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.

‘American Symphony’ Leads Nominations for Eighth Annual Critics Choice Documentary Awards

‘American Symphony’ Leads Nominations for Eighth Annual Critics Choice Documentary Awards


20 DAYS  IN MARIUPOL, KOKOMO CITY,AND STILL: A MICHAEL J. FOX MOVIE RECEIVE FIVE NOMINATIONS EACH 

GALA TO HONOR AWARD WINNERS ON NOVEMBER 12, 2023 AT THE EDISON BALLROOM IN MANHATTAN

The Critics Choice Association (CCA) has announced the nominees for the Eighth Annual Critics Choice Documentary Awards (CCDA). The winners will be revealed at a Gala Event on Sunday, November 12, 2023 at The Edison Ballroom in Manhattan. The ceremony will be hosted for the second year in a row by longtime event supporter, actor, and standup comedian Wyatt Cenac.

American Symphony leads the pack with six nominations including in the category of Best Documentary Feature. The film’s other nominations are Matthew Heineman for Best Director, Tony Hardmon, Matthew Heineman, and Thorsten Thielow for Best Cinematography, Sammy Dane, Jim Hession, Matthew Heineman, and Fernando Villegas for Best Editing, Jon Batiste for Best Score, and Best Music Documentary.

20 Days in Mariupol, Kokomo City, and Still: A Michael J. Fox Movie received five nominations each. The nominations for 20 Days in Mariupol are Best Documentary Feature, Best First Documentary Feature, Michelle Mizner for Best Editing, Mstyslav Chernov for Best Narration, and Best Political Documentary. The nominations for Kokomo City are Best Documentary Feature, Best First Documentary Feature, and D. Smith for Best Cinematography, Best Editing, and Best Score. The nominations for Still: A Michael J. Fox Movie are Best Documentary Feature, Davis Guggenheim for Best Director, Michael Harte for Best Editing, Michael J. Fox for Best Narration, and Best Biographical Documentary.

Cenac is an Emmy Award-winning comedian, actor, producer, and writer known for the HBO late-night comedy docuseries Wyatt Cenac’s Problem Areas. Additional credits include aka Wyatt Cenac, People of the Earth, and The Daily Show with Jon Stewart. He has made four comedy albums: Wyatt Cenac: Comedy Person, the Grammy nominated Brooklyn, Furry Dumb Fighter, and One Angry Night in November, and hosted the televised stand-up variety series Night Train with Wyatt Cenac. He started his career in animation as a writer for Mike Judge’s King of the Hill, and has served as a consultant for South Park. Every now and again he pops up in a film, most notably Barry Jenkins’ Medicine for Melancholy.

The Critics Choice Documentary Awards will be live-streamed through Facebook, YouTube and X (formerly Twitter). Viewing links will be available on the Critics Choice Association website at 7:00 PM ET on Sunday, November 12.

In addition to the 18 award categories listed below, a prestigious honor, The Pennebaker Award (formerly known as the Critics Choice Lifetime Achievement Award), will be presented to esteemed documentarian Ross McElwee. The award is named for Critics Choice Lifetime Achievement Award winner D A Pennebaker, who passed away in 2019. The award will be presented by Chris Hegedus, Pennebaker’s producing partner and wife. 

McElwee has made ten feature-length documentaries as well as a number of shorter films. Sherman’s March has won numerous awards, including Best Documentary at the Sundance Film Festival. Sherman’s March was also chosen for preservation by the Library of Congress National Film Registry in 2000 as a “historically significant American motion picture.” Bright Leaves premiered at the 2003 Cannes Film Festival’s Directors’ Fortnight and was nominated for Best Documentary by both the Directors Guild of America and the Writers Guild of America. McElwee’s In Paraguay premiered at the Venice Film Festival in 2008, and he returned to Venice in 2011 to premiere Photographic Memory.

In 2005, complete retrospectives of McElwee’s films were presented at the Museum of Modern Art in New York and later in many more cities. McElwee has received fellowships and grants from the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute, the LEF Foundation, and the National Endowment for the Arts. McElwee received the Full Frame Documentary Film Festival’s Career Award in 2007. He is currently a Professor of the Practice of Filmmaking at Harvard University and is working on a documentary about the cable television remake of Sherman’s March.

The Critics Choice Association is honoring 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 eighth annual awards ceremony is produced by Bob Bain of Bob Bain Productions and Joey Berlin of Berlin Entertainment. 

For the fourth year in a row,  the Critics Choice Documentary Awards welcomes back National Geographic Documentary Films as the Presenting Sponsor.

The Spirits Sponsor of the event is Milagro Tequila.

“We are thrilled with the number of exceptional documentaries released theatrically and on streaming this year and are very excited to introduce an overdue category honoring true crime films and series,” said Christopher Campbell, Vice President of Documentaries of The Critics Choice Association. “This event is about showcasing and celebrating the best in nonfiction, and I want to congratulate all of our nominees and thank them for making us see and think about the world in new ways.”

Carla Renata, Co-President of the Critics Choice Association Documentary Branch added, “We are also thrilled to witness a varied number of nominees spanning subjects represented across all genders (including Transgender Intersex) and genres,  further solidifying the Critics Choice Documentary Awards’ commitment to diversity, equity, and inclusion within the documentary landscape.”

At the Seventh Annual Critics Choice Documentary Awards, Good Night Oppy took home five trophies in all including the top award of the evening for Best Documentary Feature. The film’s other victories were Best Director for Ryan White, Best Score for Blake Neely, as well as Best Narration (written by Helen Kearns and Ryan White, performed by Angela Bassett), and Best Science/Nature Documentary.

“Still: A Michael J Fox Movie”

Nominees for the 8th Annual Critics Choice Documentary Awards
Presented by National Geographic Documentary Films

BEST DOCUMENTARY FEATURE

20 Days in Mariupol (PBS)
American Symphony (Netflix)
Beyond Utopia (Roadside Attractions)
The Deepest Breath (Netflix)
The Eternal Memory (MTV Documentary Films)
Judy Blume Forever (Amazon Studios)
Kokomo City (Magnolia Pictures)
The Mission (National Geographic)
Stamped from the Beginning (Netflix)
Still: A Michael J. Fox Movie (Apple TV+)

The Eternal Memory

BEST DIRECTOR

Maite Alberdi – The Eternal Memory (MTV Documentary Films)
Madeleine Gavin – Beyond Utopia (Roadside Attractions)
Davis Guggenheim – Still: A Michael J. Fox Movie (Apple TV+)
Matthew Heineman – American Symphony (Netflix)
Amanda McBaine, Jesse Moss – The Mission (National Geographic)
Steve McQueen – Occupied City (A24)

BEST FIRST DOCUMENTARY FEATURE

20 Days in Mariupol (PBS)
26.2 to Life (Film Halau)
Bad Press (Oklafilm)
Bobi Wine: The People’s President (National Geographic)
Kokomo City (Magnolia Pictures)
Orlando, My Political Biography (Sideshow)
Smoke Sauna Sisterhood (Greenwich Entertainment)
The Thief Collector (FilmRise)

Anselm

BEST CINEMATOGRAPHY

Tim Cragg – The Deepest Breath (Netflix)
Tony Hardmon, Matthew Heineman, Thorsten Thielow – American Symphony (Netflix)
Lennert Hillege – Occupied City (A24)
Franz Lustig – Anselm (Sideshow)
D. Smith – Kokomo City (Magnolia Pictures)
Toby Strong, James Boon, Bob Poole, Neil Fairlie, Wim Vorster, Joshua Tarr, Pete Allibone, Neil Harvey, Andreas Knausenberger – Secrets of the Elephants (National Geographic)

The Mission

BEST EDITING

Sammy Dane, Jim Hession, Matthew Heineman, Fernando Villegas – American Symphony (Netflix)
Madeleine Gavin – Beyond Utopia (Roadside Attractions)
Michael Harte – Still: A Michael J. Fox Movie (Apple TV+
Michelle Mizner – 20 Days in Mariupol (PBS)
D. Smith – Kokomo City (Magnolia Pictures)
Aaron Wickenden – The Mission (National Geographic)

The Last Repair Shop

BEST SCORE

Jon Batiste – American Symphony (Netflix)
Danny Bensi & Saunder Jurriaans – The Mission (National Geographic)
Nainita Desai – The Deepest Breath (Netflix)
Philip Glass – The Pigeon Tunnel (Apple TV+)
Katya Richardson & Kris Bowers – The Last Repair Shop (Breakwater Studios)
D. Smith – Kokomo City (Magnolia Pictures)

Secrets of the Elephants

BEST NARRATION

20 Days in Mariupol (PBS)
   Written and Performed by Mstyslav Chernov

32 Sounds (Abramorama)
   Written and Performed by Sam Green

The Disappearance of Shere Hite (IFC Films)
   Written by Nicole Newnham
   Performed by Dakota Johnson

John Lennon: Murder Without a Trial (Apple TV+)
   Performed by Kiefer Sutherland

Secrets of the Elephants (National Geographic)
   Written by Martin Williams
   Performed by Natalie Portman

Still: A Michael J. Fox Movie (Apple TV+)
   Written and Performed by Michael J. Fox

The Disappearance of Shere Hite

BEST ARCHIVAL DOCUMENTARY

Being Mary Tyler Moore (HBO | Max)
The Disappearance of Shere Hite (IFC Films)
It Ain’t Over (Sony Pictures Classics)
JFK: One Day in America (National Geographic)
The Lady Bird Diaries (Hulu)
The League (Magnolia Pictures)

BEST HISTORICAL DOCUMENTARY

The 1619 Project (Hulu/Onyx Collective)
JFK: One Day in America (National Geographic)
The Lady Bird Diaries (Hulu)
Lakota Nation vs. United States (IFC Films)
The League (Magnolia Pictures)
Occupied City (A24)
Stamped from the Beginning (Netflix)

BEST BIOGRAPHICAL DOCUMENTARY

Being Mary Tyler Moore (HBO | Max)
The Disappearance of Shere Hite (IFC Films)
Going to Mars: The Nikki Giovanni Project (HBO Documentary Films)
Judy Blume Forever (Amazon Studios)
Pretty Baby: Brooke Shields (Hulu)
Sly (Netflix)
Still: A Michael J. Fox Movie (Apple TV+)

BEST MUSIC DOCUMENTARY

American Symphony (Netflix)
Carlos (Sony Pictures Classics)
Ladies First: A Story of Women in Hip-Hop (Netflix)
Little Richard: I Am Everything (Magnolia Pictures/CNN Films)
Love to Love You, Donna Summer (HBO | Max)
Taylor Swift: The Eras Tour (AMC Theatres)
What the Hell Happened to Blood, Sweat & Tears? (Abramorama)

The Lady Bird Diaries

BEST POLITICAL DOCUMENTARY

20 Days in Mariupol (PBS)
Beyond Utopia (Roadside Attractions)
Bobi Wine: The People’s President (National Geographic)
Deadlocked: How America Shaped the Supreme Court (Showtime)
Every Body (Focus Features)
Lakota Nation vs. United States (IFC Films)
Silver Dollar Road (Amazon MGM Studios)

Wild Horses: Mustang Spirit of the West

BEST SCIENCE/NATURE DOCUMENTARY

32 Sounds (Abramorama)
Between Earth & Sky (PBS)
Life on Our Planet (Netflix)
Path of the Panther (National Geographic)
Poisoned: The Dirty Truth About Your Food (Netflix)
Secrets of the Elephants (National Geographic)
Wild Beauty: Mustang Spirit of the West (Gravitas Ventures)

It Ain’t Over

BEST SPORTS DOCUMENTARY

Black Ice (Roadside Attractions)
BS High (HBO | Max)
The Deepest Breath (Netflix)
It Ain’t Over (Sony Pictures Classics)
The League (Magnolia Pictures)
Reggie (Amazon Studios)
Stephen Curry: Underrated (Apple TV+)
Welcome to Wrexham (FX)

BEST TRUE CRIME DOCUMENTARY

Burden of Proof (HBO | Max)
The Jewel Thief (Hulu)
John Lennon: Murder Without a Trial (Apple TV+)
Murdaugh Murders: A Southern Scandal (Netflix)
Telemarketers (HBO | Max)
The Thief Collector (FilmRise)
Victim/Suspect (Netflix)

BEST SHORT DOCUMENTARY

The ABCs of Book Banning (MTV Documentary Films)
The Barber of Little Rock (Story Syndicate)
Between Earth & Sky (PBS)
Keys to the City (New Yorker)
The Last Repair Shop (Breakwater Studios)
Last Song From Kabul (MTV Documentary Films)

John Lennon: Murder without a Trial

BEST LIMITED DOCUMENTARY SERIES

The 1619 Project (Hulu/Onyx Collective)
Big Vape: The Rise and Fall of Juul (Netflix)
Deadlocked: How America Shaped the Supreme Court (Showtime)
JFK: One Day in America (National Geographic)
John Lennon: Murder Without a Trial (Apple TV+)
Secrets of the Elephants (National Geographic)
Shiny Happy People (Amazon Studios)
Telemarketers (HBO | Max)

Welcome to Wrexham

BEST ONGOING DOCUMENTARY SERIES

30 for 30 (ESPN)
Frontline (PBS)
Murdaugh Murders: A Southern Scandal (Netflix)
POV (PBS)
Trafficked with Mariana van Zeller (National Geographic)
Welcome to Wrexham (FX)

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 Critics Choice Awards ceremony will be held on January 14, 2024 at the Fairmont Century Plaza in Century City, CA, and will be broadcast live on The CW.

About the Critics Choice Association (CCA) 

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 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, in recognition of the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

Though Flawed, Epic Injustice Story Needs to Be Told in ‘Killers of the Flower Moon’

Though Flawed, Epic Injustice Story Needs to Be Told in ‘Killers of the Flower Moon’

By Lynn Venhaus
A sprawling saga exploring the horrific exploitation of Native Americans and how the entitled white interlopers of Fairfax, Okla., manipulated, stole, extorted, and killed them is a true story that needs to be told.

While I’m not declaring “Killers of the Flower Moon” a modern masterpiece like many of my colleagues, I admire the efforts and care that the filmmakers brought to this explosive, gut-wrenching tale of injustice.

Members of the Osage tribe in the U.S. are murdered under mysterious circumstances in the 1920s, after oil is found on their land, and finally, after too much time — and death — has elapsed, it sparks a major F.B.I. investigation started by J. Edgar Hoover.

Martin Scorsese is such a visceral director, with his keen eye for visuals and distinctive way music organically becomes part of his storytelling, that his sweeping view of the prairie and respect for the indigenous people of the land is breath-taking.

And in his expert way, captures the ugly, insidious greed and power plays that overtake this locale in moody, murky images and unsavory incidents. But the decision to concentrate mostly on the villains, who keep getting away with these awful crimes, is hard to watch for 206 minutes. I know, how he depicts corruption is a Scorsese trademark. (But blasphemy — is he the right person to tell this story?)

A densely layered plot becomes one long slow death march, and yes, it’s disturbing. We get to the point quickly about the amoral criminal behavior underway, but the repetitiveness, slow-burn style, makes one impatient for any sign of justice.

Do we need 3 hours, 26 minutes to tell this story? No. Based on American journalist David Grann’s best-selling 2017 nonfiction book “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI,” the work would likely be better served as a mini-series.

The Kyle sisters

Many characters get the short shrift. You may be hard-pressed to recall their characters or the way they fit into the puzzle: Tantoo Cardinal, JaNae Collins, Jillian Dion, William Belleau, Louis Cancelmi, Tatanka Means, Michael Abbot Jr., Pat Healy, Scott Shepard, Jason Isbell and Sturgill Simpson, although you’ll remember Cara Jade Myers as Mollie’s wronged sister Anna, who is brutally murdered, and Tommy Schultz as Blackie Thompson, who figures in to some of the earlier shenanigans.. And then, Brendan Fraser and John Lithgow show up, ever so briefly, as attorneys near the end.

With its $200 million price tag, it is technically brilliant, with exceptional cinematography by Rodrigo Prieto (who also did “Barbie” this year!), and stunning production design by Jack Fisk. 

Yet, I can’t ignore the flaws in the storytelling. At times, it’s cold, flat, and airless because it’s hard to root for people. As the Osage daughter Mollie, Lily Gladstone is the heart of the film, but that’s a lot to carry on her shoulders – although she’s definitely the secret weapon. She will be in the awards conversations at year’s end.

Scorsese, and co-writer Eric Roth, concentrated on the improbable romance of opportunistic Ernest Burkhart (Leonardo DiCaprio) and Gladstone’s Mollie Kyle, and what happens in their orbit is indicative of the behaviors of the time.

By 1872, the U.S. government had forced the Osage from their ancestral homeland to Oklahoma, and at the turn of the century, oil was discovered, which brought a fortune to the Osage nation. Because they became some of the wealthiest people in the world overnight, that didn’t sit well with the old-white-guys network, who would systematically destroy and take over any way possible to get their hands on that money from the ‘black gold.’ For some, that involved marrying an Osage, and becoming the heir.

DeNiro as William Hale and DiCaprio as Ernest Burkhardt

Robert De Niro is sensational in a strong sly performance as William Hale, the town’s kingpin — interestingly enough, nicknamed “King.” He controls everything, and pretends to be a great friend to all. Those in his employment do his dirty work, and the despicable deeds start piling up, too many to ignore. Scorsese brings out DeNiro’s best, and since 1973, they have made 10 films together.

Hale is Ernest’s uncle. And Ernest has arrived after serving in World War I, as a cook, who can’t do manual labor but is eager to make money. He starts out as a taxi driver, where he meets Mollie, and hopes sparks will fly. They eventually marry and have three children. DiCaprio, always interesting, goes to the dark side here, disheartening for his loved ones when the truth eventually comes out. It’s DiCaprio’s sixth feature collaboration with Scorsese, since “The Gangs of New York” in 2002.

Enter Jesse Plemons as FBI agent Tom White, who seems like he could be intimidated, but is brave enough to pursue righting wrongs. He comes in later in the second act, which is interesting because the book concentrated on his narrative.

The performances are superb, although Leo’s bulldog grimace wears thin as does his period-appropriate dental work (yikes). Does subtly sinister suit the golden boy? Jury’s out, but thankfully, his portrayal is more conflicted than sympathetic.

But Gladstone is remarkable, her fierce intelligence shining through as the betrayed wife. I was impressed with her work in Kelly Reichardt’s 2016 indie movie “Certain Women,” so happy to see attention being paid.

Robbie Robertson’s music score is so organic that at times, you will not notice it. As a member of The Band and a great friend of Scorsese, they have worked together on soundtracks before – “Raging Bull,” “The King of Comedy,” “The Color of Money” and “The Irishman,” after their legendary documentary collaboration “The Last Waltz” in 1978.

Now that Robertson has passed (Aug. 9), the film is dedicated to his memory. He was a Native American as well – the son of a Cayuga and Mohawk mother and lived on the Six Nations Reserve in Canada southwest of Toronto during his youth. So that’s a special connection.

For its unusual finale, the film jarringly shifts to a radio show, which gives a razzamatazz wrap-up of all the corruption and dastardly deeds that have transpired.

Overall, the film is a haunting reminder of the atrocities committed against the Osage Nation specifically and indigenous people in general, and for that, it should spark outrage, which is necessary.

Perhaps watching it again when it streams on the small screen (No date as yet, just ‘later on Apple TV+), I will find more nuance and make a stronger emotional connection. It is a story that needs to be told.

“Killers of the Flower Moon” is a 2023 historical western true crime drama directed by Martin Scorsese and starring Leonardo DiCaprio, Robert DeNiro, Lily Gladstone, Jesse Plemons. Cara Jade Myers, Brendan Fraser, John Lithgow, Tommy Schultz
Rated: R for violence, some grisly images, and language, the run time is 3 hours, 26 minutes. It opens in theatres Oct. 20 and will stream on Apple TV+ at a later date, to be announced. Lynn’s Grade: B-

DeNiro, Jesse Plemons

Cranky Bill Burr’s Rants in ‘Old Dads’ Work Better as Stand-Up Routine

Cranky Bill Burr’s Rants in ‘Old Dads’ Work Better as Stand-Up Routine

By Lynn Venhaus

This movie would work better as a stand-up routine, for taking Bill Burr’s familiar cranky white guy rant into a broader community setting makes for a chaotic buffet-style narrative that is mainly throwing jokes out there to see what lands.

Burr, who is a funny no-filter comedian that is reluctant to embrace societal change and unapologetic about his discomfort with woke mindsets, is often relatable about his struggles to fit in to the modern world.

“Old Dads” is about a middle-aged father and his two best friends after they sell their sports apparel company to a millennial. They find themselves out of step and behind the times as they struggle to navigate a changing world of culture, career, and fatherhood.

As Jack Kelly, a bitter 46-year-old but loving husband and father living in Woodland Hills, Calif., he’s not the only Gen X-Baby Boomer mired in the past, for his childhood buddies are not going gentle into the good night either.

Connor Brody, played in cookie-cutter mode by Bobby Cannavale, is an old dude trying to be hip and cool. Mike Richards, as played by Bokeem Woodbine, is content not to marry his girlfriend and doesn’t want more children because he has two grown Ivy League graduate sons by his ex-wife, is the most undeveloped and frustrating chauvinistic character.

There is humor in people not happy with anything past 1987 and the ever-changing times. But it also wears thin after incessant macho postering. Enough with anatomy jokes!

Dealing with competitive progressive pre-schools and parenting kids today is also ripe for mocking, especially tiptoeing around indulging, not disciplining, youngsters. And that is the movie’s saving grace, because helicopter parenting is ridiculous.

Burr’s belligerence can’t be softened, really, and that’s applauded by some while others cringe, such is the cultural zeitgeist these days. And don’t bring up white privilege to him. He’s good at poking fun at modern absurdities but does get carried away about victimhood (however, that’s his ‘schtick’).

Old Dads. (L to R) Bokeem Woodbine as Mike, Bill Burr as Jack, Katie Aselton as Leah in Old Dads. Cr. Michael Moriatis/Netflix © 2023.

As co-writer with Ben Tishler, Burr touches on many issues that are deemed offensive in today’s diverse, inclusive society that it becomes boorish midway and inexplicably, piles on lots o’ sex jokes. Why men behaving badly at a strip club that doubles down into Neanderthal territory is supposed to be some sort of epiphany? Clumsy at best, really stretching patience thin.

And are the sitcom antics of grown men not happy in their marriages still laugh-worthy? This is Burr’s directorial debut and he’s not convincing us, because the guys aren’t that likable with their self-centered stubbornness.

Oh sure, they love their wives and children, but do they really evolve beyond some supportive dialogue after a movie full of tirades? And parenting is only a fraction of this movie.

The wives, all beautiful, do show some gumption but they put up with a lot of icky. Katie Aselton is Jack’s pregnant wife Leah, Jackie Tohn is Connor’s controlling wife Cara, who speaks in psychobabble, and Reign Edwards is Mike’s pregnant wife Britney.

Now, what is funny is the changing workplace. When the three besties sell their business, they still show up for work, and it’s all New-Agey thinking on display. Playing the Millennial CEO Aspen Bell is Miles Robbins, who may look familiar because he is the son of Susan Sarandon and Tim Robbins, and his comedic instincts are sharp. He’s believable and fun to watch, and when he helps the guys out in the third act, his storyline goes nowhere after that.

The movie is such a mixed bag that a discourse on smoking cigars and vaping goes on interminably – with Paul Walter Hauser in a cameo. And speaking of drive-by appearances, Bruce Dern is a looney ride-share service driver? C. Thomas Howell is a guy who goes off the grid in New Mexico groomed to be the new face of the company’s sportswear?

Funny bits about e-scooters and planning school benefits strike chords, but obviously “Old Dads” is specifically meant for an audience who’d rather armchair-quarterback life than go out there and make the most of the 2020s, enlightened or not.

“Old Dads” is a comedy directed by Bill Burr, starring Burr, Bobby Cannavale, Bokeem Woodbine, Rachael Harris, Miles Robbins, Katie Aselton, Reign Edwards and Jackie Tohn. It is rated R for pervasive language, sexual material, nudity, and brief drug use and runs 1 hour, 44 minutes. Streaming on Netflix starting Oct. 20. Lynn’s Grade: C-

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

Everybody Wants to Rule the World in a Striking ‘The Lion in Winter’

By Lynn Venhaus

The rapacious 12th Century Plantagenet Family behaves as badly as the modern-day Roys of Manhattan and The Duttons of Montana, a rogues’ gallery of royal connivers in “The Lion in Winter.”

That’s one of the many reasons why The Midnight Company’s bracing production is fun – and riveting – to watch because sparks fly, and flames are fanned in a master class exercise in acting.

Director Tom Kopp has lit a fuse under his finely tuned ensemble so that they burn bright, crackling with big birthright energy while delivering virtuosic performances: Joe Hanrahan, Lavonne Byers, Joel Moses, John Wolbers, Ryan Lawson-Maeske, Michael Pierce and Shannon Campbell.

As the formidable ensemble tackles each aristocratic character like a predator setting a trap for his prey, they often strike a playful, comedic tone but mainly heighten the drama’s intensity because their massive ambitions collide in a winner-takes-all battle. The prize: inheriting the crown of King Henry II of England.

Multi-hyphenate award winner Joe Hanrahan plays mega-manipulator Henry with a smirk and a gleeful vitality, emphasizing his skills at being a disrupter and poster boy for “It’s Good to Be King.” He met his match with his older ‘bride,’ Eleanor, the richest and shrewdest woman in the world who bore him four sons, but they sure don’t care much for them, except as pawns in their epic face-offs.

James Goldman’s 1966 play is set at a contentious Christmastime in 1183 in a castle in Chinon, France, on land still owned by the British ruler. The classic dysfunctional family is hanging festive holly, but they are far from jolly.

That’s to be expected, with the mom – who tried to overthrow the king awhile back — about to return to prison, where she’s been kept by her husband for 10 years, and then dear old domineering dad put the three bad-tempered sons in the dungeon. His firstborn has died. Sounds – and looks like – a holiday in hell.

The wannabe kings. Photo by Joey Rumpell

With anger and resentment thick in the air and mulled wine flowing, swords are brandished and emotions erupt as conflicts ensue. You can see the wheels turning in their cunning little heads. Kopp has briskly staged the posturing, maneuvering, embracing, and shouting so that we’re kept off-guard and suspicious.

The group is tangled in one–upmanship, some more obvious than others – but it’s apparent the amount of trust and respect among the actors that allows them to have a field day with the material and each other.

One of the grand dames of St Louis regional theatre, Lavonne Byers ascends to her lofty perch as the crafty and regal queen – and in a savvy display, she doesn’t telegraph what she’s doing until it’s done, so smooth in the takeovers.

The two-time St. Louis Theater Circle winner and frequent nominee devours anyone in her path as the legendary Eleanor of Aquitane, the role that won Katharine Hepburn her third of four Academy Awards in the 1968 movie version.

As the mom-and-pop puppetmasters, Hanrahan and Byers are spirited in doing the Tango Queen as they dance around – and this battling couple actually loves one another. But as to which of their three chips off the old block will take over the kingdom is quite a game of chess.

Richard, the warrior, as in “The Lionhearted,” won’t be denied, but neither will the pre-Renaissance Machiavellian Geoffrey, bitter about being passed over, and they both are out of favor because the youngest, an immature buffoonish John, is daddy’s favorite. (Maybe because they both behave like petulant children.)

The terrific trio of Joel Moses as the steely soldier Richard, John Wolbers as sly schemer Geoffrey, and Ryan Lawson-Maeske as spoiled brat John lock into their characters seamlessly.

I’m not concerned about their characters’ ages – Richard, 26; Geoffrey, 25; and John, 16, and you don’t have to be either – it’s called acting, and they’re very good at creating full-bodied portrayals. When you have actors not usually known for playing villains in amoral roles, it’s delectable. (Also, smart choice to not have English accents).

The French kids. Photo by Joey Rumpell

Then complicating things are those testy French folks staying there, unpleasant attitudes flaring up – the young King Philip, 18, who’s been in charge for three years, and his sister, Alais, 23, who besides being a princess is supposed to be engaged to Richard but is Henry’s very young mistress. That’s another soap opera, but she may be the most ruthless of all.

Alais has been in the castle for a long time, pretty much raised by Eleanor. Strange bedfellows indeed. Shannon Campbell and Michael Pierce are strong in those roles, setting themselves apart from those high-maintenance Plantagenets but still crafty. After all, the new king is itching to go to war with England.

The creative team has delivered a vibrant staging, with stage manager Karen Pierce keeping the action from sagging. With a well-appointed set design by Brad Slavik, well-lit by lighting designer Tony Anselmo, and vintage props collected by Miriam Whatley, the look is a pleasant replica of nooks in a drafty castle. Costume designer Liz Henning demonstrates her considerable gifts outfitting the royals in impressive fabrics, textures, embroidery and finery.

A special touch is original music composed by Susan Elaine Kopp that gives it an authentic cultural  “welcome to the almost Renaissance” sound.

If you like diving into history, you may enjoy finding out who succeeded Henry. Spoiler alert: the tall fighting man. But that should be its own sequel.

The Midnight Company’s invigorating production makes the past become an absorbing power play by movers and shakers that leaps off dusty pages of an Encyclopedia Brittanica. Long live the kings in a not-to-be-missed show.

The Midnight Company presents “The Lion in Winter” from Oct. 5 to Oct. 21, with performances at 8 p.m. on Thursdays, Fridays and Saturdays, and at 2 p.m. Sundays on Oct. 8 and 15 at the .Zack Theatre,

Mom and Pop. Photo by Joey Rumpell

The Rep Seeks Support, Announces Altered Season Amid Budget Woes

The Rep Seeks Support, Announces Altered Season Amid Budget Woes

Theatre creates new production of a holiday classic, cancels two productions, amid $2.5M budget shortfall 

The Repertory Theatre of St. Louis today announced that it needs significant support from the St. Louis community by the end of 2023 to continue its programming in the second half of the 2023-2024 season, which kicked off last month with a widely-acclaimed production of “The Lehman Trilogy.”

In response to a projected $2.5M budget shortfall facing the theatre, similar to financial challenges facing theatres across the country, The Rep has streamlined its season, replacing its annual holiday spectacular, “A Christmas Carol,” with an adaptation of the beloved holiday film “It’s A Wonderful Life: A Live Radio Play” and canceling the previously announced productions of “The Lion” and “The Greatest Love for Whitney: A Tribute to Whitney Houston.”

“It’s a Wonderful Life: A Live Radio Play” will feature local actors and crew members who were originally scheduled to perform and work on A Christmas Carol. To address the budget shortfall, The Rep is also launching a “Rally for The Rep” campaign to
encourage the St. Louis community to support the theatre.

“The theatre is at an inflection point, and we need to raise $2.5M through ticket sales and philanthropy by the end of 2023 to continue to produce works in the second half of our season. The St. Louis community has sustained us for nearly six decades, and now more than ever, we need them to invest in our future. Although we are calling on the community for support as we are cutting back this season, The Rep is dedicated to honor our longstanding commitment to bringing St. Louis audiences world-class theatrical experiences from the most exciting emerging and established voices in American theatre,” said Danny Williams, Managing Director of The
Repertory Theatre of St. Louis.

“The slower-than-hoped-for return of audiences following the pandemic exacerbated financial challenges and necessitated that we make these significant and difficult changes. We need patrons to bring friends and family and show support in any way that they can to help us ensure that the productions we have planned in 2024 can happen.”

In the past decade, theater companies across the country have seen major shifts in their business models, and The Rep was no longer able to respond to these shifts in an effective manner. The Rep’s decision to update the 2023-2024 season comes at a time when theaters across the country are facing financial hardships, due in part to the Coronavirus pandemic. Since 2020, audience attendance at theaters has significantly declined, and the number of shows produced nationwide has decreased by 41%, according to a study conducted by Jacobson Consulting Applications, Inc.

The Lehman Trilogy. Photo by Phillip Hamer

While The Rep’s critically acclaimed productions of “The Lehman Trilogy” and “Twisted Melodies” far exceeded the national trends for attendance, the gaps still remain, and crucial community investment is needed to fully mount the 2023-2024 Season. The Rep plans to bring world-class, adventurous new works and beloved classics to its stages at the Loretto-Hilton Center in the second half of its 2024 season but needs to raise $2.5M throughits “Rally for The Rep” campaign to do so.

Currently scheduled for 2024 is Lookingglass Theatre Company’s adaptation of Moby Dick in February and Tracy Letts’ August: Osage County, which begins performances in March 2024.

The Rep is reaching out directly to season subscribers and current ticket holders regarding all changes.

For more information and to purchase tickets, 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, Tuesdays, and Wednesdays
from 10:30 a.m. – 5:00 p.m.


NEW: HOLIDAY PRESENTATION
“It’s A Wonderful Life: A Live Radio Play“
The beloved American holiday classic comes to captivating life as a live 1940s radio broadcast!
December 1 – December 23
Loretto-Hilton Center
Made possible with support by The Berges Family Foundation
Adapted by Joe Landry

It’s a Wonderful Life is based on the story The Greatest Gift by Philip Van Doren Stern Engage your imagination in the world of vintage radio broadcasting as you rediscover the magic of the holiday season with It’s A Wonderful Life – A Live Radio Play. Experience the
Golden Age of Radio through this classic holiday film reimaged as a live radio performance. Bear witness to this timeliness holiday story that explores the life of George Bailey, a compassionate and selfless man, standing on the brink of despair, when an angel named
Clarence is sent down to Earth to teach George the power of kindness, the importance of family and friends, and the realization that each life, no matter how ordinary it may seem, is truly wonderful.

“Evita” at the Rep

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. For more information, please visit repstl.org and follow @repstl.

The Loretto-Hilton Center at Webster University is The Rep’s home.

Take Ten with Playwright Liza Birkenmeier

Take Ten with Playwright Liza Birkenmeier

By Lynn Venhaus

In what she describes as a dream, Liza Birkenmeier came home to St. Louis to oversee the mounting of her play “Dr. Ride’s American Beach House,” which the St. Louis Actors’ Studio is producing this month at The Gaslight Theatre, an appropriate location for a city rooftop peering over the Mississippi River near Interstate 55.

Featuring St. Louis references and specific songs from that summer, the action takes place on June 17, 1983, on the eve of astronaut Sally Ride’s historic Challenger Space Shuttle mission.

“To be in St. Louis for the process — for the process to be in St. Louis at all — is a dream. The play takes place here and is full of the wonder I have at the city and the people,” she said.

The New York-based playwright, 37, was commissioned by Ars Nova in New York City, where it premiered in 2019, and became a New York Times Critics Pick and a finalist for the Lambda Literary Award.

Selecting Sally Ride came later to the process, Liza said. But when she found out the date of her launch, and how, as the first American woman astronaut, she still couldn’t live an authentic life, so she was a closeted lesbian. In her obituary some 30 years later, she mentioned her partner of 27 years.

RN Healey and Lindsey Brill in STLAS’s “Dr Ride’s American Beach House” Photo by Patrick Huber

The play’s female characters include two lesbians who are childhood friends, Matilda and Harriet, who have MFAs in poetry but work as waitresses, and have invited a guest, Meg, to their Two Serious Women Book Club. Meg is an out-lesbian, and she is shocking to them, how comfortable she is being herself.

Smartly written and acted, the play gives us snapshots of women living lives of quiet desperation, and what a bold, risky, adventurous woman like Sally Ride represents to them.

The comedy-drama runs Oct. 6-22, with Thursday through Saturday performances at 8 p.m. and Sundays at 3 p.m. at The Gaslight Theatre, 358 N. Boyle Ave., St. Louis.

Tickets are available through Ticketmaster or at the box office one hour prior to the performance. For more information, visit www.stlas.org

Birkenmeier has a connection with St. Louis Actors’ Studio, as she performed in the riveting drama “Blackbird” in 2018, earning a St. Louis Theater Circle nomination for outstanding actress as the 27-year-old Una, who confronts the 55-year-old man, Ray, who seduced her 15 years ago, when she was 12. John Pierson played Ray in this complex portrayal of ruined lives intertwined. Her director, Annamaria Pileggi, is also the director of her show.

Liza Birkenmeier and John Pierson in “Blackbird” at STLAS in 2018

In her notes, she said she is grateful to work with Pileggi, Patrick Huber, and Amy Paige again, and to be united (or reunited) with this group of artists.

After high school in St. Louis, Liza earned a bachelor’s degree in drama at Washington University and an MFA degree at Carnegie Mellon University. She now lives in Brooklyn with her wife, Shannon, and two cats.

Her work as a playwright has been seen and developed at The Public Theatre, TiQ, HERE, Dixon Place, University Settlement, Playwrights Realm, Lincoln Center, and elsewhere.

She is a New Georges Affiliated Artist, a Yaddo and Macdowell Fellow, and is currently commissioned by Sam French and the Manhattan Theatre Club.

“F*ck7thGrade,” a musical collaboration with Jill Sobule, was nominated for a Drama Desk Award for outstanding musical and was also a New York Times Critics Pick and finalist for the Lambda Literary Award in Drama; it will return to the Wild Project this fall, where it premiered in 2022.

Recently, she premiered “Grief Hotel” at Clubbed Thumb, directed by Tara Ahmadinejad. Other plays include “Islander,” “Honestly Sincere” (New York Times Critics Pick/Drama League Award), and “Radio Island” (finalist for the Philip Seymour Hoffman Relentless Award).

This semester, she is teaching playwrighting at Washington University and has written a novel. There is a lot more wit, wonder and words in her future.

The Take Ten Questionnaire:

1.What is special about your latest project?

“There are too many special things about this production of ‘Dr. Ride’s American Beach House’ at STLAS for me to name. To be in St. Louis for the process — for the process to be in St. Louis at all — is a dream. The play takes place here and is full of the wonder I have at the city and the people.

Annamaria Pileggi and I have been working together since I was her student at Wash U. I’m wildly happy that she’s directing this particular piece here and now. The cast and creative team are full of former classmates and teachers. It’s a warm and surreal experience.”


2. Why did you choose your profession/pursue the arts?

“It would have been so much saner for me to have chosen this! Truly, I have a compulsion to make stuff and then try to show people. I’ve always imagined building planets, inviting people to visit them, and then feeling desperate for someone to say: ‘Oh, I’ve always wished to be here!’ There’s no reason; it’s embarrassing.”

3. How would your friends describe you?

“Inspiring and competent. (Is this getting fact-checked?)”

4. How do you like to spend your spare time?

Walking around my neighborhood, trying to become a genius.

5. What is your current obsession?

It hasn’t changed in so many–thirty? –years! Novels. 

6. What would people be surprised to find out about you?

“I love Provel cheese?”

7. Can you share one of your most defining moments in life?

“When I was in the fifth grade (at the Forsyth School), I insisted on playing the ‘sailor that gets mauled by the Cyclops’ in the class production of The Odyssey. There was no such part, but I guess I weaseled in a scene in which I could die a violent death, come back to life, and sing a solo. In a way I don’t know if I can explain, this is what I continue to do.”


8. Who do you admire most?

“My cats.”


9. What is at the top of your bucket list?

“I would like to pull off an elaborate con. Ideally, this would be theatrical, nonviolent, and lucrative. Or have a novel published. Somehow this feels like the same thing.”


10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what does it means to move forward?

“My dad, who is a pulmonary critical care physician, was working in the COVID unit at the Veterans Hospital here in St. Louis, and I was at home in Brooklyn. While I think he’s the coolest person imaginable, I dreaded that part of his work. As things felt more ‘normal’ with time, I started to work again, and I found that writing in novel ways, for novel opportunities–for online pieces, podcasts, all non-live stuff–was so healthy for my brain.

I always think I’m being ‘creative,’ but I wonder if even in untraditional, off-Broadway theater, I had gotten into accidental habits. The first play I wrote for live performance since 2020 was called ‘Grief Hotel’ and somehow had, in sneaky ways, some sadness and anxiety of isolation, even though it was a comedy. It premiered at Clubbed Thumb in New York this summer, and was one of my favorite, proudest experiences.


11. What is your favorite thing to do in St. Louis?

See my friends and go to Blues games.

12. What’s next?

“I wrote a novel. Wish me luck!”


More About Liza Birkenmeier

Birthplace: Olivette
Current location: Greenpoint, Brooklyn, NY since 2012.
Family: My wife, Shannon, and two cats, Lila and Lenù
Education: BA Washington University. MFA Carnegie Mellon.
Day job: This semester, teaching Playwriting at Wash U!
First job: Brown Shoe warehouse, replacing choking hazard laces on Build-A-Bear Sketchers.

Awards/Honors/Achievements: I’m most proud of being a two-time finalist for the Lambda Literary Award for LGBTQ Drama and of my work with Ars Nova and Clubbed Thumb in New York.

Favorite quote/words to live by: Sentences that Yiyun Li, Annie Dillard, Elena Ferrante, Elif Batuman, Maggie Nelson, Iris Murdoch, and Annie Erneaux wrote. 

“Dr Ride’s American Beach House” off-Broadway. Photo by Ben Arons

STLAS’ ‘Dr. Ride’s American Beach House’ Reflects A Different Frontier

STLAS’ ‘Dr. Ride’s American Beach House’ Reflects A Different Frontier

By Lynn Venhaus

Women leading lives of quiet desperation are hanging out on a rooftop one sweltering summer evening in red brick south city St. Louis.

Intrigued? In the smartly written and well-acted “Dr. Ride’s American Beach House,” you are not going to get a pat script here. In fact, St. Louis playwright Liza Birkenmeier’s comedy-drama provokes more questions than answers – but in a good way.

It’s Friday, June 17, 1983. The time, date and place are firmly established if the play does not, or refuses to, fit into tidy boxes. The songs of that summer, catchy radio hits, immediately take you back to that period as they blare out of a boombox.

NASA nerds can point to that night as the eve of astronaut Sally Ride’s groundbreaking achievement as the first American woman in space as part of the Challenger Space Shuttle mission.

To these unfulfilled women hanging out in the sticky humid air “near Highway 55 and the Mississippi River,” they realize this is a giant leap forward for women, at least professionally. But for Dr. Ride, she can’t acknowledge that she’s gay until she announces it in her obituary nearly 30 years later, revealing her partner of 27 years, Tam O’Shaughnessy.

However, it’s still a big-deal achievement that they are in awe of – risky, bold, adventurous. Not spoken out loud is that it was just a different time – that uncomfortable putting on a front to not make waves move so many accepted as the way it had to be.

They are stuck in ruts of their own choosing, as they stay in second gear living inauthentic lives. Harriet and Matilda, seemingly lifelong friends who share a deeper relationship and should be self-aware that their failure to launch is self-inflicted, display a palpable bond and familiar shorthand. Whatever is currently troubling them is suppressed in exchange for quips and vague discontent.

The setting is Harriet’s place, a sanctuary above where the hum of her air-conditioning unit dripping water – that irritates her landlady Norma (Lizi Watt)—is a nuisance that she’s ignoring.

As played by the intuitive Lindsay Brill, Harriet’s a wallower, a quick-to-be irritated woman going nowhere. She has returned from visiting her dying mother in Florida, carrying plenty of emotional baggage, and is drinking a beer and eating ice cream straight out of a carton for dinner. There is mention of a boyfriend, but that reeks of convenience.

She’s as restless as bestie Matilda, who has stopped by, still wearing her waitress uniform, singing snippets of Fleetwood Mac’s “Dreams,” and griping about her sick child and lack of a supportive husband. Clearly a life choice that she seems ill-suited for, as she tosses off quips and complaints. She brings up that she is smart, a chip-on-the-shoulder retort — after all has an MFA in poetry. We can tell her verbal skills are highly evolved, and Bridgette Bassa breezes in as a force to be reckoned with – but maybe she’s all talk?

These two women may rhyme together, but nothing else does in their fragmented lives. It would be an ordinary, insignificant night, but it’s not, really.

Birkenmeier, now living in New York City, made her off-Broadway debut with this play, which premiered in 2019 after being commissioned by Ars Nova in New York. It was a New York Times Critics Pick and a finalist for the Lambda Literary Award in Drama.

RN Healey

This is her return to St. Louis Actors’ Studio as a playwright, after her astonishing performance in “Blackbird” in 2018, nominated for Best Actress in a Drama by the St. Louis Theater Circle. She appears to have an old soul and a sharp wit.

Annamaria Pileggi directed her then, and helms this current production, intending for us to read between the lines. Pileggi, STLAS’ associate artistic director, is assured in drawing out the personalities of these dissatisfied women who sadly lack the tools to take the reins of their own lives.

They are ‘meeting’ for the Two Serious Women Book Club, but really, that’s not happening, although newcomer Meg comes over to join them by invitation. Now Meg, as played by an assertive RN Healey, is everything these two are not: comfortable in her own skin. Wearing a rock band T-shirt and showing tattoos while wearing scrubsi, she could easily stand up and unapologetically sing “I Am What I Am” at a nearby karaoke.

Are Harriet and Matilda afraid of pursuing their own journeys, hiding in the trappings of a humdrum life because it would be too difficult to take the road not traveled?

That’s for you to ponder – especially if you think we are our choices.

 For certain, this production features vibrant, fully realized performances, punctuated by an astute selection of songs of the day. (Brilliant choices – especially the misunderstood “Every Breath You Take” hit by The Police, not a love song suitable for weddings).

You will hear the sounds of loneliness, remembering what you had and what you lost.

Patrick Huber’s interesting rooftop set design captures the modest space of multiple story flats, with thrift shop finds, aided by Kristi Gunther’s effective lighting design, using accent lamps and strings of lights as twilight falls.

Emma Glose’s sound design is crisp and clear, and her props selection reflect life 40 years ago. Abby Pasterello has wisely chosen appropriate costumes, hair and makeup looks. And as always, Stage Manager Amy J. Paige keeps things flowing smoothly.

This robust 90-minute production indicates Birkenmeier has a special voice and showcases a tight quartet who were at ease playing complicated females. We can look back now, and say affirmatively women have come a long way.

St. Louis Actors’ Studio presents “Dr. Ride’s American Beach House” Oct. 6-22, with Thursday through Saturday performances at 8 p.m. and Sundays at 3 p.m. at The Gaslight Theatre, 358 N. Boyle Ave., St. Louis. Tickets are available through Ticketmaster or at the box office one hour prior to the performance. For more information, visit www.stlas.org

Lindsay Brill, Bridgette Bassa

Kelvin Roston Gives All in Soul-Stirring ‘Twisted Melodies’ at The Rep

Kelvin Roston Gives All in Soul-Stirring ‘Twisted Melodies’ at The Rep

By Lynn Venhaus

Singer-actor Kelvin Roston Jr. is a man on a mission, and he pours his heart and soul into a revealing portrait of soul singer Donny Hathaway.

However, his haunting one-man show “Twisted Melodies” is more than a bravura performance – he shines the spotlight on complicated mental health issues to lead us to further understanding.

Sure, you’ve heard Hathaway’s music – at least every holiday season “This Christmas” is playing in stores, on car radios, and at home. His signature cover of Leon Russell’s “A Song for You” is considered one of his finest, as is John Lennon’s “Jealous Guy,” and his duet with Roberta Flack on “Where Is the Love?” won a Grammy Award in 1973.

The audience acknowledged familiarity with his first hit, “The Ghetto,” from his album debut “Everything Is Everything” in 1970 as soon as it played. After all, Hathaway was born in St. Louis on Oct. 1, 1945, and has a deep fan base here.

Hathaway was raised by his grandmother Martha Pitts, a professional gospel singer, in the Carr Square housing project. He graduated from Vashon High School in 1963, and earned a fine arts scholarship to Howard University, where he majored in music theory.

Because of his illustrious career and enduring impact, he was inducted into the St. Louis Walk of Fame in 2013. His star is located at 6165 Delmar Blvd. in University City.

But what was happening behind the music is a tragic story that silenced his expressive voice. The gifted musician and songwriter suffered from mental illness. At age 33, he plunged to his death from an Essex Hotel window in Chicago on Jan. 13, 1979.

Kelvin Roston. Photo by Jon Gitchoff

This captivating, mournful story takes place on that fateful day inside Hathaway’s hotel room — and inside his head – as he battled demons his adult life. A paranoid schizophrenic, he wasn’t keen on keeping up with a rigorous prescription medicine route, and therefore, his behavior became increasingly erratic.

In a devastating scene, he described all the unpleasant side effects of the pills he was prescribed. Those who loved him could not help.

Roston conveys both Hathaway’s talent and his torment in a heartfelt and heartbreaking performance, displaying his expert musicianship and his powerful voice. He deeply feels the music.

Roston, who is also from St. Louis but currently based in Chicago, began shaping the play when he was an intern at the Black Rep. Caring so passionately about this man and his music, he brought this personal story to the Black Rep in 2016 – and was nominated for a St. Louis Theater Circle Award for Outstanding Actor in a Drama. Since the world premiere in 2015 in Chicago, he has taken his show across the country.

Roston, who attended Cardinal Ritter High School, recently won a Joseph Jefferson Award in Chicago for Best Actor for his performance as “King Hedley II,” August Wilson’s play staged at The Court Theatre.

In his courageous portrayal, Roston brings out Hathaway’s caring, vulnerable personality by reminiscing about his childhood, college years, collaboration with Flack, meeting his wife, and the love for his daughter.

He also flips quickly to indicate a darker force, an all-consuming inner turmoil, as he is convinced someone is stealing his music by hooking up his brain to a machine.

As he struggles to maintain sanity, we hear discordant sounds, the lights become harsher, and visuals distort. Projection designer Mike Tutaj provides different images on the hotel room walls. Xavier Pierce’s lighting and G Clausen’s sound design add to the heightened emotions.

Set designer Tim Mackabee’s accurate depiction of a tastefully appointed hotel room 44 years ago can appear spacious, then claustrophobic, almost like a prison, while Roston is presenting composing at his keyboard normally, then switching to the terror of Hathaway’s reality.

Roston as Donny Hathaway. Photo by Jon Gitchoff

Throughout the 90 minutes, while music was integrated into the script, Roston’s focus on the disease’s effects is hard-hitting, robbing Hathaway of everything he valued.

This show speaks volumes in a sincere, direct way, and illuminates a crippling disease and urgent health care crisis. It is a public service announcement as much as an entertaining, thoughtful show.

Director Reggie D. White has emphasized both in this presentation, and he has seamlessly incorporated the technical elements so we could be moved not only by Hathaway’s brilliance as a major R&B talent, but also his hellish psychological state.

On opening night Oct. 6, Hathaway’s youngest daughter, Donnita, came on stage afterwards to talk about her father, and commend Roston’s work. She was 2 years old when her father died.

The Rep is partnering with Donnita’s Donny Hathaway Legacy Project that advocates for holistic mental health and emotional health-related education and resources. The Rep has pledged to partner its onstage work with a necessary offstage issue.

She had said earlier: “I’m in awe of how much care and delicacy the brilliant Kelvin Roston takes in his role as my father while staying true to highlighting mental health issues during this fateful night and balancing the scales by taking us down memory lane by infusing the classic musical catalog that Donny Hathaway left us. I am thrilled that Twisted Melodies is coming to The Rep, a place that both Kelvin Roston and the late Donny Hathaway could call home.”

Post-show discussions are set for Saturday, Oct. 14 at 4 p.m. and Wednesday, Oct. 18 at 2 p. m.

The Repertory Theatre of St. Louis presents “Twisted Melodies” Oct. 4 -22 at the Catherine B. Berges Theatre at COCA, 6880 Washington Avenue. For more information or to purchase tickets, visit: www.repstl.org

The Rep Box Office is available for in-person support at the Loretto-Hilton Center, 130 Edgar Rd., Webster Groves, on Tuesdays and Wednesdays from 10:30 a.m. – 5 p.m, and 2 hours before curtain.

‘Golden Girls’ U.S. Tour Brings Laughs, Cheesecake to Stifel Theatre

‘Golden Girls’ U.S. Tour Brings Laughs, Cheesecake to Stifel Theatre

Tribute Show Heads From St. Olaf to St. Louis for One Night Only on March 12; Tickets on Sale Oct. 13

Thank you for being a…fan! Following sold out performances and rave reviews across the country in 2023, The Golden Girls are back and better than ever with a brand new stage show that’s more exciting than a trip to the Rusty Anchor. Golden Girls: The Laughs Continue will head to more than 40 cities in 2024 including a stop at St. Louis’ Stifel Theatre on March 12 for One Night Only.

Tickets are on sale Friday, October 13, starting at $39 and can be purchased at ticketmaser.com. A very special VIP photo experience add-on includes photos with the actors on the Golden Girls set after the show.

Picture it. United States, 2024. Golden Girls: The Laughs Continue brings Miami’s sassiest seniors to stages around the country for one more hurrah. We find Sophia out on bail after being busted by the DEA for running a drug ring for retirees. Blanche and Rose have founded CreakN, a thriving sex app for seniors. And Dorothy is trying to hold it all together with help from a new (much) younger sex-crazed lover. Golden Girls: The Laughs Continueallows audiences to relive the heartfelt hilarity of the four ladies who never stopped being best friends.

Golden Girls: The Laughs Continue is a professional stage show unlike any other Golden Girls tribute that you might have experienced. The play is written by Robert Leleux, author of The Memoirs of a Beautiful Boy and The Living End. His work has also appeared in The New York Times and The New York Times Magazine and his other plays have been produced across the country. The show is directed by Eric Swanson, who was the co-founder and Executive Director of The Detroit Actors’ Theatre Company. The cast includes Ryan Bernier as Dorothy, Vince Kelley as Blanche, Adam Graber as Rose, Christopher Kamm as Sophia, and Jason Bowen as Stanley/Burt. The production is produced by Murray & Peter Present.

For more information and tour dates visit www.goldengirlstour.com. Follow Golden Girls: The Laughs Continue on Instagram, Facebook, Twitter and TikTok: @goldengirlstour and #GoldenGirlsTheLaughsContinue.

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

Movement All Around in Stray Dog’s Spry ‘Saturday Night Fever’

By Lynn Venhaus

Ah, the rose-colored glasses that we view our youth through can differ, depending on what generation, but one thing we have in common: the nostalgia for the music we came of age listening to, whether it was the Boy Bands of the late ‘90s, the MTV New Wave in the ‘80s, the British Invasion of the ‘60s or the short-lived disco-dance craze of the 1970s.

Today’s electronic dance music has roots in those syncopated rhythms that topped the charts some 45 years ago. If you were ever grooving to up-tempo hits at a nightclub, then the stage musical version of the 1977 cultural phenomenon film, “Saturday Night Fever,” is for you.

The jukebox musical, adapted in 1998 for London’s West End, which made it to Broadway the next year, features the legendary hits from the Bee Gees, plus other classic disco tracks – who can forget The Trammps’ “Disco Inferno” — “burn that mother down.” Most of the time the actors sing the chart-toppers.

Providing many funky sounds of the day is live-wire Chris Moore as the Afro-coiffed DJ Monty, rocking gold platform shoes and a shiny silver shirt, with Jade Anaiis Hillery belting out a few tunes like she was Chaka Khan. As Candy, she leads on the aforementioned “Disco Inferno,” plus sings “Night Fever” and “Nights on Broadway.” The pair duet on “More Than a Woman.”

Side note: I heard Yvonne Elliman’s “If I Can’t Have You” at the grocery store the other evening! To emphasize how this music has endured – have you been to a wedding reception recently? The soundtrack spawned four No. 1 singles, won the Grammy Award for Album of the Year, still ranks among the best-selling soundtrack albums worldwide, and to date, has sales figures of over 40 million copies.

This Stray Dog Theatre production is marked by a larger-than-usual band to bring the sounds alive, inspired choreography by Michael Hodges, and a star-making performance by Drew Mizell as Tony Manero. The man can strut.

Drew Mizell as Tony Manero. Photo by John Lamb.

While the 19-year-old character is forever stamped as the role that earned John Travolta his first of two Oscar nominations and dancing reputation, Mizell has the moves to pull off such an iconic part. His ease on the dance floor is admirable, and his extensive dance training is evident.

Mizell, whose first show at Stray Dog was an impressive performance as both Cinderella’s Prince and Florinda in “Into the Woods,” also nails the Brooklyn accent and the attitude to make the character likable.

Tony, anxious about life after high school and what his future will look like, is not content just to hang out with his goon-like pals, who seem locked in dead ends. He wants more than working at a paint store. At night, at the Odyssey 2001 discotheque, he is king of the dance floor. But at home, yeesh. His mother and father are yellers, and he can’t ever measure up to his older brother, Frank Jr., a priest.

But Frank Jr. has a crisis of faith and returns home. Another standout is Sean Seifert, a natural at portraying the brother as a good man who doesn’t have all the answers. (He also pulls off a dual role as Gus, one of Tony’s inner circle who creates other issues).

When Tony meets Stephanie Mangano, he is taken by her physicality, refinement and her desire to cross that bridge for a better life in Manhattan. With a shot to win $1,000 at a dance contest, Tony and Stephanie team up, their eyes on the prize — and eventually each other.

With sophisticated airs and ambition, Stephanie is more Uptown Girl than the kind Tony hangs out with, including his needy ex Annette, who has fallen hard for him, but it’s unrequited.

Sara Rae Womack brings out the humor in Stephanie’s images of the glamorous world, name-dropping at her entry level job, and has a solo ballad, “What Kind of Fool,” while Lindsey Grojean conveys the desperation of Annette’s lonely and confused young woman in a powerful “If I Can’t Have You,” delivering the show’s best vocals.

Triple-threat Maggie Nold is sympathetic as Pauline, who is caught up in a familiar teen pregnancy scenario. She demonstrates the realities of her situation well – but as the ensemble is handling multiple roles, it’s a tad odd to see her happily dancing and smiling soon after a funeral scene.

Ella Drake as Doreen and Kayla Dressman as Connie get their moment as dancing queens in their spirited competition number,.while Mizell and Womack hit the sweet spot with their “More Than a Woman” big dance number.

Using heavily exaggerated Brooklyn accents, the Manero family, and Tony’s peers, adhere to the stereotypes of that era, staying in those lanes. Oh, those gender caricatures — ‘hoochie mama’s and swinging playboys – were cringy then and certainly now.

Think of it as a period piece – because the best buddies are not that likable, total losers with their off-putting macho bravado, which is why the flimsy broadly-drawn book remains the show’s weakest element. Because their crude talk and bully swagger are mostly foreign in today’s ‘polite’ society, overall, this cast doesn’t seem entirely comfortable playing these roles. Now, dancing is first-rate, clearly polished and well-rehearsed.

The guys playing the deadbeat friends — Justin Bouckaert as the conflicted and struggling Bobby, Jayson Heil as Double-J and Michael Cox as Joey — are caught between a rock and a hard place because they are so immature and misguided, their idea of what manhood is, while not uncommon then, is far from what it should be. But that’s the point – to show how trouble-prone Tony is separating from the pack.

This version has cleaned up some of the more problematic “R-rated” portions of the script, as in gang-rape, violence, and intense sexuality, which is not necessary for this story. The movie’s darker and grittier aspects have been removed, for the most part, just hinted at or briefly alluded to for conflicts.

What director Justin Been does effectively is capture that malaise of the late ‘70s, when economic issues affected blue-collar laborers, and social unrest simmered in “the summer of Sam” (serial killer Son of Sam terrorized the city). The disaffected youth escaped to the discos. (“Feel the city breakin’ and everybody shakin'” — “Stayin’ Alive”).

As the one-note parents Flo and Frank Manero, pros Kay Love and Matt Anderson display their lung power shouting at their family. Nadja Kapetanovich is sincere in the brief role of Linda, the dutiful daughter put in the middle between her cranky parents and defiant brothers.

Sara Rae Womack, Drew Mizell

The home scenes reflect on the misery of marginalized people while the disco and dance studio are where the energy flows. But the story is really secondary to the song-and-dance appeal of the musical.

Scenic Designer Josh Smith crafted a dance floor with colored lights for the stage, with help of lighting designer Tyler Duenow, which may not be visible to all the audience members. He also expanded the Tower Grove Abbey stage with stairs and a bridge doubling for the DJ booth at the club and the Verrazzano-Narrows Bridge, a suspension bridge that connects Brooklyn to Staten Island.

They’ve made room for a large band, led by music director/conductor Leah Schultz on piano, with Marie Brown, Tai Davis, and Beau Lewis on cello for select performances, Mo Carr on trumpet, Steve Frisbee on violin, John Gerdes and Xander Gerdes on bass for select performances, Lea Gerdes and Mary Wiley on reeds for select performances, Adam Levin on trombone, Adam Rugo on guitar and Joe Winters on percussion.

Among their instrumental numbers are the classic Sounds of Philadelphia “A Fifth of Beethoven,” plus “After the Fall,” and “Salsation.”

The costumes collected by Colleen Michelson are a mixed bag – some duplicated the gaudy polyester trends of the ‘70s, while others are ‘kinda, sorta’ representative of the period. The dance floor attire, for working-class kids on weekends, needs to be faux-chic instead of Sunday church dress best. Some of the outfits were more flattering than others, and dresses had nice swirling effects. And the iconic white suit has its moment in the spotlight – always big sentimental crowd reaction.

Those infectious, danceable beats will get you on your feet every time. After all, as the Bee Gees told us – “You should be dancing” — and of course you came for the good beats that you could dance to, and don’t forget your boogie shoes. There is a Disco Mix curtain call. Dance 10, Story 3.

Stray Dog Theatre presents the musical “Saturday Night Fever” Oct. 5-Oct. 28, Thursdays through Saturdays at 8 p.m., with additional performances 2 p.m. Sundays, Oct. 15 and 22, at the Tower Grove Abbey, 2336 Tennessee in Tower Grove East. For more information or tickets, visit: www.straydogtheatre.org. Seating is general admission.

All photos by John Lamb