Lynn Venhaus

Total Post: 1131

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.

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

By Lynn Venhaus

Why does contemplating personal accountability and public responsibility remain a potent topic these days?

Questions to ask ourselves, and the debate is put under a microscope in an outstanding example — New Jewish Theatre’s piercing, emotionally devastating production of “All My Sons.”

The illusions we live with – about families, neighbors, and success – results in an acting master class and impeccable direction.

A fascinating drama that showcases one of playwright Arthur Miller’s most explosive commentaries on the American Dream, director Gary Wayne Barker carefully calibrates the intensity while slowly peeling back the layers of gripping moral dilemmas.

In an ensemble full of revelatory performances, each actor brings fresh interpretations to a family – and their friends – unraveling because of secrets and lies. As we have discovered throughout history, it’s the cover-up that is so damaging – and with ripple effects because of an egregious swindle.

Seventy-seven years ago, “All My Sons” debuted on Broadway, and in many ways, is still relevant today. It was Miller’s first commercial hit and paved the way for his other epic commentaries on capitalism, American ‘exceptionalism,’ tangled loyalties, and the price for self-delusion, appearances, and power: “Death of a Salesman” in 1949, “A View from the Bridge” in 1955 and “The Price” in 1961, among them.

Miller based this on a true story, after reading a newspaper article about a similar incident.

Lintvedt, Johnston, Heil and Loui. Photo by Jon Gitchoff.

He has created vivid characters that live in an all-American neighborhood in an Ohio town in the late 1940s, where the locals would like you to believe that they’re living the high life in a setting not unlike a Norman Rockwell illustration.

And scenic designer C. Otis Sweezey was inspired by those popular Saturday Evening Post depictions of post-war prosperity.

The Kellers have been affected by World War II in several ways – their two sons, Chris and Larry served, but Chris (Jayson Heil) came home and works in the family-run munitions factory while Larry did not – he’s been missing in action for more than three years, and everyone but his mother Kate (Amy Loui) has given up on the likelihood that he is alive.

But more than that, military contracts were part of the family business, and selling defective parts has had serious repercussions.

Joe Keller (Greg Johnston) made a careless decision that came to light after faulty aircraft equipment was shipped overseas, resulting in 21 pilots’ deaths.

This misdeed, which he has rationalized and created an alternate reality about, sent his neighbor and partner Steve Deever to prison, while Joe was falsely exonerated, and his sentence commuted.

Still suppressing the secret that has upended their lives and torn apart the people around them, the Kellers are forced to deal with consequences. And a storm is coming, in that carefully cultivated backyard of theirs.

Rarely has a World War II story focused so harshly on disenchantment amidst the winning rah-rah attitude afterwards as incisive as Miller’s play.

Confronting their greed and delving into those expectations that wreak havoc in ordinary lives, supplies the actors with richly textured material.

Johnston, outstanding in last year’s “Uncle Vanya” at St. Louis Actors’ Studio and “The Nerd” at Moonstone Theatre Company (also directed by Barker), has never been better as the patriarch who rules with an iron fist.

In his big booming voice, Johnston, as Joe, boasts about reclaiming his life, thinking that nothing has changed, but everything has, and denial is his tragic flaw.

His son Chris is racked with guilt, and has invited his brother’s girlfriend, Ann Deever (Kristen Joy Lintvedt), to stay at their house. They’ve reconnected and fallen in love, keeping it hidden from his parents. Now, he’s ready to pop the question.

But it’s complicated. Not only was she Larry’s sweetheart, but Ann is the daughter of Joe’s business partner whom he blamed for shipping defective cylinder heads. Ann has not visited her father since he began his prison sentence and believes in his guilt.

Photo by Jon Gitchoff

While Joe was focused on making money and providing for his family, he basically put “America’s sons” in harm’s way through his dishonesty. What is that price worth and what communal responsibility do we have for the greater good?

Joe clings to his power, not believing he put freedom in jeopardy, but the fissures become significant. And this downfall, classic tragedy-style, is meticulously measured by a cast at the top of their game, directed with exceptional precision by Barker.

With a sure hand, Barker brings out the deceptions that everyone in this neighborhood lives with, flush with economic success. It is thoroughly compelling and thought-provoking as he shapes the momentum.

In his perceptive way, Miller delves into moral questions about protecting your family – even though others will be negatively affected, and the nature of being complicit in someone else’s crimes.

Kate, the grief-stricken mother, deludes herself that Larry will return, and finds solace in any reason to continue the fantasy – even astrology that a kind neighbor, Riley Capp as Frank Lubey, works on for her.

A razor-sharp Loui smoothly alternates a quick-silver range of emotions as she won’t admit the obvious and demonstrates how trauma has affected her – nervous and tormented by insomnia, headaches, nightmares. Loui goes beyond the dutiful wife and mother depiction to earn our sympathy – and pity.

Heil conveys Chris’ duty, honor and loyalty in a stunning, powerful performance that builds into an unavoidable catastrophe. Confused and uncertain, he shows both the internal and external struggles in a deeply felt, moving portrait that is a breakthrough role for him.

As the girl next door, Lintvedt is a standout as well. In a smaller but pivotal role, Joel Moses commands attention as Ann’s fuming brother George, a son desperately trying to exonerate his father as the fall guy.

He shows up, seething and full of rage, and stirs up a dark cloud, escalating Miller’s tightly constructed tension. The collateral damage will soon be extensive, and these performers deliver in gut-wrenching fashion.

Zahria Moore and Joshua Mayfield as the Baylisses. Photo by Jon Gitchoff.

The local doctor Jim Bayliss (Joshua Mayfield) is pleasant but growing more cynical in acclimating to social post-war life while his straight-shooting wife Sue (Zahria Moore), a nurse, has claws that come out in more contentious ways.

The cast also includes sunny Summer Baer as cheerful neighbor Lydia Lubey, who stayed there and has three kids, and 10-year-old Shane Rose in his debut as a local youngster, Bert.

 Michele Friedman Siler’s stellar vintage costume design captures the era in comfy casual attire, with George traveling more formally in suit, tie, and hat. Dennis Milam Bensie provided the wig design. Katie Orr’s props match the period as well. Amanda Werre’s sound design is exemplary, and Denisse Chavez’ lighting design provides interesting contrasts.

“All My Sons” grapples with split-second ethical decisions that are life-changing, and this latest New Jewish Theatre production is dramatically impactful and hard-hitting. It should not be missed.

New Jewish Theatre presents “All My Sons” from March 21 to April 7, with performances Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Individual tickets are $27- $58 and are available by phone at 314.442.3283 or online at newjewishtheatre.org.

In line with the difficult themes of war and readjustment to civilian life, the New Jewish Theatre has decided to partner with the Veteran’s Community Project for an exclusive post-show discussion following the March 31 matinee show. After the curtain closes, audience members will have the chance to learn about the work they are doing to provides high quality and well-developed strategic services that enable Veterans to meet the challenges of day-to-day living, resolve immediate crises, and move towards permanent stability.

Photo by Jon Gitchoff.

Fierce Performances Elevate Masterpiece ‘August: Osage County’

Fierce Performances Elevate Masterpiece ‘August: Osage County’

By Lynn Venhaus

Tracy Letts’ “August: Osage County” retains all its dark edges, biting wit and unflinching truths in a brilliantly acted and thoroughly engrossing interpretation by The Repertory Theatre of St. Louis that enhances its stature as one of the great American plays.

Produced 17 years after its blistering and probing landmark premiere at the Steppenwolf Theatre in Chicago in 2007, the Pulitzer Prize and Tony-winning play taps into the raw emotions of a family scorched by addiction and dysfunction.

A brittle mosaic of family dynamics exposes how nearly all have been burned by their white-hot proximity to drug abuse, emotional abuse, alcoholism, unhealthy relationships, and mental health issues.

(I think more people can relate than may admit, but also the play can be triggering for some, so warning, and understandable; there are resources to call listed at the Rep.)

To play these distinctive, damaged characters, this seamless large cast (13!) has developed an admirable rhythm with each other that shows facets of their personalities while revealing their vulnerabilities and coping mechanisms. They are fooling only themselves (and are they that unaware?)

Ellen McLaughlin is Violet Weston. Photo by Jon Gitchoff

Because of Letts’ extraordinary insight into the human condition and his exceptionally nimble dialogue, these are some of the meatiest roles of the new millennium.

“They” always say write what you know, and Letts based this play on his maternal grandparents. Charlie Chaplin once said, “Life is a tragedy when seen in close-up, but a comedy in long shot,” and Letts knows that all too well. He is also a gifted humorist, seeing life from both sides.

A window into his family’s soul, Letts skillfully outlined characters that these well-cast current actors have shaded into fully dimensional people that make us think, feel, and connect – and recoil, disengage from, and are horrified by, too.

The ensemble does not strive for black-and-white definitions, but rather leans towards the more fascinating gray areas, which make their thoughtful, layered performances convincing.

Front and center is the ferocious, drug-addled matriarch Violet, who reminds everyone ‘nothing gets by’ her but is often in such a stupor from popping prescription painkillers that she is most unpleasant to deal with in any meaningful way. Suffering from mouth cancer, she is also a heavy drinker and smoker. Her paranoia and mood swings are alarming, and she often cruelly targets anyone in her radar.

The Westons and Aikens. Photo by Jon Gitchoff

Sometimes, she waits until she can unleash the hurt for maximum effect. Ravaged by her demons, visible are the metaphorical open wounds from an impoverished, abusive childhood that will never heal.

Ellen McLaughlin’s virtuoso performance as this complicated wife, mother, sister, and vicious addict left me in awe. She flawlessly bristles with various degrees of impairment, then rambles or snipes, all in a rural Southwest accent. She’s haunting and unforgettable, among the pantheon of astounding actresses who have graced The Rep’s thrust stage.

The role, in many ways, can be compared to Mary Tyrone in Eugene O’Neill’s magnum opus “Long Day’s Journey into Night,” published posthumously in 1956, which dared to address a matriarch’s addiction and its ripple effect on a family.

The main story is that Violet’s husband, Beverly (Joneal Joplin), an alcoholic poet and former college professor, has gone missing. Their 30-year toxic relationship has resulted in two of their three daughters escaping to live elsewhere –Barbara (Henny Russell) in Colorado and Karen (Yvonne Woods) in Florida. Ivy (Claire Karpen) stayed in their small town but lives on her own.

After several days go by, family members return to the fold, with fireworks ensuing in a large country home outside Pawhuska, Okla., 60 miles northwest of Tulsa. The time period is a hot dusty August 2007.

Henny Russell and Michael James Reed. Photo by Jon Gitchoff

The adult daughters are played by three equally strong actresses, and even if you didn’t know what order they were in, you’d figure it out quickly – Barbara, the controlling eldest can’t keep her own life from falling apart (fight); Ivy, the unfulfilled middle child (froze); and self-absorbed Karen (flight). They are all keeping secrets about their relationships. Their family hierarchy roars here.

Barbara is separated from Bill (Michael James Reed), a college professor whose infidelity has caused a riff, but they are going through the motions in front of the family. They have brought their 14-year-old daughter Jean (Isa Venere) along, and she’s ready to burst out of a cocoon like most teenage girls.

In a mother-daughter chat, Barbara wisely tells Jean: “Thank God we can’t tell the future, or we’d never get out of bed.” It’s just one of Letts’ lines of astute dialogue that the audience responds to, recognizing themselves.

Bill is an ingrained family member, clearly respected by Violet, and considered a rock by others, and Reed straddles that turmoil without losing Bill’s humanity. Tightly wound Russell immediately indicates Barbara’s lifelong pattern of confrontations with her overbearing mother.

Breezing in from Miami, flighty Karen has a new fiancé in tow, thrice-married Steve (Brian Slaten), giving off a vibe as a player — yet Slaten takes his time bringing out his inner creep. Woods, as Karen, appears to not grasp the seriousness of the family’s despair (or is unwilling to do so).

Sean Wiberg and Claire Karpen. Photo by Jon Gitchoff

Introverted Ivy shields her personal life, and Karpen heartbreakingly expresses how disconnected she is from her sisters. Violet is always finding fault with her actions and appearance.

The Aikens arrive, and they are the Westons’ extended family. Hardened Mattie Fae (Astrid Van Wieren) is Violet’s blustery sister, and she’s nagged Charlie (Alan Knoll) over the years. He’s a decent guy who puts up with a lot, valued Beverly’s friendship. Their downtrodden son, Little Charles (Sean Wiberg), incurs Mattie Fae’s ire at every opportunity while Charlie sticks up for his sensitive boy.

Van Wieren and Knoll are remarkably sturdy in their roles, bringing out qualities I hadn’t noticed in three prior productions. Knoll is the lynchpin here, and it’s such a deftly delivered performance, crisp in its comic timing, and gut-wrenching in its ruefulness. Long a veteran actor, this just may be Knoll’s finest hour (or three).

Van Wieren may look familiar if you have seen “Come from Away” on Broadway (or the Apple TV+ filmed production) – she played Beulah starting in 2017. She shows how loudly Mattie Fae’s buttons are pushed, but also why she’s like she is.

The observer here is quiet but smart Johnna (Shyla Lefner), a kind and considerate Native American woman from the Cheyenne tribe, who Beverly hired as a live-in housekeeper. She becomes a steadfast, reliable presence, witness to the never-ending dramas, and intervening only when necessary. Nonjudgmental, she endures Violet’s haughty diatribes and harsh commentary.

Henny Russell and Isa Venere. Photo by Jon Gitchoff.

In the brief role of Sheriff Deon Gilbeau, Barbara’s old high school boyfriend, David Wassilak, makes it his own with clear-eyed compassion.

This cast is so riveting that you do not feel the play’s 3-hour and 20-minute runtime. When the second intermission happened, I thought “already?” That’s how enthralling this show is.

Directed by Amelia Acosta Powell, she understands the agitations and anguish of this family, and brings out the many levels of pain. There is a specific ebb and flow she achieves, and what culminates in the disruptive family dinner post-memorial service is one of the all-time jaw-dropping segments in live theater.

I do have a few quibbles about blocking, particularly building intensity between Barbara and Violet – I prefer a closer proximity to be more effective, but it shows how a family that ignores the elephant in the room will always have it blow up in their faces at some point.

The Americana musical interludes composed by Avi Amon help establish the setting, while Amanda Werre’s smooth and perceptible sound design is her customary top-notch work. At first, lighting designer Xavier Pierce’s work was too dark, but gradually evened out according to the action, and the shadows are an extension of the house’s buried secrets.

Venere, Russell, Reed and Brian Slaten. Photo by Jon Gitchoff.

Scenic Designer Regina Garcia fashioned a large interior, with some exterior nooks, using classic American furniture, but the shingles on a portion of the rooms inside were puzzling (I know, imagery, not literal)..

Sonia Alvarez’s contemporary costume design for casual attire suits the characters and the period, and the mourning outfits are spot-on, especially Violet’s black dress – reflecting what she used to look like before hard living took its toll. Noteworthy is Alison Hora’s wig design too.

Also notable is Michael Pierce’s fight choreography and Rachel Tibbetts’ and Will Bonfiglio’s intimacy coordinator work.

Shakespearean in tone and temperament, but truly an American masterpiece for the 21st century, Letts’ ruminations on life’s passages, aging, blood ties, and identity above all reflect on humanism.

While families can pour their own gasoline on deep-rooted issues without any assistance in real-life (and there are those who don’t see the need to pick at the scabs of their past), this retelling has an energy and an electricity that only the most genuine experiences can achieve, catharsis optional.

Letts has superbly blended the sharp wit of an observational humorous sitcom/stand-up special with the emotional turbulence of lively soap operas to expertly craft a relatable family in crisis.

Gloria Steinem said, “the healing is in the telling,” and it is my hope “August: Osage County” reaches people who may be in a painful place, who may leave with a modicum of hope, because if anything, we are not alone.

And no matter how regretful or defeated others are by their actions, the play says they are not us, and that trajectory can change. The Weston-Aiken clan holds a mirror up that is sharply in focus.

Shyla Lefner, McLaughlin and Russell in front. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “August: Osage County” from March 19 to April 7 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis.

Tickets: Purchase tickets online at Repstl.org, by phone at 314-968-4925, or The Rep Box Office will also be available for in-person support at the Loretto-Hilton Center Tuesdays and Wednesdays from 10:30 a.m. – 5 p.m. and 2 hours before 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.

Audio-Described Performance: Thursday, April 4 at 7 pm – the show will be described for patrons who are blind or have low vision.

ASL Performance: Saturday, March 30 at 4 pm – the show will be signed for the deaf or hard of hearing.

Open-Captioned Performance: Sunday, April 7 at 2 pm – an electronic text ticker displays words being spoken or sung onstage.

Post Show Discussions follow Saturday, March 30 at 4 pm and Wednesday, April 3 at 2 pm performances.

Pinter, Maher, Hanrahan Shows Part of Midnight Company’s Season

Pinter, Maher, Hanrahan Shows Part of Midnight Company’s Season

The Midnight Company has scheduled four shows for their MainStage 2024 season., including “Spirits to Enforce” by Mickle Maher, to be directed by Lucy Cashion and presented May 2- 18 at the Kranzberg Black Box Theatre and Harold Pinter’s “Old Times,” to be directed by Sarah Holt,” on July 11 – 27 at The Chapel.

Co-founder and artistic director Joe Hanrahan has written three short plays, ‘Auditions,” that will be presented at the St. Louis Fringe Festival Aug. 12 – 18.

Another Hanrahan original, “Now Playing Third Base for the St. Louis Cardinals… Bond, James Bond,” will be reprised Oct. 3 – 13 at the Greenfinch.

In addition to these, Midnight will continue to present Cabaret Theatre performances at The Blue Strawberry, including JACEY’S JAZZ JOINT, finishing it’s scheduled run on Wednesday, March 27, and JUST ONE LOOK, with an encore performance on April 10.

Unremarkable Remake of ‘Road House’ Devoid of Any Charm

Unremarkable Remake of ‘Road House’ Devoid of Any Charm

By Lynn Venhaus

I was bored silly by Amazon’s unnecessary, ultraviolent streaming remake of “Road House,” a pale imitation of the original 1989 cheese-fest that starred the chiseled Patrick Swayze rocking a mullet as James Dalton, a black belt in karate and a Ph.D. in philosophy.

Granted, I am not the demo. This re-imagining is a macho man’s movie.

In “Southpaw” (2015) fighting mode, Oscar-nominated Jake Gyllenhaal is a campy, corny Dalton for the 21st century, a troubled soul who speaks with his fast fists. With the first name of Elwood, he’s jacked as an ex-UFC mixed martial arts fighter who pummels many a tough guy.

But sadly, Gyllenhaal is flat, nowhere near as magnetic as the late great Swayze, who knew how to elevate his roaming cooler in that rowdy ‘80s B-movie with his off-the-charts charisma, a world-class side-eye, and a Zen approach.

Devoid of any charm – where is Sam Elliott when you desperately need him? – this new version is mostly wall-to-wall vicious blood-spurting fighting where people are intent on maiming and breaking bones. It’s a whole lot of ugly. (Not that Swayze didn’t crack some liquored-up redneck skulls and rack up a high-body count).

The filmmakers have switched the location from a roughneck Jasper, Missouri honkytonk, the Double Deuce, to a coastal paradise in the Florida Keys, a fictional place called Glass Key Island. The open-air beach spot, owned by Jessica Williams (of “Shrinking”), is generically called “Road House,” and its claim to fame is that Hemingway drank there. OK…

In his new role as a highly paid bar bouncer, Elwood’s lean mean fighting machine takes on a lot of low-life high-wattage testosterone, and we watch big sweaty guys covered in tattoos mess with each other.

They unwisely pick fights with Dalton, who tries to control a deep well of rage. But like Swayze, he’s incorruptible and far smarter than the goons he’s tasked with keeping in line.

Co-screenwriters Anthony Bagarozzi and Chuck Mondry plus R. Lance Hill, whose name appeared on the first one as David Lee Henry, responsible for the story and screenplay with Hilary Henkin, have collaborated on a thin, uneven story with extremely ridiculous dialogue. Maybe they used AI because that script is soulless.

Like the original, it takes itself far too seriously – and should just have some fun with the over-the-top melodrama. Most surprisingly, it is directed by Doug Liman, who has helmed several crowd-pleasing films, like “Swingers,” “The Bourne Identity” and “Edge of Tomorrow.” Where is the verve?

The unremarkable cast brings very little personality to this tale and play mostly unlikable characters. In an off-putting opening, Post Malone, the singer, plays a hulking guy who isn’t the sharpest tool in the shed, and later, as a major big deal, Irish professional boxer Conor McGregor has a protracted fight, but his acting skills are severely limited.

The supporting cast providing the story’s conflicts are no match for the original – love interest Kelly Lynch had electric chemistry with Swayze while Melchior isn’t given much to do in this second go-round. Ben Gazzara’s slimy crime lord was a far superior villain than Billy Magnussen’s hard-to-believe slick corporate manipulator.

Furniture and glass break, bodies break, and the whole metaphysical dilemma about people’s purpose on earth is given a once-over. Eyes glare, fists fly, and highly choreographed fights ensue – although pointlessly heavily CGI’d in the remake.

Whatever floats your boat, but this floundering “Road House” doesn’t bring anything new to the genre. It seems to be just a whole lotta empty noise.

“Road House” is a 2024 action-thriller directed by Doug Liman and starring Jake Gyllenhaal, Daniela Melchior, Billy Magnussen, Jessica Williams, Conor McGregor, Lukas Cage, Hannah Lanier, and Post Malone. It is rated R for violence throughout, pervasive language and some nudity and has a run time of 2 hours, 1 minute. It began streaming on Amazon Prime on March 21. Lynn’s Grade: D-.

The original “Road House” is now streaming on MAX, FYI.

The 1989 “Road House” original cast of Patrick Swayze, Kelly Lynch and Sam Elliott.

Classics and Award Winners are part of The Rep’s 2024-2025 Season

Classics and Award Winners are part of The Rep’s 2024-2025 Season

 The Repertory Theatre of St. Louis (The Rep) announced its 2024-2025 season on March 21, which includes four world-class productions all taking place at the Loretto-Hilton Center, in the Virginia Jackson Browning Theatre on the campus of Webster University.

Curated to provide unique experiences for the full spectrum of the St. Louis community, the 2024-25 season includes mystery, comedy, thrilling storytelling and a holiday musical for all to enjoy.

The Rep’s 2024-25 Season kicks off with Frederick Knott’s suspense thriller Dial “M” for Murder September 18 – October 13, 2024.Featuring an exclusively local St. Louis cast,  audiences will be at the edge of their seats as they delve into the deception and betrayal of this timeless classic.

Next up to celebrate the holiday season, Million Dollar Quartet Christmas brings together  Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins in a holiday jam session that will have audiences toasting the season December 4 – 22, 2024. A collaboration with STAGES St. Louis, this production combines two powerhouse performing arts organizations on one stage and is the first production of the musical to be performed in St. Louis.

At the top of 2025 comes the two-time Pulitzer Prize winner Lynn Nottage’s Tony-nominated comedy, Clyde’s, February 5 – March 2, 2025.  Named the most produced play of 2023, a truck stop sandwich shop becomes the unexpected stage for redemption, second chances and the quest for the perfect sandwich.

To close out the Mainstage season from the adaptor of Agatha Christie’s Murder on the Orient Express comes Ken Ludwig’s up-roaring retelling of Sherwood: The Adventures of Robin Hood, March 19 – April 13, 2025.

Akin to The Rep’s recent productions of Moby Dick, To Kill a Mockingbird, and Pride and Prejudice, Sherwood: The Adventures of Robin Hood’s expansive storytelling will have audiences swept away as the charismatic outlaw battles a power-hungry prince for the soul of England.

“Following a banner year filled with critically acclaimed productions and a tremendous outpouring of support from the community, we look forward to continuing the momentum of artistic excellence that creates memorable theatrical experiences for all of our patrons in our upcoming 58th Anniversary season,” said Danny Williams, Managing Director. “

We received valuable feedback this past season and have diligently devised innovative and sustainable action steps to meet the needs of the theatre and our cherished community. This exciting season is a reflection of those needs, which presents an opportunity to produce a wide array of offerings to delight and challenge our valued patrons as well as welcome new and old audiences to the theatre to position it as an enduring institution for the St. Louis community.”

Looking ahead, The Rep is excited to introduce its new Augustin Family Artistic Director later this spring and the much anticipated Steve Woolf Studio Series taking place in the Emerson Studio Theatre will be announced later this summer.

The Rep will also continue to offer its Learning and Community Engagement (LACE) programs that provide people of all ages opportunities to deeply engage with the art they see on stage through immersive in-classroom and extracurricular learning opportunities, public forums for civic discourse, and opportunities to participate in the artmaking process.

Programs include the Story 2 Stage Festival which features student written and produced plays, the Imaginary Theatre Company (ITC) public performance in Spring 2025 and Camp Rep, where students over the summer receive a two week immersion in all things theatre culminating with a family showcase.

Find a full schedule of the 2024-25 season programs below. Subscriber renewals begin today with new subscription purchases available April 15, 2024. The Rep offers the Classic Mainstage subscription for all four productions, a Red Carpet Exclusive subscription to attend Opening Night, and a Flex Pass subscription which allows patrons to pick and choose what shows to see.

Single tickets will go on sale later this summer. For more information and to purchase a subscription, visit www.repstl.org or call the Box Office, Monday – Friday from 10:30 a.m. – 5:00 p.m. at (314) 968-4925. The Rep Box Office will also be available for in-person support at the Loretto-Hilton Center, Monday through Friday from 10:30 a.m. – 5:00 p.m.

The Repertory Theatre of St. Louis 2024-25 Season

For tickets, accessibility, and visitor information, visit repstl.org.

Dial “M” for Murder

Sept 18 – Oct 13, 2024
By Frederick Knott

Step into the shadows of a meticulously planned murder. In the elegant home of Tony and Margot Wendice, a sinister game of cat and mouse unfolds. Tony, a calculating mastermind, plots to kill his wife for her inheritance, fueled by revenge and greed. When his perfect plan spirals into chaos, a web of lies and deceit is spun, threatening to ensnare the innocent. Join the relentless Inspector Hubbard as he unravels the twisted truth. Will Tony’s trap hold, or will justice be served? Experience the suspense and intrigue of Dial “M” for Murder, a play that will leave you breathless until the final curtain falls. 

Major Production Sponsor – Ann Cady Scott

Million Dollar Quartet Christmas
Presented in partnership with STAGES St. Louis
Dec 4 – Dec 22, 2024
Book by Colin Ascott

ARE YOU READY TO ROCK? Around the Christmas tree, that is! Million Dollar Quartet Christmas brings Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins back together for a festive jam session that will have you jingling ALL the way! In the decked-out Sun Records studio, filled to the brim with Christmas cheer and enough musical talent to power a city grid, these legendary musicians blend their chart-topping hits with seasonal cheer. Get ready for a holly jolly journey through this iconic rock n’ roll musical! 

Clyde’s
Feb 5 – Mar 2, 2025
By Lynn Nottage 

From two-time Pulitzer Prize winner Lynn Nottage comes the Tony-nominated-play, Clyde’s. In a small run-down sandwich joint, ex-cons endure Clyde’s fiery critiques and a scorching kitchen. Yet, when a mystic chef throws down the gauntlet—craft the ultimate sandwich—the team ignites with newfound zeal. Fueled by this savory challenge, they transform their past into a recipe for triumphant fresh starts. Join this spirited culinary quest where second chances are as vibrant as the flavors sizzling in the pan! 

Major Production Sponsor – Whitaker Foundation

Ken Ludwig’s Sherwood: The Adventures of Robin Hood
Mar 19 – April 13, 2025
By Ken Ludwig

Join the Merry Rebellion! Ken Ludwig’s Sherwood: The Adventures of Robin Hood is a riotous romp through the enchanted forest, where Robin and his lively band of outlaws plot to outwit a greedy prince. Filled with daring escapades, mischievous humor, and a dash of romance, this timeless tale of justice and camaraderie is a swashbuckling adventure the whole family will cheer for! 

Major Production Sponsor – The Leading Ladies of The Repertory Theatre of St. Louis 

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ABOUT THE REPERTORY THEATRE OF ST. LOUIS

The Repertory Theatre of St. Louis (The Rep) is the region’s premiere theatre for compelling, award-winning theatrical experiences that entertain, engage, and illuminate audiences’ shared humanity. Founded in 1966, for more than five decades The Rep has sustained and built upon its commitment to artistic excellence by creating, developing, and curating adventurous new works and beloved classics from the most exciting emerging and established American voices. The Rep builds bridges within the St. Louis community and beyond by offering productions that allow audiences to see themselves and the stories that matter to them represented on stage, through the organization’s robust community engagement programs, and across its educational initiatives.

The Rep welcomes audiences with inspiring and expansive productions at several inviting stages across St. Louis including the Virginia Jackson Browning Theatre at the Loretto-Hilton Center for the Performing Arts and other venues around the St. Louis area. A thought leader in the national theatre landscape, The Rep is a dedicated partner with arts organizations in St. Louis and across the country, expanding audiences’ appreciation and understanding of the world through theatre. In December 2023, The Rep was named a Missouri Historical Theatre, which is awarded to theaters that contribute to tourism in Missouri, promote arts in its community and throughout Missouri, and has been operational for a minimum of 50 years. For more information, please visit repstl.org and follow @repstl.

Regina King’s ‘Shirley’ Earns CCA Women’s Committee’s SOFEE

Regina King’s ‘Shirley’ Earns CCA Women’s Committee’s SOFEE

The Critics Choice Association (CCA) Women’s Committee is pleased to announce that “Shirley” (Netflix) will receive the Seal of Female Empowerment in Entertainment. Called the “SOFEE,” the Seal recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories. 

Political trailblazer Shirley Chisholm was the first Black woman elected to the United States Congress and made the audacious move to run for President in 1972. This inspiring and empowering film sheds light on the barriers she broke throughout her political career, as well as the sustained strength and grace she displayed through trial and triumph. Academy Award-winning actress Regina King stars as the iconic congresswoman and also serves as the film’s producer.

“Crafting ‘Shirley’ for over 15 years has been a journey of passion and dedication,” said King. “We are deeply honored by the acknowledgement as we gear up to unveil our film. Shirley Chisholm’s legacy has been a beacon, urging women, particularly women of color, to reach for the extraordinary. We aspire for her narrative to embolden women globally. Grateful to the CCA for this recognition!”

Nominated by CCA Women’s Committee members, SOFEE qualifying projects will have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test. To be considered, new film and television releases must possess an artistic and storytelling value and exceptionality, and score at least 7 out of a possible 10 points in the SOFEE rubric, which can be found at CriticsChoice.com. 

The Seal of Female Empowerment in Entertainment is issued by the CCA Women’s Committee. Members include Tara McNamara (Chair), Hillary Atkin, Semira Ben-Amor, Christina Birro, Lauren Bradshaw, Jamie Broadnax, TJ Callahan, Catalina Combs, Ashley Dvorkin, Marriska Fernandes, Toni Gonzales, Teri Hart, Susan Kamyab, Destiny Jackson, Emma Loggins, Lilly Liu, Lucia Magi, Louisa Moore, Gayl Murphy, Mary Murphy, Sherin Nicole, Patricia Puentes, Christina Radish, Amanda Salas, Rachel Smith, Tessa Smith, Sammi Turano,  Lynn Venhaus, Lauren Veneziani, Federica Volpe, and Stacey Yvonne, as well as Board member Grae Drake.

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: www.CriticsChoice.com.

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

By Lynn Venhaus
A silly and confusing nostalgia-infused stew that suffers from ingredients well past their sell-by dates, “Ghostbusters: Frozen Empire” is an erratic mess of plot and pacing, with too many layers and too many characters.

Whatever goodwill people have for the original cast Bill Murray, as Dr. Peter Venkman, Dan Aykroyd as Ray Stantz and Ernie Hudson as Winston Zeddemore, quickly evaporates when co-screenwriters Gil Kenan and Jason Reitman poorly integrate their beloved characters into a storyline weighted down by paranormal mumbo-jumbo.

It’s unnecessarily more complicated than any thread in “Oppenheimer,” and all the levity is sucked out of it, which is sad for tarnishing the late Harold Ramis’ legacy as the nerdy Egon Spengler, the big-brain of the original outfit.

This latest installment takes up after “Ghostbusters: Afterlife“ in 2021 resurrected the franchise that began with a bang in 1984, which was followed up with a 1989 sequel, and then dormant until a 2016 all-female reboot, which has largely been ignored but had a terrific cast.

In “Ghostbusters: Frozen Empire,” the Spengler family returns to the iconic New York City firehouse to team up with the surviving Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level.

But when an ancient artifact unleashes an army of ghosts that casts a death chill upon the city, the new and old team join forces to save the world from a second Ice Age. The gizmos are more high-tech — drones! — but that doesn’t improve lucidity.

Sure, Slimer is back, and William Atherton shows up as the despicably oily Walter Peck, only he’s now the mayor of New York City instead of an EPA inspector — but still would like to rid his town of the ghostbusting heroes. A tiny army of mischievous mini-Stay-Puft Marshmallow Men cause more mayhem than when first introduced in 2021.

But even those welcome sentimental sightings don’t add much to an inexplicably leaden Kenan-Reitman script that is directed with a heavy-hand by Kenan, following “Afterlife” director Jason Reitman, the son of original “Ghostbusters” director Ivan Reitman.

As charming as Paul Rudd is as Gary Grooberson, the beau of Callie Spengler (Carrie Coon, one of the great modern actresses, just going through ‘mom’ motions), he can’t carry this cash-grab on his own. Grown-up make-believe needs a reason to watch.

Callie is Egon’s daughter, and her two teenage children Trevor (Finn Wolfhard) and Phoebe (McKenna Grace) are back, this time as fierce ghostbusters now enthusiastically embracing the family business.

There is a strange subplot where Phoebe is attracted to a ghost named Melody (Emily Alyn Lind) that is just a bizarre detour in an already complex template.

The Spenglers have taken over the Firehouse as a home, which is fun to explore, but then the ghosts they capture in the Ecto-Containment Unit start acting up (go figure) because of an apocalyptic diety hellbent on igniting a deep freeze (but why?). Layers and layers of confusing backstory prevent the film from ever taking off, and engaging in a way audiences might expect.

The set-up is unusually long and meandering, and is weighted down by the ancient lore explanations that seems to be as thick as mud. You can only watch so many electronic sparks before it becomes mind-numbing.

There is little to connect the “Afterlife” dirt farmer in Summerville, Oklahoma storyline, but two of the characters return with a passing reference — a podcaster played by Logan Kim and Lucky played by Celeste O’Connor.

The very funny comic actor and stand-up comedian Patton Oswalt is wasted in one solo scene as a librarian with vast knowledge of the spirits underworld, and ever-reliable Kumail Nanjiani offers goofy support as the slacker grandson of a deceased woman who held a lot of ancient (and kinky) secrets in their modest apartment.

While Aykroyd and Hudson are game as the more prominent returning heroes, Murray shows up rather late, with little to do, and coasts, devoid of the goofy charm that made Venkman so appealing. While Annie Potts is another welcome sight as former receptionist Janine Melznitz, it’s just a drive-by appearance, the role without any pizzazz of her past self.

This film is disappointing on multiple levels, but the by-the-numbers visual effects take over as a big chill plot point that is just deadening.

If you’ve seen Disney’s “Frozen” and its sequels, you’ve already seen everything a fast-moving widespread ice storm can do — and this plethora of GCI icicles is eye-catching for a few minutes, but in a repetitive loop, it quickly becomes tiresome. There was more heart in “Godzilla Minus One.”

While much of the “Ghostbusters” lore involves the childhood toys Millennials grew up with, that fondness is frittered away with this soulless, lifeless plot — although it might sell a few proton packs and jumpsuits.

And Ray Parker Jr.’s kicky “Ghostbusters” theme song can only do so much when it’s overused.

There is no reason to call these synthetically engineered characters ever again. Let it go.

“Ghostbusters: Frozen Empire” is a 2024 comedy sequel directed by Gil Kenan and starring Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Kumail Nanjiani, Patton Oswalt, Annie Potts, Dan Ackroyd, Ernie Hudson, Bill Murray. Logan Kim, Celeste O’Connor and William Atherton. It is rated PG-13 for supernatural action/violence, language, and suggestive references, and runtime is 1 hour, 55 minutes. It opens in theaters March 22. Lynn’s Grade: D

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

By Lynn Venhaus

A sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didn’t deserve them, “Sweet Potato Queens” sets a table for women to be proud and live out loud, no matter their lot in life.

With the exalted Boss Queen in the house, and members of the audience adorned with tiaras, sequins and neon pink feather boas, a spirited crowd – including the real inspirations behind some of the colorful characters – was in a feisty Saturday night mood to partake in the sassy and saucy Southern rock musical, “Sweet Potato Queens.”

If you are unfamiliar with the SPQ national movement, founder Jill Conner Browne and her closest friends in Jackson, Miss., have been empowering women since 1982. A New York Times’ bestselling author, she has spawned 6,200 registered Sweet Potato Queens chapters in 37 countries around the world.

New Line Theatre is producing the musical’s regional premiere, which is attracting appearances by Sweet Potato Queens and the creative people behind the musical, which debuted in 2016 in Houston and so far, has only been performed four other times.

The plucky material blends Southern prototype ‘girl power’ settings like “Designing Women” and “Mama’s Family,” and pink-collar components to “Steel Magnolias,” “Sex and the City,” and “The Divine Secrets of the Ya-Ya Sisterhood” for a frothy ‘you go, girl’ energy shot.

Talichia Noah as Jill Conner Browne. Photo by Jill Ritter Lindberg..

These are belles without a cotillion, no sorority sisters in sight, but they’ve bonded in silly and sublime ways, thanks to going through some things. Directors Scott Miller and Tony L. Marr Jr. make a point to bring out the humanity amid a carnival environs.

On March 9, the regal Browne and her entourage made grand entrances in sparkly outfits at The Marcelle, and upon introduction before the show, she regaled the crowd with the origins of her girls’ group in a very funny warm welcome. Their first appearance in a St. Patrick’s Day parade is a hoot (Google it!).

A woman who grabs life with gusto and lives by the tagline, “Be Particular,” Browne is the author of nine books, starting with “Sweet Potato Queens’ Book of Love” in 1999, then “God Save the Sweet Potato Queens” in 2001, followed by “The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner” in 2003, and including “Sweet Potato Queens’ Field Guide to Men: Every Man I Love Is Either Married, Gay, or Dead” in 2004,  “The Sweet Potato Queens’ Guide to Raising Children for Fun and Profit” in 2008, and “Fat is the New 30: The Sweet Potato Queens’ Guide to Coping with (the crappy parts of) Life” in 2012.

While many fans are primarily middle-aged and middle-class women, many chapters have people from all walks of life, and all promote positive thinking and self-esteem. Browne says the SPQ movement is to inspire “all of us to do what makes our hearts sing,” and that’s the opening number of the show.

While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at – you will laugh with them because they find out who they are and are OK with that.

Jeffrey M. Wright as Tyler and Talichia Noah. Photo by Jill Ritter Lindberg.

Brown refers to her first husband as the anti-Christ, and if he’s anything resembling Jeffrey M. Wright’s woeful dirtbag Tyler, whoa.

Wright is such a polished, likeable performer that at first, it’s hard to adjust accepting him as a sleazeball, but he oozes unctuousness in his ladies-man encounters and is slick as this low-life liar that’s not smart enough to be convincing in his ruses (and he has a couple dandy ones). Yes, it’s called acting, and he showed his range.

Meanwhile, his long-suffering wife, Jill Conner Browne, played by good-natured Talichia Noah, is at her wit’s end, and finally musters enough dignity and self-determination to break free from the ‘stand by your man’ mantra.

She does so as part of a playful quartet with her three lively BFFS, all named Tammy. Of course! They introduce themselves in the cheeky “It’s Me” and spunky “SPQ-tiful,” and give Jill advice in the ballad “Make a Wish.”

A consummate pro, Ann Hier Brown is a revelation as firecracker “Too Much Tammy,” with heaping helpings of street smarts and in-your-face bravado. She dives into the amusing second act opener “Funeral Food” with abundant zest.

Another veteran, Mara Bollini, sashays with attitude as Floozie Tammy, uninhibited in “One Last Kiss” and spills the sweet tea on her sexual escapades. Brown, Bollini and Noah are a force on “The Only Thing I Know.”

Aarin Kamphoefner leads “Mad Dog Twenty Twenty.” Photo by Jill Ritter Lindberg

Victoria Pines completes the Tammy trio, as Flower Tammy, an abused wife who leans on her friends about her predicament. She displays her terrific vocal skills in the poignant ballad “Cherries in the Snow.”

The show’s standout this performance was Aarin Kamphoefner as George, going beyond the cliches as a beacon of hard-fought self-acceptance, and a caring friend to the girls – no judgment, just reassurance.

He has fun leading “Mad Dog Twenty-Twenty” as a good time song. Comfortable in his skin as a queer in the deep South, George, a good listener, has something to say, and Kamphoefner shines, tugging at our heartstrings reprising “It’s Me.”

Performing on March 9, while the real “TammyGeorge” was sitting in the front row, he deserved a standing ovation for pouring his heart out in an emotionally vulnerable solliloquy while a patron’s cell phone was audible and wasn’t immediately turned off. Kamphoefner held composure and drew everyone into his character’s truth. Bravo!

Portraying the concerned parents dispensing homespun wisdom are Bethany Barr as Mama and Kent Coffel as Daddy. Coffel also has a couple different minor roles, and always shows his versatility as a local MVP. He kindheartedly reprises “Do What Makes Your Heart Sing” several times.

The music is composed by Melissa Manchester, a longtime singer, songwriter and actress, who has been active since the 1970s. She first came to prominence as one of Bette Midler’s back-up singers, “The Harlettes.”

Noah and Kent Coffel. Photo by Jill Ritter Lindberg.

Some of her career highlights include her first smash hit “Midnight Blue” (recently a music video duet with Dolly Parton!), her Grammy-nominated performance of Peter Allen’s “Don’t Cry Out Loud,” and co-writer with Kenny Loggins on his collaboration with Stevie Nicks “Whenever I Call You Friend.” She won a Grammy in 1983 for “You Should Hear How She Talks About You.”

As an actress, she played Maddy Russo on the TV show “Blossom” 1993-95, and last year played Mrs. Brice on the first national tour of “Funny Girl.”

Fun fact: Her solo 1984 concert at the Fabulous Fox Theatre here was my first review assignment from a St Louis Globe-Democrat editor.

Lyrics are by country songwriter Sharon Vaughn, who has penned hits for Randy Travis, Reba McEntire, Patty Loveless, Kenny Rogers and others. Her big breakthrough in 1976 was with the Waylon Jennings hit “My Heroes Have Always Been Cowboys,” which Willie Nelson covered for the 1979 Robert Redford movie “The Electric Horseman.” She was inducted into the Nashville Songwriters Hall of Fame in 2018.

With two women writing the female-forward songs, the numbers flavor the characters’ arc with a range of earnest emotions, what the characters are feeling at the time. The music has a peppy ‘60s girl-group vibe, with a splash of the self-acceptance of Tracy Turnblad in “Hairspray” and the boldness to be who you are of “Kinky Boots.”

“Five” is a showstopper, detailing Brown’s list for five men you must have in your life at all times: 1. Someone who can fix things 2. Someone you can dance with 3. Someone you can talk to 4. Someone who can pay for things (so you’re not paying their share) and 5. Someone to have great sex with. That about covers it, wouldn’t you say?

The Tammys and Jill. Photo by Jill Ritter Lindberg.

The band is tight, with seasoned New Line regulars John Gerdes on electric bass, Clancy Newell on percussion and Adam Rugo on electric guitar, and they are joined by Brandon Thompson on reeds, Nikki Ervin on keyboard, and conductor Dr. Tim Amukele on keyboard as well.

The enormity of the vocal load the lead must carry is daunting, as Jill must sing solo: “Do What Makes Your Heart Sing,” “Southern Side of Jackson,” “All That Matters,” and “To Be Queen,” and duos with Mama in “Sears,” Tyler in “We Had Some Good Times,” and the others in ensemble pieces. With that much to sing, Noah struggled at times, and her voice seemed strained because of the role’s demands the farther the show progressed. Perhaps Amukele’s guidance will help on the rough spots. But even for the most accomplished vocalist, that’s a herculean effort.

The book By Rupert Holmes lovingly spotlights the characters for their strength, grace under pressure, and their willingness to be audacious. Holmes won multiple Tony Awards for the book music and lyrics, all solo acknowledgements, for “The Mystery of Edwin Drood.” He’s known for the pop song “Escape (The Pina Colada Song).”

According to press material, “The team continues to work on the show. The St. Louis production will be the fifth production of the show so far.” While entertaining, it does appear to be a work in progress, and the rough-around-the-edges effort is well-meaning and good-hearted, but some tightening up would make it zing.

Rob Lippert’s minimal set design emphasizes the vibrant spirit of the production, with the iconic pink sunglasses as a major focal point. Matt Stuckel and Ryan Day capably handled the lighting and sound.

Ann Hier Brown and Mara Bollini. Photo by Jill Ritter Lindberg.

Zachary Phelps designed the flashy and curvy baby-doll SPQ anthem costumes as well as the everyday attire of the cast. The shiny pink-and-green outfits look like a vamped-up creation crossing “Amazon Women of the Moon” with “Barbarella” and John Waters’ movies.

For anyone who has experienced dreams-deferred, “Sweet Potato Queens” is a reminder to believe in your potential and stay true to your ideals. It does so with an energetic mindset, a desire to spread goodwill, and a celebratory, humorous spirit. After all, real queens adjust each other’s crowns.

Addendum: To follow in the footsteps of other SPQs across the land, Browne recommends Revlon® “Love That Pink” lipstick, flowing red wigs, and majorette boots. They wore green hand-me-down ball gowns and tiaras for their first St. Patrick’s Day Parade, and said when she discovered she lived near Vardaman, Miss., the self-proclaimed Sweet Potato Capital of the World, that was all it took to offer herself as the queen for the farmers’ annual festival.

Bethany Barr as Mama. Photo by Jill Ritter Lindberg.

New Line Theatre presents “Sweet Potato Queens” from Feb. 29 to March 23, Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive.

Tickets are $25 for adults and $20 for students/seniors for the preview; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

For more information about discounts, visit the website: www.newlinetheatre.com

The Queen herself, Jill Conner Browne. Lynn Venhaus Photo.
Sweet Potato Queens in the audience March 9. Lynn Venhaus Photo.

New Musical Written For STEM Students Heads to New York, St. Louis

New Musical Written For STEM Students Heads to New York, St. Louis

St. Louis, MO (March 4, 2024) – A new musical written for students at the Missouri University of Science & Technology will have a brief run in New York City this month before having its World Premiere at the Tesseract Theatre Company in St. Louis this July.

Cascade’s Fire, a modern adaptation of Sophocles’ Antigone story, was written by Taylor Gruenloh and Kyle Wernke, professors at Missouri S&T.

“The students at this university,” Gruenloh says, “are super bright and drawn to creative adventures. Like other theatre programs at schools across the country, we came out of the pandemic swinging and haven’t slowed back down yet.”

Gruenloh and Wernke’s Cascade’s Fire had a workshop production on the campus of Missouri S&T in October 2023. Since the university doesn’t have a theatre major, the acting ensemble featured students studying in majors like engineering management, physics, education, and biological science.

“It was a staggeringly new experience,” said David Pisoni, a chemical engineering major. “Not only do you get to go through the rehearsal process with the writer and composer of the piece, but you’re approaching it with completely fresh eyes.”

Cascade’s Fire sees the character of Cascade return to her old college campus looking for answers after the death of her ex-girlfriend.

Taylor Gruenloh

The same cast from the October production will travel with the show to New York this month.

“It has always been a dream of mine to perform in New York,” said Madison Kastner, an education major. “I’m so grateful to have the opportunity to do the thing I love.”

While the student actors perform Cascade’s Fire during the evenings at Under St. Marks Theatre in the East Village, Gruenloh will be escorting them to career related activities during the day.

“Not only do these few students get to perform a new musical in New York, the university is helping send a larger student group with us to visit an entertainment engineering firm, talk with technical theatre professionals, and seeing a new Broadway show.”

Gruenloh says it’s his mission at Missouri S&T to showcase pathways for engineering students to achieve careers in the arts. “A lot of students came in around the start of the pandemic, thinking they weren’t going to have many opportunities in theatre, thinking this school only championed STEM activities, and now they’re taking a show to the busiest theatre city in the world.”

Cascade’s Fire won’t stop after the brief run in New York. St. Louis’ Tesseract Theatre Company will produce the musical’s official World Premiere as part of their 2024 New Musical Summer Fest in July.

Gruenloh has a strong history with Tesseract Theatre, co-founding the company in 2012 with current Creative Director Brittanie Gunn. Gruenloh stepped away from the company in August last year to focus on building the theatre program at Missouri S&T. “We’re excited to bring Taylor back,” said Kevin Corpuz, a Creative Director at Tesseract. “To share his new musical with St. Louis audiences is very special and we can’t wait to get started.”

While the St. Louis production of Cascade’s Fire will have a new cast at Tesseract for the World Premiere, the titular role of Cascade will be played by Josie Schnelten, who originated the role in October and will lead the show in New York this month.

“I never thought that I’d get the opportunity to bring a brand-new character to life,” said Schnelten, an engineering management major at Missouri S&T. “It’s been special to work on Cascade from her very beginnings and I cannot wait to be a part of her professional debut in St. Louis.”

The Tesseract Theatre Company will run Cascade’s Fire July 19 – 24 at the Marcelle Theatre in Midtown St. Louis. The 2024 New Musical Summer Fest will also feature My Heart Says Go, a show about a first-generation college student, Indigo, who defies his father and drops out of medical school to become a singer-songwriter.

Gruenloh, who is directing Cascade’s Fire in St. Louis, said, “This is the best possible outcome for this little experiment. I wanted to give the theatre students at Missouri S&T a taste of new play development, the bragging rights of originating roles in a musical, but the support from the university and the excitement at Tesseract Theatre has made this project a years long journey that is leaving a lot of people with some great memories.”

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.