very close, as their dads were brothers. But through the years and with different lifestyles, they grew apart. This trip to honor their grandmother, a Holocaust survivor, is an opportunity to renew their bond. As the journey progresses, they have their ups and downs. Benji is more troubled than at first glance, and David’s persnickety nature can be annoying.

Because they are traveling in a group, their behavior affects others. Their fellow travelers include a nearly unrecognizable Jennifer Grey as a newly divorced woman Marcia, Kurt Egiywan as Eloge, who escaped a genocide in his Rwanda homeland, and Liza Sadovy and Daniel Oreskes as a married couple, Mark and Diane.

The efficient tour guide James, played by an affable Will Sharpe, is criticized by Benji for not connecting enough to the people in the towns they visit, instead of just regurgitating facts.

The film’s power is disarming, for it packs an emotional wallop, especially in exploring the Holocaust aftermath, the Majdanek concentration camp, and the effect of loss and grief on Benji.

Eisenberg’s nimble narrative brings up the pair’s old misunderstandings and resentments as they bicker, but they have one thing in common: love for their grandmother, and that resonates. We do get a finely drawn, compelling portrait of these individuals.

They remember the family love fostered, and do care for each other, which is obvious when David worries about Benji being lonely.

A breakout hit at the Sundance Film Festival, “A Real Pain” was nominated for the Grand Jury Prize and Eisenberg won the Waldo Salt Screenwriting Award. He also won the Humor and Humanity Award at the Heartland Film Festival and Culkin is a nominee for a Gotham Independent Film Award. This isn’t going to be the end of their awards journey.

The cinematography by Michael Dymak subtly makes statements, while the editing by Robert Nassau makes the story flow well.

Warm and genuine, “A Real Pain” is that rare film that intimately speaks to us so eloquently, yet is universal in intentions, thus making a lasting impression.

“A Real Pain” is a 2024 comedy-drama written and directed by Jesse Eisenberg and starring Jesse Eisenberg, Kieran Culkin, Jennifer Grey, Will Sharpe, Liza Sadovy, Daniel Oreskes and Kurt Egiywan. It is Rated R for language throughout and some drug use, and its runtime is 90 minutes. It opened in local theatres Nov. 15 and was the opening night film at the St. Louis International Film Festival. Lynn’s Grade: A.

Prison Performing Arts Presents Two Plays Written by Company Alumni

Prison Performing Arts Presents Two Plays Written by Company Alumni

Prison Performing Arts is excited to present two plays written by PPA Alumni Theatre Company members. The first, Go Before I Do, written by Hazel McIntire and directed by Eric Satterfield, featuring Katherine Leemon, David Nonemaker, and Jocelyn Padilla, is set in a bar in the nightlife district which becomes a portal into others’ lives as drinks are poured and memories made. A daughter lives through the loss of both of her parents in the span of a few short years, which is viewed by her faithful bartender. A view of the world seen by the often unseen, Go Before I Do is a story of growth, exploration, and understanding. This play was originally produced for SATE’s Aphra Behn Festival in 2022. 

The second is a brand-new play, Don’t Be a Hero, Thank You, written by Katherine Leemon and directed by Rachel Tibbetts. Featuring LaWanda Jackson and Kristen Strom, it is about life, friendship, and reentry. Don’t Be a Hero, Thank You takes a tongue-in-cheek look at what it means to be a contemporary woman. 

The production ensemble includes Jim Bernatowicz (stage manager), Brian Dooley (sound designer), Bess Moynihan (set/lighting designer), Eric Satterfield (projection designer), and Tyler White (costume designer).

Performances are Thursday, November 14, 2024, 7:30 PM, Friday, November 15, 2024, 7:30 PM, Saturday, November 16, 2024, 7:30 PM, and Sunday, November 17, 2024, 2:00 PM. All performances will be held at Greenfinch Theater & Dive, 2525 S Jefferson Ave, St. Louis, MO 63104. Tickets are $25 and can be purchased through PurplePass. For more information, please visit www.prisonperformingarts.org. 

Founded in 1999 by Agnes Wilcox, Prison Performing Arts (PPA) is a multi-discipline, literacy and performing arts program dedicated to enriching the lives of youth and adults in Missouri’s criminal and juvenile justice systems. PPA’s Alumni Theatre Company, unique in its existence as one of the only prison alumni theatre companies in the United States, is an ensemble of returning citizens who worked with PPA while incarcerated. ​The group meets on a regular basis both online and in-person to develop new material for performances, focus on skill development, and to offer support for company members. 

Both playwrights Katherine Leemon and Hazel McIntire are members of the PPA Alumni Theatre Company. Both artists give credit to PPA for shaping their approach to writing. McIntire says, “PPA has shown me so many different styles of writing, which then gave me the confidence to tackle more than just a poem. PPA promoted my self-esteem in a way that told me I could do it, even if I didn’t think I could.”

Leemon agrees, “It gave me the confidence to try something I never imagined was possible. PPA is infectious. Their unwavering belief in me, gave me the courage to at least give it a shot, even if nothing ever came from writing the play.”

Content warning/Trigger warning:

Be advised that this production contains mature content and references to suicide.

‘Super/Man: The Christopher Reeve Story’ Sweeps With Six Wins at Critics Choice Documentary Awards

‘Super/Man: The Christopher Reeve Story’ Sweeps With Six Wins at Critics Choice Documentary Awards

Super/Man: The Christopher Reeve Story and Will & Harper Tie for Best Documentary Feature at the Ninth Annual Critics Choice Documentary Awards

Winners Revealed at the Gala Event on Sunday, November 10 at the Edison Ballroom in New York City

The Critics Choice Association (CCA) unveiled the winners of the Ninth Annual Critics Choice Documentary Awards at a gala event in New York City. Super/Man: The Christopher Reeve Story and Will & Harper tied for the top award of the evening, Best Documentary Feature. With a sweep of all six of its nominated categories, Super/Man: The Christopher Reeve Story also scored wins for Best Director for Ian Bonhôte and Peter Ettedgui, Best Editing for Otto Burnham, Best Score for Ilan Eshkeri, Best Archival Documentary, and Best Biographical Documentary.

The Last of the Sea Women, Simone Biles Rising, and Sugarcane each took home two awards.

The Last of the Sea Women won the awards for Best Cinematography for Iris Ng, Eunson Choo, and Justin Turkowski, and Best Science/Nature Documentary.

Simone Biles Rising was another of the evening’s double award winners, earning trophies for Best Sports Documentary and Best Limited Documentary Series.

Sugarcane took home dual awards as well, for Best Political Documentary and Best True Crime Documentary.

Natalie Rae and Angela Patton won Best New Documentary Filmmaker(s) for their work on Daughters.

Steve! (Martin) A Documentary in 2 Pieces won for Best Narration, written and performed by Steve Martin.

The trophy for Best Historical Documentary was awarded to The Greatest Night in Pop.

Best Music Documentary went to Music by John Williams.

The award for Best Short Documentary was presented to The Only Girl in the Orchestra.

30 for 30 took home the award for Best Ongoing Documentary Series.

‘The Last of the Sea Women’ won for best science and nature doc, and for cinematography.

At the ceremony, the Pennebaker Award was presented to acclaimed documentarian Rory Kennedy. The award is named in honor of D A Pennebaker, a past winner. It was presented to Kennedy by Chris Hegedus, Pennebaker’s long-time collaborator and widow.

The event was hosted by actor and longtime-event supporter Erich Bergen. Presenters and attendees included Ron Howard, Chelsea Clinton with Amanda Zurawski, Jerry and Jessica Seinfeld, Jeremy Piven, Bridget Moynahan, Lorraine Toussaint, Michael Cyril Creighton, Daphne Rubin-Vega, Ali Wentworth, R.J. Cutler, Lauren Greenfield, Andrew Jarecki, Ken Leung, Chai Vasarhelyi, and Marc Shaiman, among many others.

Christopher Campbell, Vice President of Documentaries of the Critics Choice Association said, “Tonight brought about some wonderful surprises as we celebrated a fantastic array of documentaries and the remarkable people whose stories they told. Our ninth show was certainly our most inspiring yet. Congratulations to all the winners!”

The Critics Choice Association honors the year’s finest achievements in documentaries released in theaters, on TV, and on major digital platforms, as determined by the voting of qualified CCA members. The ninth annual awards ceremony was produced by Bob Bain Productions.

The Catalyst Sponsors for the event were  Amazon MGM Studios, National Geographic Documentary Films, Netflix, and Super/Man: The Christopher Reeve Story. 
 

“Music By John Williams” named Best Music Documentary.


WINNERS OF THE NINTH ANNUAL CRITICS CHOICE DOCUMENTARY AWARDS

BEST DOCUMENTARY FEATURE (TIE)
Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)
Will & Harper (Netflix)

BEST DIRECTOR
Ian Bonhôte & Peter Ettedgui – Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)

BEST NEW DOCUMENTARY FILMMAKER(S)
Natalie Rae & Angela Patton – Daughters (Netflix)

BEST CINEMATOGRAPHY
Iris Ng, Eunsoo Cho, Justin Turkowski – The Last of the Sea Women (Apple TV+)

BEST EDITING
Otto Burnham – Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)

BEST SCORE
Ilan Eshkeri – Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)

BEST NARRATION
Steve! (Martin) A Documentary in 2 Pieces (Apple TV+)
   Written and performed by Steve Martin

BEST ARCHIVAL DOCUMENTARY
Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)

Lionel Ritchie and Quincy Jones in “The Greatest Night in Pop”

BEST HISTORICAL DOCUMENTARY
The Greatest Night in Pop (Netflix)

BEST BIOGRAPHICAL DOCUMENTARY
Super/Man: The Christopher Reeve Story (Warner Bros. Pictures, DC Studios, HBO Documentary Films, CNN Films)

BEST MUSIC DOCUMENTARY
Music by John Williams (Walt Disney Studios)

BEST POLITICAL DOCUMENTARY
Sugarcane (National Geographic)

BEST SCIENCE/NATURE DOCUMENTARY
The Last of the Sea Women (Apple TV+)

‘Simone Biles Rising’ won for Best Sports Documentary

BEST SPORTS DOCUMENTARY
Simone Biles Rising (Netflix)

BEST TRUE CRIME DOCUMENTARY
Sugarcane (National Geographic)

BEST SHORT DOCUMENTARY
The Only Girl in the Orchestra (Netflix)

BEST LIMITED DOCUMENTARY SERIES
Simone Biles Rising (Netflix)

BEST ONGOING DOCUMENTARY SERIES
30 for 30 (ESPN)

Will & Harper


About the Critics Choice Awards

The Critics Choice Documentary Awards are an offshoot of the Critics Choice Awards, which are bestowed annually by the CCA to honor the finest in cinematic and television achievement. Historically, the Critics Choice Awards are the most accurate predictor of Academy Award nominations.

The 30th annual Critics Choice Awards ceremony will be held on January 12, 2025 at Barker Hangar in Santa Monica, CA, hosted by Chelsea Handler. It will air live on E! and will be available the next day on Peacock. 

About the Critics Choice Association (CCA) 

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit CriticsChoice.com.

To stream the ceremony, learn more about the Critics Choice Documentary Awards, and see the full list of nominees and winners, visit the Critics Choice Association website.

“Sugarcane” Best Political and Best True Crime Documentary Awards.

Strong Performances Celebrate Neil Diamond’s Music in ‘A Beautiful Noise’

Strong Performances Celebrate Neil Diamond’s Music in ‘A Beautiful Noise’

By Lynn Venhaus

Come for the music, stay for the lovefest. A gleaming crowd-pleasing tribute, “A Beautiful Noise: The Neil Diamond Musical” celebrates the singer-songwriter’s greatest hits, which is what the enthusiastic audience expected and was eager to do.

A delightful bonus was the excellence of the cast, band, and creative team.

Such affection for the legendary showman is evident and the music offers enough sustenance for the fans. After all, Diamond is one of the best-selling singer-songwriters of all-time, with 10 singles to reach no. 1.

The presentation is as sparkly as Neil’s shiny, sequined outfits on stage, designed here by Emilio Sosa. Touring since Sept. 21, the slickly produced show received a warm welcome at the Fox Theatre on opening night Oct. 29 (it runs through Nov. 10) — and not just because there were two rousing “Sweet Caroline” sing-alongs.

When Paul Simon inducted Neil Diamond into the Rock ‘n Roll Hall of Fame in 2011, he said: “Neil Diamond wrote for himself, but he spoke to everybody.”

“His ability to put words to the human experience explains his commercial success, his fans of all stripes, and his timelessness,” Simon continued.

Photo by Jeremy Daniel.

That sums up Neil’s enduring appeal. He was a dominant force on the pop charts for two generations and sold over 130 million records. No wonder the audience’s excitement steadily built with each memorable tune.

There is a captivating story to tell – of an introverted, lonely kid from Brooklyn, with a fondness for poetry, trying to make it in the music business in the 1960s. He eventually becomes a chart-topping global superstar, extroverted and fun-loving on stage.

But fame took its toll, with two failed marriages along the way, and other bumps in the road. There is a darkness that Neil talked about, which is expressed to his wives and his therapist.

While this typical jukebox musical doesn’t have as strong of a story arc as “Beautiful: The Carole King Musical” and “Jersey Boys,” the framework is interesting as a memoir, choosing to start with Neil “Now” talking about Neil “Then” to a therapist.

The psychoanalysis sessions strike a chord with anyone reflecting on their life, the mistakes they made and the regrets, but also on their triumphs and special connections. Neil is now an 83-year-old man, forced to retire after the diagnosis of Parkinson’s disease in 2018.

In therapy, he talks about wanting more peace, less angst. He’d also like to be better at reaching out to his family (he has four children, two girls with his first wife, two boys with his second).

Neil – Then and Neil – Now. Photo by Jeremy Daniel

The doctor, played by Lisa Renee Pitts, opens a book of his songs written during his 60-year career, and reads some of the lyrics, prompting Diamond to react. Spotlighting iconic songs and their significance, plus highlighting the special people in his life, is the crux of the show.

The book, written by Anthony McCarten, is titled for his 1976 album, and crafted with Diamond’s cooperation (and there’s a letter from Neil in the program). The musical addresses both sides of his personality – the performer and the songwriter.

Produced by Bob Gaudio, one of the Four Seasons (you may recall his story featured prominently in “Jersey Boys”), the show touches on Diamond’s drive and his creative fire.

The music numbers often feature a vibrant chorus of singers and dancers known as “The Beautiful Noise” – performing Steven Hoggett’s vigorous choreography. Special shout-out to J’Kobe Wallace from St. Louis, who was memorable in The Black Rep’s “Eubie!” in spring 2023, making his Broadway tour debut. He’s also the dance captain.

The Neil bookends are strong performers who instantly connected with the crowd. As Neil – Then, Nick Fradiani is an energetic, skilled musician, and charmed fans with his interpretation – and not just because he rocked some serious rock star hair and sideburns.

Fradiani, who won “American Idol” in 2015, Season 14, sounds remarkably like Diamond, but also has the charisma to pull off such a demanding role. Original understudy to Will Swenson on Broadway, Fradiani replaced him as the lead on Oct. 31, 2023, until the show closed on June 30. The show opened on Dec. 4, 2022, after a tryout in Boston and previews.

Tiffany Tatreau and Nick Fradiani. Photo by Jeremy Daniel.

Neil – Now is played by Robert Westenberg, who received a Tony nomination for his outstanding work in the 2022 revival of “Into the Woods,” but on opening night at the Fox, the understudy Dale Duko did a fine job.

Another standout is Hannah Jewel Kohn, a sensational triple threat, as Marcia Murphey, Diamond’s second wife, who was a major influence on his career. They were married 25 years until they divorced in 1995. He has been married to Katie McNeil since 2012, but she is just mentioned, not part of the show.

His first wife Jaye Posner, who was his high school sweetheart, is portrayed cordially by Tiffany Tatreau. They were married in 1963, separated a few years later, and divorced in 1969.

Kate A. Mulligan is a noteworthy supporting player as songwriter Ellie Greenwich, one of the hitmakers in the famous Brill Building, who helped show him the ropes. She also doubled as his mother, Rose Diamond.

During his Brill days, he wrote “I’m a Believer,” which the Monkees recorded, became certified gold in a mere two days, and was the biggest single of 1966. (Fun fact: Neil wrote several songs for the Monkees, including “A Little Bit Me, A Little Bit You.”).

Performing at the NYC nightclub, The Bitter End, was his big break, and then he was off and running with a succession of catchy Billboard Top 40 hits. Act One showcases his first no. 1 on his own, 1970’s “Cracklin’ Rosie,” plus “Kentucky Woman,” “Solitary Man,” “Song Sung Blue,” “Cherry Cherry,” and “September Morn.”

Kate A Mulligan and Nick Fradiani. Photo by Jeremy Daniel

Right before intermission, Fradiani and company deliver a robust “Sweet Caroline.” The “Good Times Never Seemed So Good” classic came out in 1969, became a favorite anthem at sporting events, and beloved as the 8th inning song at every Boston Red Sox home game at Fenway Park. It was honored by the Library of Congress with its inclusion in the National Recording Registry in 2019. Everyone expected this song to be one of the evening’s highlights and it was – and at the cheery curtain call too!

The songs from the only movie he headlined, “The Jazz Singer,” including “Love on the Rocks,” “Hello Again,” and the patriotic anthem “America,” which he wrote for his immigrant grandparents, were featured. An exhilarating rendition of “America” revved up the Fox crowd too.

The song timeline isn’t necessarily in order, but chronicles important times in Diamond’s life, too. The program lists 29 songs alphabetically. The dramatic gospel-tinged 1969 “Holly Holy” is later inserted for maximum effect, and I was happy to see the wistful 1968 “Brooklyn Roads” (‘low charting’) included — from his album “Velvet Gloves and Spit.” (?!)

A few singers have solo moments to shine: St. Louis’ own Spencer Donovan Jones in “Shilo,” Chris Marsh Clark in “Kentucky Woman,” Tasheim Ramsey Pack in “Red Red Wine,” Cooper Clack in “Look Out (Here Comes Tomorrow)” and Jeilani Rhone-Collins in “The Boat That I Row.”

Act Two focuses on the sold-out stadium years, where he was a huge draw in concerts around the world. His legendary “Hot August Night” double live album, recorded at the Greek Theatre in Los Angeles on Aug. 24, 1972, is still considered one of the best live albums of all time.

Hannah Jewel Kohn and Nick Fradiani. Photo by Jeremy Daniel.

The show’s energy ramps up with “Brother Love’s Traveling Salvation Show,” “Play Me,” and moving on to “Thank the Lord for the Nighttime,” “Soolaimon”/Crunchy Granola Suite,” and “I Am…I Said.”

The dynamic Kohn, who already had proven herself to be quite an accomplished dancer in the numbers, is showcased front and center in a terrific “Forever in Blue Jeans.”

When their marriage is rocky and on the verge of falling apart, Fradiani’s and Murphey’s moving duet to “You Don’t Bring Me Flowers” is heartbreaking.

So many songs are given their due and hearing again in this format re-connected us to the man and his music.

Under the expertise of conductor James Olmstead, the band smoothly transitions from up-tempo earworms to tender ballads, creating a full-bodied wall of sound. Olmstead played keyboards, as did Nancy O’Connor, with Max Caine on guitar, Aamir Juman on bass, and Morgan Parker on drums. These traveling musicians were joined by local musicians from Local 2 – 197 AFM to complete the orchestra.

With a glitzy scenic design by David Rockwell and warm lighting design by Kevin Adams, the show conveys music clubs and concert halls, recording studios and business offices.  But like the artist himself, the music comes alive because of those songs, no matter what venue.

“A Beautiful Noise: The Neil Diamond Musical” is an only-fans nostalgic delight. Anytime you can see that much joy on people’s faces, the night doesn’t seem so lonely, and ‘touching you, touching me’ is a blissful waltz down memory lane.

Photo by Jeremy Daniel.

The Fox Theatre presents “A Beautiful Noise: The Neil Diamond Musical” Oct. 29 – Nov. 10 at the Fabulous Fox, 527 N. Grand Blvd, St. Louis, Mo 63103. For more information, visit www.fabulousfox.com. For tickets, call MetroTix at 314-534-1111 or visit www.metrotix.com.

Hannah Jewel Kohn as Marcia Murphey. Photo by Jeremy Daniel.

Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

Dynamic Duo Delights in The Rep’s Offbeat Comedy ‘The Roommate’

By Lynn Venhaus

Sometimes, adults need a playdate too. For a merry good time, head to The Repertory Theatre of St. Louis’s Emerson Studio to join in the fun of watching a pair of seasoned performers – two of St. Louis’ finest – beautifully bookend each other in a dark comedy on self-discovery, “The Roommate.”

Jen Silverman’s sharp and funny character study, written in 2015, takes place in a big old house in Iowa City, Iowa. Under Rebekah Scallet’s concise and brisk direction, Kelley Weber and Nancy Bell breathe fresh life into contrasting personalities that are at crossroads.

Their odd-couple pairing is often the foundation for beloved television sitcoms, but in The Rep’s Studio space, it is an intimate journey molded by the playwright’s wit, technical brilliance, and the pitch-perfect comedic timing of the two lead actresses.

With a saucy wink and a broad smile, Scallet assuredly prepares us for the unexpected, timing out revelations for maximum effect, so that the audience is quickly invested in each unusual turn of events.

A never-better Weber plays sensible Sharon, recently divorced whose son lives away. She’s a chipper sort who has played it safe for most of her life, seemingly content with her rather traditional lifestyle. To help pay the bills and have some company, she advertises for a roommate.

Kelley Weber and Nancy Bell in “The Roommate.” Photo by Jon Gitchoff.

Enter luminous Nancy Bell as Robyn, a free spirit who wants to relocate from New York City. She’s very different from Sharon – she reveals she is gay, vegan, a smoker trying to quit, and grows pot. (Marijuana remains illegal in Iowa, although medical marijuana is allowed). Mysterious, she appears to have more secrets, and some of her murky past eventually comes out.

Bell, widely respected for her talents on stage and directing productions, portrays Robyn with a marvelous ease. She understands Robyn’s desire to create a new identity after a lifetime of mistakes and regrets.

Weber, who hasn’t been as visible in recent years but recently retired as an educator, goes beyond the stereotypical Midwest homemaker to depict a range of emotions — showing loneliness, frustration, desires, and vulnerability.

Bell and Weber are old friends in real life, and project an unmistakable bond on stage. As natural as two people can be slipping into the skin of another – Bell sporting a temporary snake tattoo on her arm – they are convincing as they transform because of each other’s influence.

Most jarring is Sharon’s embrace of things dark, dangerous and criminal. Weber’s zest for walking on the wild side is not only believable but hilarious, while Robyn’s more casual personality takes a back seat when she becomes a cautionary voice of reason.

Kelley Weber is Sharon in “The Roommate.” Jon Gitchoff photo.

Those differences are what propel the action in this 90-minute show without intermission. Some twists and turns take place that are unforeseen, and while Silverman boxes in the characters toward its awkward conclusion, you never feel that the actresses are disingenuous. Their performances are complete.

While the offbeat story is the centerpiece, the creative team has enhanced the atmosphere with splendid work. Noteworthy is Jayson M. Lawshee’s warm interior lighting design and Kareem Deanes’ crisp sound design (with astute music choices for effective needle drops).

Scenic designer Robert Mark Morgan’s cozy kitchen design speaks to the room’s importance as the hub, the heartbeat of the home. With its exterior porch, sitting area and upstairs bedrooms factoring into the action, the setting is functional and the actors’ movements fluid.

The lived-in look and summer season is reflected in Lou Bird’s costume design too – mostly capris and an assortment of colorful print blouses for Sharon and ordinary jeans and T-shirts for Robyn.

A triumph all the way around, “The Roommate” emphasizes that reinvention can happen any time in life – with obvious bumps in the road. It is a bright spot on the fall theater landscape and opens the Studio series with flair.

Nancy Bell as Robyn. Photo by Jon Gitchoff.

With all due respect to the renowned stars Mia Farrow and Patti LuPone currently performing in the Broadway production, our St. Louis dynamic duo gives confident, engaging, relatable performances that bristle with energy, indicative of their own star power commanding local stages. Bell and Weber for the win! (Special mention to former associate artistic director Becks Redman for her astute casting.)

“The Roommate” is also special for its significance in re-opening the studio performance space to inaugurate the Steve Woolf Studio series, named after the late artistic director who made his mark in that role for 33 years. He retired in 2019 and died at age 75 in 2021.

In the past, the Studio series presented adventurous productions on a smaller scale than the mainstage season and was known for showcasing a variety of voices. The Studio remained dark after the pandemic shutdown in 2020, although “Gruesome Playground Injuries” was presented at the Kirkwood Performing Arts’ Strauss black box theatre in 2022.

Sitting in the Loretto-Hilton Center’s Studio space Friday, being part of its return, felt like a warm group embrace. Fond memories were shared and that feeling of comfort and familiarity surfaced.

That feeling carried over in the goodwill and support for what the current Augustin Family Artistic Director Kate Bergstrom and Managing Director Danny Williams are trying to achieve since The Rep announced its struggle to remain open in fall 2023. They launched a successful “Rally for the Rep,” and the turnaround to date has been remarkable.

Live theater has taken on a feeling of coming home since its return from the global pandemic, and that reconnection is meaningful, especially that The Rep is beginning its 58th season.

Given The Rep’s challenges and its renaissance-in-progress, there is a new sense of belonging, that people are pulling together to help it succeed in its mission. “The Roommate” is one of the reasons to cheer.

Kelley Weber. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “The Roommate” Oct. 23 – Nov. 17 in the Emerson Studio, 130 Edgar Road, St. Louis. Subscriptions and single tickets are available online at repstl.org, over the phone 314-968-4925 or in person at the Loretto-Hilton Center Box Office Tuesdays – Thursdays from 10:30-5pm. Seating for the production is General Admission with subscribers given priority seating beginning 30 minutes prior to curtain.

Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. For more information, please visit repstl.org.

Post Show Discussions follow Saturday, Nov. 2 and 9 at 4 pm performances.

Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

Mizell Masters Poe in Moody, Gloomy Theatrical ‘Nevermore’ at Stray Dog

By Lynn Venhaus

Edgar Allan Poe’s tremendous body of work has impacted pop culture for generations – art, photography, music, movies and television. Now Stray Dog Theatre pays tribute to the distinguished 19th century American writer and poet by exploring his highs and lows in a stylized musical.

Mixing fact and fiction, and material from his mysterious writings and mostly miserable life, “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” features a passionate performance from lead Drew Mizell and others in a seven-person ensemble portraying a wide range of roles.

Mizell immerses himself fully as Poe, from his early years through his studies, and his plethora of adversities as an adult. The cast understood the assignment, with the insight of Sarajane Clark, who was the dramaturg.

As the maestro of this macabre musical, Director Justin Been has embellished this often gloomy story with superb atmospheric visual and aural flourishes. The strong technical work is superior to the unusual musical’s structure that seems repetitive and lacking oomph.

Granted, musical numbers expanding on the literary titan’s torment, and his heartbreaks, gut-wrenching tragedies, woeful bad luck and throes of addiction and family mental dysfunction don’t exactly instill confidence nor come across in a “Life’s a Happy Song” scenario.

Drew Mizell as Edgar Allan Poe. Photo by John Lamb.

Been, whose work creating effective sound design to punctuate his shows is often a high point, teamed up with Wade Staples, and the pair goes above and beyond here – an outstanding effort that is one of the most distinctive this year.

Matthew Skopyk added spooky instrumental music that infiltrated the dark shadows while he also did orchestrations supplementing composer, lyricist and libretto Jonathan Christenson’s.

Been, who also designed the set and visual effects, employed a hazy shade of New England winter and an eerie and chilly demeanor, while ace lighting designer Tyler Duenow illuminated the creepiness perfectly. The Raven illusion is well-staged.

Been also collaborated with choreographer Maggie Nold for innovative steps, and she came through illustriously, for she wasn’t content with presenting the same old with this troupe.

Costume designer Sarah Gene Dowling fashioned a gothic tale in look and attitude. Dowling’s black-and-white endeavors are striking, as are her pops of deep reds and purple to break up the monochrome palette. She designed appropriate hair and makeup looks for each character that elegantly suited them.                                                                                                                                                                                                               

Been’s staging experimented more with images and swirling movements, weaving the seven players in and out of the spotlighted action.

Because the cast is so committed and vocally strong, they elevate Christenson’s very old-timey and very theatrical script and songs that are reminiscent of vintage melodramas and vaudeville olios.

Jennifer Buchheit is the music director but it’s Christenson’s recorded orchestrations that are used, not musicians off stage.

To his credit, Christenson sampled some of Poe’s most famous prose in his dialogue, lyrics and song titles.

Photo by John Lamb.

Because Poe’s anguished real life influenced his most famous creations, fans of his literary work will be able to hear some familiar and favorite references. Poe’s timeless works include “The Raven,” “Annabelle Lee,” “The Tell-Tale Heart,” “El Dorado,” “The Masque of the Red Death” and “The Fall of the House of Usher.”

The musical was first performed in 2009 in Canada and later produced off-Broadway in 2015. While the timing is appropriate for the Halloween season, the material isn’t in the same league to become a cult classic like “The Rocky Horror Show,” “Heathers the Musical” or “Evil Dead: The Musical,” and doesn’t have the staying power of Agatha Christie’s immortal dark thrillers. But fans of Poe seem enthralled with it.

Poe was a melancholic soul who went on to great acclaim posthumously. He was born in Boston, the second child of actors, on Jan. 19, 1809, and died under suspicious circumstances in Baltimore at age 40 on Oct. 7, 1849.

He grew up with an older brother Henry and a younger sister Rosalie, but their poverty and loss of parents at an early age doomed them to troubled lives and often long periods of separation. Stray Dog’s outstanding veterans Stephen Henley and Dawn Schmid emotionally deliver in their sibling portrayals.  

After enlisting in the Army in 1827, Poe published his first collection of poems. When he failed as an officer cadet at West Point, he decided to become a writer, and switched to prose. The play doesn’t include his military sidestep.

Photo by John Lamb.

He worked for literary journals and periodicals, and became known for his literary criticism, moving between Baltimore, Philadelphia and New York City. Finally, he garnered instant success in 1845 after publishing his poem “The Raven.”

His two lady loves tug at your heartstrings, as Sara Rae Womack sweetly plays “the one that got away” – Elmira, and Dawn Schmid is sunny as his cousin Virginia Clemm, whom he married at age 27. She died of tuberculosis in 1847.

Schmid also shifts gears as his kind foster mother Fanny and Kevin O’Brien, rocking some appropriate period facial hair, is his cold, cruel foster father John Allan, a tobacco merchant in Richmond, Virginia.

Heather Fehl is Poe’s very dramatic but sickly actress mother Eliza, displaying a supple singing voice, and Michael Cox is dastardly as his slimy publisher Rufus Griswold.

The drama calls for an old-style affectation that doesn’t lend itself to contemporary immersive storytelling, which is my preference, but I appreciate the concept. I didn’t find the songs particularly memorable, although the cast animatedly delivered them with everything they had, and were it not for their fervor, the musical numbers would have been mostly monotonous.

Poe once said, “All that we see or seem is but a dream within a dream,” and Been and company emphasized the ethereal, mystical quality of the material. They gilded this sad and sorrowful tale with their considerable skills to offer an interesting perspective.

Photo by John Lamb

Stray Dog Theatre presents “Nevermore: The Imaginary Life and Mysterious Death of Edgar Allan Poe” from Oct. 17 to Nov. 2. Performances are Thursday through Saturday at 8 p.m., with special shows on Sunday, Oct. 20, at 2 p.m., and on Halloween, Oct. 31, at 8 p.m. at Tower Grove Abbey, 2336 Tennessee Ave., St. Louis.

Tickets are general admission seating, and the box office/will call open 1 hour prior to showtime. For more information, contact 314-865-1995 or visit straydogtheatre.org