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.
The 10th Anniversary Shakespeare in the Streets: “The Game’s Afoot,” is happening in Downtown St. Louis Sept. 14, 15 and 16 at the corner of 22nd and Olive, and is free to attend.
“Shakespeare in the Streets: The Game’s Afoot”
Written by Benjamin Hochman (award-winning St. Louis Post-Dispatch sports columnist)Based on Shakespeare’s epic Henriad saga and inspired by true stories of soccer in St. Louis SEP 14- 15, at 8:00 p.m. and SAT, SEP 16 at 6:00 p.m.
On Saturday, following the earlier performance at 6 p.m., Fleur De Noise will lead 300 guests (capacity limited. first come, first serve) across the street into CITYPARK and the Moneta Pitch Club. Fans can enjoy snacks, cash bar and a public watch party of the CITY SC vs. HOUSTON DYNAMOS game. The match begins at 7:30 p.m.Guests must show a wristband to enter CITYPARK, which can only be secured at the performance. Space is limited to the first 300 guests in attendance.
Plus an amazing line-up of soccer legends making a special guest appearance on-stage throughout the weekend, including Olympic Gold Medalist, U.S. National Team members, current CITY2 player and broadcasters. (See full list and schedule below).
Lori Chalupny Lawson (Thursday, 9/14) – St. Louis native and currentHead Coach for Women’s Soccer at Maryville University. Lori played soccer at the highest level, including a 2015 World Cup Champion and 2008 Olympic Gold Medalist. As a youth, she played for Neirnx Hall and J.B. Marine and is a member of the St. Louis Soccer Hall of Fame.
William “Ty” Keough (Friday, 9/15 & Saturday, 9/16) – is a former professional soccer player, Washington University head coach and MLS announcer. He appeared on the U.S. national team in 1979-1980 and qualified for the 1980 Olympic team. He is the son of Harry Keough, who played on the notable 1950 World Cup team.
John Klein III(Saturday, 9/16) – Missouri-native and second-generation St. Louis major leaguer. John signed with CITY 2 in 2023 and made his debut for CITY SC in the game against Sporting KC. He attended Saint Louis University, where he won many accolades during his college career.
Bill “Mr. Soccer” McDermott (Thursday-Satruday, 9-14-16) – A household soccer name in St. Louis and announcer for St. Louis University soccer since 1972. As a player, Bill competed with greats and as an announcer for 50 years, he’s covered MLS, World Cups, and Olympic games.
Fleur De Noise (Thursday-Saturday, 9-14-16) – One of the six official supporter groups for CITY SC and the heartbeat of all home games. They’ll bring an original soccer chant to the show.
Cast: Keating (Falstaff), Thomas Patrick Riley (Hotspur), Jack Kalan (Hal), Summer Bear (Angela), and many others. Creative Team: Scott Neale( Set Designer) 5-time Shakespeare in the Park designer, Shavaré (COSTUME DESIGN) and Bryant Powell (Lighting design). More info at stlshakes.org/soccer
This is the 10th production of Shakespeare in the Streets and love letter to the people who live, work and visit our region. So far, we’ve used the well-known works of Shakespeare as a mirror for residents of Cherokee Street, The Grove, Clayton, Old North, Maplewood, Downtown, 24:1, Brussels (IL), The Ville, Bevo Mill, and now our first non-geographic story, soccer.
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.
Performance highlights include the annual Christmas Candlelight Concert and Bach’s St. John Passion
The Bach Society of Saint LouisExecutive Director Melissa Payton has announced the performances for its 83rd season. Season highlights include the season opener, Eternal Light showcasingHoward Goodall’s masterpiece Eternal Light: A Requiem; the annual Christmas Candlelight Concert, a St. Louis tradition since 1951at 560 Music Center featuring award-winning soprano Josefien Stoppelenburg; Bach’s St. John Passion, a moving concert at the First Presbyterian Church of Kirkwood; and the season finale concert The Heart of Bach, Choral Motets and Organ Chorales which includesbreathtaking chorales and captivating solos, interwoven with audience participation. Tickets for all performances are available online at bachsociety.org.
“Every season presents us with the opportunity to fulfill our mission of sharing the amazing and timeless music of Bach with our St. Louis audience and explore new and exciting works. I’m excited to begin this season with a beautiful requiem in English as well as Latin by the English film composer Howard Goodall,” shared Music Director and Conductor A. Dennis Sparger.
The Bach Society opens the season with Eternal Lighton Sunday, October 22, 2023, at the First Presbyterian Church of Kirkwood. Led by Music Director and Conductor, A. Dennis Sparger featuring The Bach Society Chorus and Orchestra, Eternal Light will be an emotional journey like no other. Highlighting Howard Goodall’s masterpiece Eternal Light: A Requiem, this concert promises to be an awe-inspiring experience. Alongside, BSSL will showcase choral favorites by renowned composers such as Ola Gjeilo, Jean Sibelius and Olaf Christenson. The concert will feature soprano Hannah De Priest, tenor Dan Frazure and baritone Tyler Duncan.
The 83rd season continues with the Christmas Candlelight Concerton Saturday, December 9, 2023, at 2 P.M. and 7 P.M. This treasured St. Louis tradition has delighted audiences since 1951. Guests are invited to come together with their loved ones, sing heartwarming carols and enjoy the enchanting ambiance of the Candlelight Processional. The holiday concert will showcase the Bach Society Chorus and Orchestra with award-winning soprano Josefien Stoppelenburg. A new venue for this event, both concerts will take place at 560 Music Center on the campus of Washington University in St. Louis.
“Our Christmas concert includes lovely settings of familiar carols plus Handel’s Gloria for virtuoso soprano and strings, featuring the Dutch soprano Josefien Stoppelenburg,” said Music Director and Conductor A. Dennis Sparger.
OnSunday, March 10, 2024, The Bach Society will return to the stage to present Bach’s St. John Passion at First Presbyterian Church of Kirkwood. Bach’s St. John Passion weaves the narrative of Christ’s last days with an intricate tapestry of profound emotions, transcendent harmonies and soaring melodies. Led by Music Director and Conductor, A. Dennis Sparger, featuring The Bach Society Chorus and Orchestra, the concert features an international collection of Baroque soloists including tenor Steven Soph as the Evangelist, bass Stephen Morscheck singing the words of Jesus, soprano Emily Donato, countertenor Jay Carter, tenor Gene Stenger and baritone Elijah Blaisdell.
“We’re excited to celebrate the 300th Anniversary of the very first performance of Bach’s St. John Passion with a fresh, new presentation of our own with The Bach Society Chorus and Orchestra. We’ll conclude the season performing several of Bach’s motets at Peace Lutheran Church – a new venue for us – that offers beautiful acoustics for some of Bach’s most heartfelt pieces” shared Executive Director Melissa Payton.
The Heart of Bach, Choral Motets and Organ Chorales at Peace Lutheran Church
on Sunday, May 19, 2024, will wrap up the season. This brilliant collection of sacred music has stood unwavering through the ages as they’ve enjoyed an uninterrupted performance history. The concert showcases Bach’s motets performed by the Bach Society Chorus and captivating organ solos, interwoven with audience participation and accompanied by cello and bass.
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.
“Sitting in Bars with Cake” may not be an original idea, using baking skills as a romance magnet, but it’s an appealing, sweet premise that unfolds as a deeper-than-you-realized emotional ode to friendship.
Best friends since their childhood in Phoenix, outgoing Corinne (Odessa A’zion) and shy Jane (Yara Shahidi) are in their 20s, living in Los Angeles and navigating their career paths. They join a group of girlfriends every weekend to experience the local nightlife.
One such evening, Jane brings the chocolate cake that she baked for Corinne’s birthday into a bar, and the beautifully decorated cake entices guys, who are craving a piece. Aha! Corinne comes up with an idea of bringing Jane’s cakes to bars around town to get Jane out of her comfort zone and she can meet more people. The goal: 50 cakes in a year. And what a life-changing year it is.
At first, the movie is fun and breezy, capturing the energy of 20-somethings navigating their place in the world. Then, it veers into heartfelt and sincere as it deals with a life-altering diagnosis.
Audrey Shulman penned the screenplay based on true events with her BFF Chrissy. What started as a blog in 2013 turned into a published 2015 cookbook about looking for Mr. Right by using a specific way to a man’s heart.
She recounted her year spent baking, ‘cake-barring,’ and offering slices of creative dessert in “Sitting in Bars with Cake: Lessons and Recipes from One Year of Trying to Bake My Way to a Boyfriend” that included 35 inventive recipes.
Each made-from-scratch cake was paired with a short essay and a tongue-in-cheek lesson about meeting guys, with such chapters: Sweet, Salty, Bitter, Fruity, and Savory. The guys ran the gamut from tech bros and cowboys to hipster nerds and bikers.
In the movie, cakes range from classics like Pumpkin Pie and Carrot Cakes to adventurous Chinese Prune, Licorice and Leather, Pina Colada Cocktail and a cherry-flavored CBD infused cake, all supervised by culinary producer and food stylist Megan Potthoff, a former pastry chef – and they are works of art. She’s worked on “Master Chef” and “Iron Chef,” among other TV and movie projects. If your mouth doesn’t water, you have the willpower of steel.
Chinese Prune Cake
For the movie adaptation, Shulman shifts the dating focus as secondary to the very human bond between the roommates. How Generation Z finds their way in becoming the people they want to be is a major aspect of the story, and a good one to endear the characters.
This is a terrific cast, with Yara Shahidi as plain Jane and Odessa A’zion as live-wire Corinne believable as besties going through a year of life changes. Both rising stars after these strong and warm performances, they project a palpable bond. Shahidi, who played Zoey on “black-ish” and was Tinkerbell in the Disney “Peter and Wendy” reboot, pairs well with A’zion and her work crush Owen (Rish Shah). She works as a mailroom clerk, but she’s in her happy place baking, and needs to own up to her lack of desire to attend law school, her parent’s dream for her.
A’zion, most known for the 2020 “Hellraiser” remake, conveys resilience and her character’s commitment to not losing her indomitable spirit. She’s the fun-seeker, the goofball belting out “Wake Me Up Before You Go-Go” at karaoke, waking up her roomie to order fries on a late-night food run, and eager to shake things up in general. In short, the life of the party.
The supporting cast is also aces, with Bette Midler as Corinne’s uber-hip music industry boss Benita, Ron Livingston and Martha Keller as Corinne’s doting parents Fred and Martha, and Navid Negahban and Adina Porter as Jane’s driven parents Isaac and Tasha.
Director Trish Sie, of “Pitch Perfect 3,” keys into the quirkiness of Los Angeles nightlife – a drag show at a roller rink? — and an uncommon office setting with various personalities making their presence known.
Production Designer Tracy Dishmann includes clever graphics to announce each cake, and captures well the girls’ apartment and all the hangouts.
With inevitable comparisons to “Julie and Julia” and “Beaches,” this drama-soaked comedy – not really a rom-com – showcases how friends support each other through sickness and health, ups and downs, and why the value of those relationships is priceless.
“Sitting in Bars with Cake” is a 2023 drama-comedy directed by Trish Sie and starring Yari Shahidi, Bette Midler, Ron Livingston, Martha Kelly, Navid Negahban, Adina Porter,and Rish Shah. It is rated PG-13 for strong language, some drug use, sexual references, and thematic elements and has a runtime of 2 hours, 1 minute. It started streaming on Amazon Prime Sept. 8. Lynn’s Grade: B
Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.
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.
The New Jewish Theatre welcomes the community to celebrate its 25th season of telling universal stories through the lens of the Jewish experience. On September 10, 2023, from 4:30-6 pm, the public is invited to join New Jewish Theatre leaders and actors at the Carl & Helene Mirowitz Performing Arts Center in Creve Coeur to celebrate, reminisce, and raise money for the future of live theatre at the Jewish Community Center.
Emceed by long-time New Jewish Theatre performer Will Bonfiglio, the event will feature a retrospective video and performances from some of the New Jewish Theatre’s favorite past productions starring their original actors. Following the shows, participants will have the opportunity to socialize with the stars, including notable figures like Johanna Elkana from “The Last of the Red Hot Mamas,” Sharon Hunter and Tim Schall from “Hello Muddah, Hello Faddah,” Jennifer Theby Quinn from “My Mother’s Lesbian Jewish Wiccan Wedding,” and many others! The evening will close with the 2024 season line-up announcement from Artistic Director Rebekah Scallet.
The New Jewish Theatre was officially founded in 1997 by Kathleen Sitzer. Originally hired to be the Theatre Coordinator, overseeing a community theatre called “The Shalom Players,” Sitzer had the idea to establish a professional theatre company at the J. She increased the company’s focus on Jewish themes, stories, and authors, and put a greater emphasis on new and thought-provoking work. Thus the “New Jewish Theatre,” was born.
That first year there were three performances: “A Body of Water” by Jenna Zark, “Another Antigone” by AR Gurney, and “Jest A Second” by James Sherman. Through the years, the theatre grew to a five-play season and developed a reputation as one of the best small professional theatres in St. Louis evidenced by its 142 nominations and 30 wins from the St. Louis Theatre Circle Awards.
Some notable productions through the years include:
“Way to Heaven” (2012) by Juan Mayorga, directed by Doug Finlayson, featuring then 11-year-old Elizabeth Teeter, who recently appeared in “Beetlejuice” on Broadway.
“Old Jews Telling Jokes” (2014) by Peter Gethers and Daniel Okrent, directed by Eddie Coffield. This was one of NJT’s biggest hits – non-stop laughs from start to finish!
“District Merchants” (2019) by Aaron Posner, directed by Jacqueline Thompson. This reimagining of “The Merchant of Venice” was nominated for five St. Louis Theatre Circle awards, winning three.
Tickets to the 25th Anniversary Celebration start at $72 for individuals or $360 for a group of six. Ticket price includes heavy appetizers, cake, and beverages, which will be served before the performances. Individuals can buy tickets or donate at give.jccstl.org/NJT25 or learn more about the New Jewish Theatre at newjewishtheatre.org.
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.
Single Tickets Now on Sale Dance St. Louis’ 2023/24 season features some of the most talked abouttouring companies from Chicago, New York City and Los Angeles
NOV 11, 2023: Trinity Irish Dance Company MAR 1 & 2, 2024: Ailey II APR 6, 2024: BODYTRAFFIC MAY 24 & 25, 2024: Emerson SPRING TO DANCE® Festival 2024
Dance St. Louis, one of the oldest and one of only four nonprofit dance-only presenters in the country, is pleased to announce its 2023/24 season with single tickets ($45-$75) now on sale through MetroTix. Now in its 58th year, Dance St. Louis continues its mission of bringing world-class dance that wouldn’t otherwise be presented to the St. Louis region. Season 58 brings the excitement and exhilaration of some of the most talked about, cutting-edge nationally touring companies. The season lineup includes presentations of Chicago’s Trinity Irish Dance Company (November 11), New York City’s Ailey II (March 1 & 2), Los Angeles’ BODYTRAFFIC (April 6), and the 16th Annual Emerson SPRING TO DANCE® Festival 2024 (May 24 & 25), which brings together top companies and artists from across the country and beyond. All Dance St. Louis presentations take place at the Touhill Performing Arts Center.
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Trinity Dance Company
Trinity Irish Dance Company Direct from Chicago… Saturday, November 11, 2023 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69
“[stretches] the limits of what Irish dance can do aesthetically and rhythmically” – Chicago Tribune It’s everything you expect, but like nothing you’d imagine. Recognized for ushering in “a new era for Irish step dance” (Chicago Tribune) and hailed as “impossibly complex” (The New York Times), this uniquely Irish American company, founded in 1990 by creative force and renowned choreographer Mark Howard, is the birthplace of progressive Irish dance. Through a blend of percussive power and aerial grace, the company’s repertory has elevated the art form for nearly three decades. A primarily female company, with 18 female dancers and 3 male dancers, Trinity Irish Dance Company also sends a consistent message of female empowerment, celebrating the strength of women through casting, choreography, and intentional costuming. Trinity Irish Dance Company’s November 11th presentation features a variety of works, ranging from those displaying virtuosic footwork to a hybrid of Irish step and American tap to original, classic pieces by founding artistic director Mark Howard that reflect his unique fusion of vibrant Irish traditions with ever-evolving American innovation. The evening’s presentation includes live music by a band fronted by Killarney-born, New York-based singer/songwriter Brendan O’Shea.
Meagan King and Patrick Gamble of Ailey II.
Ailey II Direct from New York City… Presented by PNC Arts Alive Friday and Saturday, March 1 & 2, 2024 at 7:30 p.m. Free “Speaking of Dance” pre-show talk at 6:30 p.m.Touhill Performing Arts Center Single tickets: $45, $65, $75
“The dancers in Ailey II are spectacular beings” – The New York Times Back by popular demand, Ailey II brings their “off-the-charts-energy” (The New Yorker) to St. Louis, returning to Touhill where the company sold out months in advance the last time they were presented by Dance St. Louis. Ailey II has flourished into one of the most popular dance companies in the country, combining a rigorous touring schedule with extensive community outreach programs. The company is universally renowned for merging the spirit and energy of the country’s best early-career dance talent with the passion and artistry of today’s most outstanding choreographers. Founded in 1974, Ailey II embodies Alvin Ailey’s pioneering mission, and under the leadership of Artistic Director Francesca Harper the company continues to thrive. The Los Angeles Times hails the dancers as “indefatigable, virtuosic and relentlessly sexy.” Dance Magazine calls Ailey II “second to none” and The New York Times declares “There’s nothing like an evening spent with Ailey II, the younger version of Alvin Ailey American Dance Theater.” “Highbrow/Brilliant” says New York Magazine. The renowned ensemble of rising stars will bring St. Louis audiences to their feet on March 1 and 2, performing works by emerging and established choreographers.
BODYTRAFFIC
BODYTRAFFICDirect from Los Angeles… Saturday, April 6, 2024 at 7:30 p.m.Free “Speaking of Dance” pre-show talk at 6:30 p.m. Touhill Performing Arts CenterSingle tickets: $45, $59, $69
dancestlouis.org/bodytraffic “… one of the most talked-about young companies, not just in L.A. but nationwide” – Los Angeles Times Named “the company of the future” by The Joyce Theater Foundation, Dance Magazine’s “25 to Watch,” and “Best of Culture” by the Los Angeles Times, BODYTRAFFIC has surged to the forefront of the contemporary dance world with compelling style that “suggests invention, attitude, and urban edge” (The Boston Globe). Widely acclaimed for its “peerless dancers” who “can do it all from hip-hop to ballet” (LA Dance Chronicle), the world-class contemporary dance company is composed of artists who received their training in some of the finest schools throughout the world. The combination of superb dancers and accomplished choreographers has led the company the forefront. Led by Artistic Director Tina Finkelman Berkett, BODYTRAFFIC has conquered the contemporary dance world with stunning performers, technical mastery, and a commitment to the most challenging repertoire. The company is deeply committed to producing acclaimed works by distinctive choreographic voices. Surprising, unforgettable and bursting with cutting-edge “vivid theatricality” (The Boston Globe), the company continues to make waves from coast to coast with its universal appeal to new audience members and dance lovers alike.
16th Annual Emerson SPRING TO DANCE® Festival 2024Presented by Whitaker FoundationMemorial Day WeekendFriday and Saturday, May 24 & 25, 2024 Doors open at 5:30 p.m. Lobby performances at 6:30 p.m. Mainstage performances at 7:30 p.m. Touhill Performing Arts CenterSingle Tickets: $10, $20, $25 | 4-Packs: $75 | 6-Packs: $100
“Successful both as a celebration of dance and as an invitation to bask in its artistry.” – St. Louis Post-Dispatch The Midwest region’s most celebrated dance festival returns for its 16th year! Nationally touring professional companies from coast to coast flock to St. Louis to bestow their artistry. It’s an unmatched buffet of dance, featuring two days of nonstop dance from a wide array of companies. As one of the region’s must-see festivals, SPRING TO DANCE offers something for everyone, from modern, ballet and contemporary to tap, aerial, hip hop, flamenco and more, with a distinct, dynamic program each night. Come experience what the Chicago Tribune hails as “arguably the best dance buffet in the Midwest.” ___________
SINGLE TICKETS
Single tickets are $45-$75 and go on sale August 25 via MetroTix at metrotix.com and 314.534.1111. Single tickets ($10-$25) to the 16th Annual Emerson SPRING TO DANCE® Festival 2024 go on sale in January 2024. SEASON SUBSCRIPTIONS
2023/24 season ticket packages are also currently on sale and available by phone at 314-534-6622, email at boxoffice@dancestlouis.org or online at https://www.dancestlouis.org/23-24-season-subscriptions. Season subscriptions provide subscribers access to the best seats, deferred payment, most advantageous pricing, no ticket fees, and guaranteed access to this season’s presentations. Season subscriptions include a 4-Show Package ($253, $218), 3-Show Package ($228, $198), and You-Pick-Two Package ($159-$133). SPONSORS
Dance St. Louis is grateful for sponsor support to continue its mission of bringing world-class dance to St. Louis. Major sponsors of the 2023/24 season include Ameren, Cardinals Care, Edward Jones, Emerson, Employees Community Fund of Boeing, Missouri Arts Council, National Endowment for the Arts, Regional Arts Commission, The Shubert Foundation, McCarthy, and Whitaker Foundation. Bayer Fund is the education outreach title sponsor.
About Dance St. Louis
Founded in 1966, Dance St. Louis has been bringing the greatest dance of the world to St. Louis audiences for more than 57 years. Dance St. Louis is dedicated to the enrichment of the cultural landscape and artistic reputation of St. Louis by presenting world-class dance and educational opportunities that make dance accessible to everyone. Dance St. Louis also conducts a broad range of education programs for the St. Louis community. Each year, the Bayer Fund Education Outreach Program introduces schoolchildren to the magic of dance through in-school residencies and mainstage performances. For more information, please visit https://www.dancestlouis.org.
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.
The Sheldon is thrilled to welcome two-time Tony Award-winner and St. Louis native Norbert Leo Butz, Friday, September 29 at 7:30 p.m. for a special Notes From Home performance in the perfect acoustics of The Sheldon. Butz will celebrate the launch of his latest album, King of Hearts. Devon Cahill joins as a special guest. General admission tickets are $35 and on sale now through MetroTix at 314.534.1111 or at TheSheldon.org.
“I feel extremely fortunate and grateful for the opportunity to open for the amazing Norbert Leo Butz’s hometown album release show,” says Devon Cahill. “He and I have so much of the same musical taste and have been working together whenever we get the chance for the past 10 years. His new album sounds so good and I’m honored to kick off the show with my original indie folk tunes. My band will include some special guests, and you can expect some fun collaborations throughout the evening! This will be a lovely celebration of music, and a night to remember.”
Born and raised in St. Louis, Norbert Leo Butz’s love of theater began at an early age. His Broadway credits span a number of iconic and award-winning productions including Wicked, where he originated the role of Fiero, as well as Big Fish, The Last Five Years and My Fair Lady. He won two Tony Awards for Best Performance by a Leading Actor in a Musical — one for his performance in Dirty Rotten Scoundrels and the second for Catch Me if You Can. Butz’s television credits include roles in Bloodline, Mercy Street, Fosse/Verdon and many others. King of Hearts is his fourth solo album.
Devon Cahill made her professional debut at age 6 in a three-month run of The Sound of Music. In 2012, she shifted gears from musical theatre and formed the indie folk band Letter to Memphis, which quickly became a local favorite, playing at venues and major cultural events throughout St. Louis and winning Best Folk Band from the Riverfront Times two years in a row. In 2017, she ventured out as a solo artist, and debuted her first solo EP, entitled When I Wake, in October 2018. Her rootsy songwriting style is a hybrid of Americana, indie and folk music. When not performing solo, Cahill leads a band with David Newmann, Simon Chervitz, Dave Anson and special guests.
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.
By Lynn Venhaus Morose performances, a murky plot with muddled twists, messy filmmaking choices, and with its dark, gloomy look, the dubious “The Good Mother” is a colossal waste of time.
Director Miles Joris-Pevrafitte and co-screenwriter Madison Harrison, both from Albany, New York, have set this thriller in their hometown, attempting to make a gritty mystery encased in a seedy drug-dealing scenario.
Only it’s a frustrating watch, as they fumble at every opportunity to tell a cohesive story. However, cinematographer Charlotte Hornsby uses several interesting camera angles of buildings in town — which do nothing to advance the plot — when she isn’t blurring interiors.
The junkie son of journalist Marissa Bennings is murdered, and she tries to solve the crime with his pregnant girlfriend Paige (Olivia Cooke) and her police officer son Toby (Jack Reynor). Set in Albany, New York, in 2016, as they go deeper into the seedy drug world, the truth they confront includes a dark secret.
With its pedestrian procedural plot shrouded in dim shots with shadowy hard-to-see details, the co-screenwriters are baffling because it seems like they do not want to disclose tidbits that would illuminate what really happened. Confusing and conflicting actions occur as this unoriginal story plods along like the dullest episode of “CSI” ever.
Olivia Cooke
Doors are not locked, consequences are avoided, and people come and go without much purpose. This is such a slight, dissatisfying story that one would hope the quality of the cast would elevate material, but the inertia you feel is real. Why should we care about these people?
The only character that resonates emotionally is a grieving mom honestly spilling her guts at an Al-Anon meeting.
The director wastes the talents of two-time Oscar winner Hilary Swank, who plays an unpleasant hard-shelled newspaper editor who drinks too much and goes through life on autopilot. She is grieving the loss of a significant other and estrangement of her once star-athlete son, who became an addict, starting with painkillers as an injured youth. And what is with the wobbly accent?
Swank decides passivity and a glum, pouty look – a crank dealing with a daily massive hangover – is the way to capture this grieving woman. (And no way could someone who drinks and smokes like that run as far and as fast as she does in a chase scene).
Jack Reynor and Olivia Cooke are mostly believable in their roles but have a confrontation on basement stairs that stretches all credibility. Reynor, as Toby, has a pregnant wife – Gina, played by Dilone – whose character is underdeveloped and unconvincing in resolutions.
The bone-headed decisions take their toll, and 90 minutes is both too long and not enough. Midway, we still really don’t have a sense of what is really going on, as the writers-director think relying on collage-like memories will fill in the blanks for us. And what is with setting it in 2016?
Jack Reynor, Hilary Swank
Hopper Penn, the son of Sean Penn and Robin Wright, is a blip as dead son Michael’s best friend, a strung-out Ducky who is in big trouble, a major piece of the puzzle, and an unreliable narrator. But untangling this never happens.
Joris-Peyrafitte is a jack of all trades, composing the cool-kids score that seems out of sync with the atmosphere, and editing the film with Damian Rodriguez besides writing and directing. Maybe he wore too many hats but writing a lucid screenplay would seem to be the priority.
The final scene is ludicrous and leaves many loose plot threads hanging. Feeling cheated, I wanted to throw something at the screen. The lack of engagement is a serious problem that couldn’t be overcome in this ill-conceived and implausible film.
“The Good Mother” is a 2023 crime drama-thriller directed by Miles Joris-Peyrafitte and starring Hilary Swank, Olivia Cooke, Jack Reynor, Hopper Penn, Dilone, and Norm Lewis. It is not rated and runtime is 1 hour, 29 minutes. It opens in theaters Sept. 1. Lynn’s Grade: F.
Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.
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.
With full moon magic this week, step into the unique and absurd world created by the imaginative minds at SATE ensemble theatre for “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream.”
It’s Shakespeare flipped inside out, an end-of-summer trifle that follows SATE’s award-winning “Bronte Sister House Party” last year and Equally Represented Arts (aka ERA) with their thoroughly clever “The Residents of Craigslist.”
This ensemble is an appealing, adroit, and gifted group that is fully committed to appearing as if they are self-absorbed, clueless, temperamental, needy, and incompetent actors as the Mechanicals, in addition to feuding royals, and mismatched lovers.
The Mechanicals. Photo by Joey Rumpell.
The innovative Lucy Cashion, in a class all by herself, directs here with a touch of whimsy and a focus on the quirky. She is particularly good at dissecting classics and putting her own spin on them, such as “Trash Macbeth” in 2016 for ERA (St. Louis Theater Circle Award for directing) and “Oedipus Apparatus” for SATE in 2017.
She teams up here with the multi-hyphenate Ellie Schwetye, a distinctive writer also good at different takes on Jane Austen (“First Impressions,” St. Louis Theater Circle Award for Best New Play in 2018), who has adapted this version of Shakespeare’s beloved 16th century comedy.
Normally, the play starts with royal wedding planning, gets sidetracked with love potions and mixed-up pairings, and features a troupe of inept actors rehearsing a play as the special occasion entertainment. Instead of being the side hustle, the Mechanicals have the spotlight, and they shine in all their peculiar glory.
So, dive into their world, not knowing where you will go. You may think you know this play, but here, they’re steering the ship into uncharted, yet kinda familiar, waters. And that’s the fun of it.
The Mechanicals are referred to as skilled manual laborers, and others look down on them. But for this amateur troupe, there’s no way to go but up. Kayla Ailee Bush is bellows-mender Francis Flute, Andre Eslamian is weaver Nick Bottom, Anthony Kramer Moser is joiner Snug, Joshua Mayfield is tinker Tom Snout, Ross Rubright is tailor Robin Starveling, and Kristen Strom is carpenter Peter Quince, the director. Strom’s presiding over the circus as if she’s Orson Welles directing the Mercury Theatre.
Victoria Thomas and Ross Rubright. Photo by Joey Rumpell.
Moser is very funny getting into his lion role, and with the others, their idiosyncrasies emerge as they develop the characters for the tragic love story of “Pyramus and Thisbe,” set in Babylon. Andre Eslamian plays Bottom as an insufferable know-it-all. Joshua Mayfield’s Tom Snout is perturbed about how he’s moved around, and so is Kayla Ailee Bush’s Francis Flute. (The sextet is so bad, the audience thinks it’s a comedy). Master thespians, you know.
Well, they may be delusional, but they are giving it their all as they prepare to mount the play-within-a-play, hopeful of entertaining at Theseus and Hippolyta’s royal wedding. Of course, they question their parts, bicker with castmates and Quince, trying to get the attention they need and ‘deserve.’
Now, in context, we don’t see Theseus and Hippolyta here, but they are the toast of the town, as he is the Duke of Athens and she is the Queen of the Amazons.
I digress.
Puck/Robin Starveling (Ross Rubright), Titania (Victoria Thomas) and Oberon (Spencer Lawton) are outfitted to look like old-timey movie stars of the silent era, extras in “The Great Gatsby,” or maybe Puck is the bartender in “The Shining.”
They have an aristocratic air, and wear Liz Henning’s gorgeous period attire beautifully. As the king and queen of the fairies, Titania and Oberon are estranged and feuding, and Thomas and Lawton make that obvious, as if they are reciting lines in a Noel Coward play.
In another flip, Oberon falls in love with Bottom, who’s now costumed as a donkey. Hee-haw! Eslamian and Lawton display deft physical comedy skills during this turn of events.
Oberon and Bottom. Photo by Joey Rumpell.
Dapper in tails, Ross Rubright introduces himself as Robin Starveling as he welcomes the audience. The tall Rubright is visually striking, and then he begins his contrasting monologues, as if auditioning, and reads a commercial for Lunesta, a prescription sleep aid, including a long list of side effects. It sets the mischievous mood beautifully.
Rubright may not be sprite-size, but as Puck, he smoothly moves around creating dazed and confused mayhem with his lantern, wafting potion, and magic powers.
That iconic butterfly logo will be referred to several times and its shimmering wings used in another ‘wow’ vision from Henning.
Now the star-crossed lovers make an appearance too, as the cast doubles roles: Hermia (Bush), Lysander (Moser), Helena (Strom), and Dementrius (Mayfield). In Shakespeare’s original, Hermia is in love with Lysander, but her father wants her to marry Demetrius, who is in love with her, but Helena is in love with him. It’s complicated.
The creative team is first-rate, too, with Erik Kuhn’s atmospheric lighting design noteworthy. Joe Taylor’s original music score is a delightful throwback to such ‘30s styles as “Moonlight Serenade” and Cole Porter.
Cashion and Schwetye collaborated on the scenic design – a summer house’s study where Titania and Oberon are ensconced, and use front space for the woodland where rehearsals are staged. Jimmy Bernatowicz, the stage manager, and Rachel Tibbetts, the co-producer, also contributed to the overall experience.
The Mechanicals. Photo by Joey Rumpell.
The play has a fantasy quality reminiscent of the 1935 movie, which is mesmerizing in its depiction of the glistening fairies frolicking in the forest created through rudimentary visual effects back then. (The casting is memorable too – James Cagney is Nick Bottom and Mickey Rooney is Puck!)
“This Palpable Gross Play” is tantalizing with its witty take on illusions and theme of metamorphosis. The folly is fun, thanks to the harmonious cast and crew’s efforts. Adventurous theatergoers can applaud their good fortune at seeing a fresh interpretation of an enduring classic.
Note: The script of “This Palpable Gross Play” will also receive productions with Clayton High School and with Prison Performing Arts. SATE is presenting “This Palpable Gross Play: A Kind-of Midsummer Night’s Dream” Aug. 16 through Sept. 2, with performances Wednesday through Saturday at 8 p.m. at The Chapel, 6238 Alexander Drive. It is 90 minutes without an intermission. Tickets are $25 and can be purchased through Eventbrite. For more information, visit www.satestl.org.
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.
By Lynn Venhaus Congratulations to the local filmmakers who put their time, energy, money and creativity into making a local movie — 91 films were accepted this year! And a record number of women — 22 females directed movies! All these reasons to cheer.
Sunday night (July 30) was the 23rd Annual St. Louis Filmmakers Showcase Awards closing party, and this year, it was at Cinema St. Louis’ forever home, the Hi-Pointe Theatre.
Artistic Director Chris Clark, now in his 23rd year, announced the 14 films that move on to the 32nd Annual St. Louis International Film Festival Nov. 9-19, which is quite an honor: They are:
Gorilla Tactics
The Box, directed by Doveed Linder
The Candy Crucible, directed by Micah Deeken
Captcha, directed by Andy Compton
clusterluck, directed by Cami Thomas
Eliza, directed by Delisa Richardson and Dan Steadman
Fortune Cookie, directed by Fu Yang
Gorilla Tactics, directed by Michael Long
The Highland Incident, directed by Zia Nizami
Honorable, directed by Zachary Scott Clark and Mariah Richardson
Nova, directed by Gabe Sheets
Pretty Boy, directed by Kevin Coleman-Cohen
The Queue, directed by Michael Rich
These Flowers Were for You, directed by Taylor Yocom
Up for Air, directed by Chase Norman
The SLIFF schedule will be released in early fall. The festival will showcase various films across multiple venues throughout the St. Louis area, including the Alamo Drafthouse and CSL’s new home, the Hi-Pointe Theatre. The festival will offer more than 250 films, including documentary and narrative features and short film programs from the widest possible range of storytellers, representing multiple countries featuring more than 25 native languages.
For this year’s St. Louis Filmmakers’ Showcase, 20 juried awards were given out in narrative, and also 10 in documentary and experimental. (See article recap in News: https://poplifestl.com/captcha-and-somewhere-in-old-missouri-win-three-awards-each-at-st-louis-filmmakers-showcase/).
Want to give a shout-out to all, and those in attendance after being part of 17 programs over two weekends, truly inspiring.
Michael Rich
To see people thrilled about their achievements being recognized, to peg certain folks as artists to keep your eyes on, and to meet some of the filmmakers is always fun. (How such a nice person as Michael Rich can make such terrifying, dark films — his “The Queue” won horror this year, and he’s won in the past. (Side note, his film will be part of Franki Cambeletta’s Haunted Garage Horror Film Festival Oct. 5-7 at the Hi-Pointe, so will “The Candy Crucible.”).
And to follow success of people I met when I was an adjunct journalism/media instructor at STLCC-Forest Park in ’09 and see them produce passion projects — Kevin Coleman-Cohen and Mariah Richardson, is exciting.
CSL established the categories — a solid list, and last year, I lobbied for ensemble to be added (recognized more in recent years in film awards, and St. Louis Film Critics Association added it in ’22). This year, other jurors and I felt that with the increase in horror/thriller films, we needed that genre category.
Since 2009, I have served on the narrative jury a number of times, not every year, and certainly not the four times my late son Tim Venhaus’ comedies made the cut, but a considerable amount. I am always eager to see what local folks are up to, and I can attest the quality has grown by leaps and bounds.
This year, the quality of original music was quite exceptional – a longer list of worthy nominees.
(In my opinion, the four biggest things, negatively, are: sound and lighting, quality of acting and the follow-through — how to end a story. I, too, have seen Francois Truffaut’s “The 400 Blows” and freeze-framing the final shot isn’t always the way to go. My latest pet peeve is how fake the fake blood looks, some far better than others, but I digress.)
We are here to celebrate film and the joy involved in community.
Through the whole festival, you see a sense of community — of collaboration, of coming together to produce an original work, emphasis on original. Everybody’s got a story to tell, and how they choose to tell it is a journey unto itself.
Winners Delisa Richardson, Mia Bible, Zachary Scott Clark, Kazia Steele. Photo Provided.
Movie-making is very hard work, and if you’ve spent long hours on a movie shoot, you know it’s something to admire – stamina, resourcefulness, ability to be flexible, and the long hours trying to capture the right angle or light.
Plus it takes courage. And tapping the right people for the job.
In recent years, some actors I know through covering regional theater are in front of a camera, and that’s a fun component – seeing a new side to them. Don McClendon, you must be the champ of most films in a year. David Wassilak, living in your mom’s basement in “The Box”? Eric Dean White, I can’t unsee your image as a creep in “Finch”! Paul Cereghino, you didn’t really kill that baby chick, did you? And is that Alan Knoll as a prison warden in “Penitentia”?
This year I was introduced to Zachary Scott Clark as Boy Willie in Encore’s “The Piano Lesson,” and to see him become Muhammed Ali in “Honorable” was impressive (how intimidating to play a historical figure!), and likewise, improv comedic actor Ryan Myers in “Captcha” — is he or is he not a robot?
And to discover new talent — Kazia Steele in “Eliza,” Ramone Boyd in “Pretty Boy” and the musicians in “Somewhere in Old Missouri,” among others. And see how hard Tanner Richard Craft works making movies that say something.
Or seeing people you know as actors, Delisa Richardson, move behind the scenes as a writer and director, in “Eliza.”
Tanner Richard Craft in “Processing”
Through promoting the local arts scene, and Cinema St. Louis’ programs, I enjoy meeting these people who are letting their voices be heard, collaborating with others on a labor of love, and have a distinct point of view.
Sadly, some very good films become also-rans. Not everyone can get a trophy, and we always have a healthy discussion on why certain films receive recognition, and others don’t. We don’t name the runners-up. But we do admire many efforts that don’t make that cut — “Cheated!” was a clever original musical told in a few minutes! Attorney Ed Herman spoke the truth in the comically entertaining animated short “Ed V Bathrooms.”
Spencer Davis Milford
And some actors are quite good in films that are in the conversation but just don’t get the top vote. (Brock Russell and Spencer Davis Milford, we enjoyed you guys in the offbeat black comedy “Food Poisoning” — who knew funny and cannibalism could be in the same sentence? Likewise, two outstanding females in “Broken Vessels” — Alicia Blasingame and Cathy Vu, the dynamic duo of Chrissie Watkins and Joe Hanrahan in “Patient #47,” Rusty Schwimmer in “Penetentia,” and the list is long.
I particularly enjoy seeing different shot selection — local parks, neighborhoods, cool historic homes, use of rivers, high schools, colleges. After all, this is “St. Louis Filmmakers Showcase.” Filmmakers from here who’ve moved can shoot where they are, like L.A., but it’s really fun to see different parts of the ‘Lou, or Illinois, with fresh eyes. Hmmm, that diner is in St. Charles? Is that bar in south city? In “Pretty Boy,” Kevin Coleman-Cohen used ‘underground’ downtown areas that were fascinating.
A film can be 3 minutes, like “Up for Air,” and make its point effectively, or it can be a half-hour, like “Honorable,” and deliver a sense of time and place eloquently. We know they didn’t fly to Ghana, but you understood the setting.
A nondescript apartment became a prison for someone in a mental health crisis in “Where Monsters Lurk.” And Gabe Sheets used a vintage Chevy Nova to tell a transgender teen’s story in “Nova.”
And for Fu Yang’s brilliant stop-motion animation “Fortune Cookie,” the amount of thought and effort is remarkable (won animation/experimental and best narrative under 20 minutes). The backstory told by many directors in their notes is key to understanding all that is involved.
So, the best of the best moves on, while excellent efforts may not get the SLIFF spotlight, but I hope can be seen in other ways. A film has to be seen, and felt. And sometimes, that filmmaker will come back stronger the next year.
Andy Compton, Ryan Myers, Larry Claudin and composer Austin McCutcheon. Photo provided.
I look forward to see what Andy Compton is up to next, and hope to see some shorts turned into features for ambitious filmmakers. (Scott Wisdom’s “No Rest for the Wicked” perhaps).
The narrative jury watched 59 films this year. Chris gave us a good lead time, and our panel would text each other about certain ones, sometimes we’d go back and watch one a second time to evaluate. The due diligence that I witnessed in fellow jurors Alex McPherson and Cate Marquis is a commitment we willingly take on, because it’s important.
I know the doc committee feels the same way — Carl “The Intern” Middleman, my podcast colleague, watched his slate before he left for a fishing trip to Canada. So did Aisha Sultan, whose family went on an overseas trip, back to discuss the winners. Gayle Gallagher was on hand Sunday night to talk about their decisions.
Now I need to watch the docs I missed, particularly Zia Nizami’s “The Highland Incident.” Zia is a former Belleville News-Democrat photographer that I have known for years, and I was covering metro-east news when the UFO incident was reported in 2001. It will be part of SLIFF.
Hope to see you film fans and dreamers at SLIFF in November.
And kudos to all the folks at Cinema St. Louis who work so very hard to make this annual event happen. Thanks, Bree Maniscalco, Brian Spath and of course, fearless AD Chris Clark.
The Candy Crucible. Not a Superhero or Disney Princess in sight.
Cover photo of winners Mia Bible and Zachary Scott Clark at the Hi-Pointe, July 30. Photo used with permission.
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.
By Lynn Venhaus With its big heart and lofty ambitions, Tesseract Theatre Company has performed its first big splashy musical in St. Louis, and “Kinky Boots” is a chef’s kiss of a show, a celebration of possibilities and a tour-de-force performance by Tielere Cheatem as Simon/Lola.
Cheatem, a standout local performer and St. Louis Theater Circle Award winner, as housekeeper Jacob in New Line Theatre’s “La Cage Aux Folles” in 2019, has always had a ‘je ne sais quoi’ quality on stage, but as Lola, they are magnificent.
Cheatem makes the role that won Billy Porter a Tony Award their own and seizes that stage in authentic diva mode, with a ferocity and a passion that is remarkable to behold. It’s a fully realized, multi-layered performance.
Overcoming obstacles is the ebullient show’s theme, along with acceptance and tolerance, so it is understandable that moving to a larger space than they are used to, The Grandel Theatre, would present its own challenges. Opening night Aug. 17 was marred by sound problems, but Gruenloh said they have worked to solve those issues.
Tesseract’s previous small-scale musicals, “Ordinary Days” in November 2022 and “The Last Five Years” in February 2023, were performed at the .Zack Theatre. Tesseract’s “Kinky Boots” is also the second regional production after the Muny’s premiere in 2019.
Cheatem has a sweet chemistry with co-lead Kelvin Urday as Charlie Price, who inherited a failing shoe factory from his dad. They are a palpable pairing, and when they duet to “Not My Father’s Son,” their harmony tugs at the heartstrings.
In fact, the ballads about parental expectations and other relationships are memorable – Lola’s tearful “Hold Me in Your Heart” and Charlie’s “Soul of a Man.”
Aaron Tucker Jr. as Harry in “Take What You Got.” Photo by Taylor Gruenloh.
Urday displays confidence in his characterization of Charlie, who reluctantly took over the fourth-generation family business, Price & Son, which is on the verge of bankruptcy, and the weight of his father’s legacy leads him to much soul-searching. His earnest delivery of his “Step One” solo is also noteworthy.
Inspired by the life force that is the eccentric Lola, whose drag attire includes unsteady stilettos, the factory begins a niche business model, and those glittery sturdy “kinky boots” are made well to meet the needs of flamboyant performers-in-drag.
The musical “Kinky Boots” is based on a 2005 British film starring Chiwetel Ejiofor as Simon/Lola and Joel Edgerton as Charlie, which was based on a true story and a BBC documentary, and premiered at the 2006 Sundance Film Festival, catching the eye of some Broadway producers.
Thus began its journey to the stage. It premiered on Broadway in 2013, the adaptation by four-time Tony winner Harvey Fierstein and music and lyrics by first-timer Cyndi Lauper, the Grammy-winning pop icon, who won a Tony for the score, which is an infectious mix of club music and heartfelt ballads. The musical won six Tonys, including best musical, from a season-high 13 nominations.
It also won London’s Olivier Award for Best Musical and the Grammy Award for Best Musical Theatre album. It ran for six years and 1,400 performances until April 7, 2019.
The Tesseract ensemble includes some seasoned veterans, like versatile Marshall Jennings as the intimidating and homophobic foreman Don, dynamic Carrie Wenos as sassy line worker Trish, Loren Goudreau in her local debut as amiable worker Pat, who are all seamless. Kent Coffel, ‘an iron man’ in local theater this summer, is a good fit as Charlie’s proud hard-working dad and briefly seen as manager George.
Kaitlin Gant announces her presence as factory worker Lauren who fancies Charlie. Her standout number is the humorous “The History of Wrong Guys.”
Strong singer Chelsie Johnston, recently seen in “Nine” at New Line, has the thankless role as Charlie’s posh girlfriend Nicola, who is a status conscious social climber and meant to not be likable.
And there are some new-to-St. Louis performers, so to feel their joy is inspiring. They look like they are so happy to be on that stage, relatable in that ‘work family’ way, and emphasizing the message “You can change the world if you change your mind.”
Lindsey Grojean, Sarah Lueken, David Pisoni, Tori Ray, Corinna Redford, Michelle Sauer, Josie Schnelten and Aaron Tucker Jr. are a merry bunch as the factory ensemble. Tucker is stellar giving advice as Charlie’s childhood pal in a spirited “Take What You Got” and Redford is hilarious as the stage manager in Milan.
Lola and The Angels. Photo by Taylor Gruenloh
Splendid are The Angels – Lola’s six drag queen back-up singers at the seedy nightclub where they perform a cabaret act, notable with their in-your-face bravado. The always outstanding Mike Hodges and Jordan Woods, also local choreographers, as well as the ever-radiant Dylan Stanley, with their effervescent energy are matched by flashy newbies Todd Garten, Ronnie Wingbermuehle, and Nick Zobrist. They sparkle in “Land of Lola” and “Sex is in the Heel.”
Asher Woodward and Mark Ambrose Hill are impressive as the young Charlie and Lola respectively.
The cast brings the fun out in the cheery Act 1 finale “Everybody Say Yeah,” and is ecstatic in the up-on-your-feet anthem closer “Raise You Up/Just Be,” which is a marvelous way to spread hope in a universal message.
Taylor Gruenloh, who directed this musical first at the Missouri University Science & Technology in the spring, where he is an assistant professor in theatre, has honored the uplifting nature of the book, focusing on humanity – and made the humor zing. He knows how to get laughs, too, and deftly works in physical comedy.
He also ensured that the British accents were spot on – hurray!
“In This Corner.” Photo by Taylor Gruenloh
He shares the same affection for the material as celebrated music director Nicolas Valdez and experienced choreographer Maggie Nold, with Michelle Sauer the dance captain.
However, Valdez is not conducting a 12-piece orchestra but using recorded tracks from the publisher Music Theatre International that includes orchestrations and arrangements by Stephen Oremus for the performances. Charlie Heil was a music supervisor.
Zachary Phelps’ costume designs are stunning, and to learn that he’s a 19-year-old college student makes it even more astonishing. He also was the makeup assistant. The well-fitted wigs were designed by Sarah Gene Dowling and the wig supervisor was Analyse Thropic.
Technical director Kevin Salwasser and sound designer/supervisor Phillip Evans had to master the issues at the Grandel, as did lighting designer Max Demski.
Scenic designer Taylor Gruenloh created a believable and modest set, with a working conveyor belt, and was able to keep the action flowing. He also kept the focus on the performers.
On one level, it’s a feel-good dance party. Yet, Tesseract’s production is another exclamation point on the need for inclusion and individuality. And that is “The Most Beautiful Thing in the World.”
You may fall head-over-high-heels with this cast and crew, and you could be singing “Raise You Up” at the jubilant curtain call, which should empower everyone to “Feed your fire,” and perhaps like me, leave dancing in the aisles.
Tesseract Theatre Company presents “Kinky Boots” Thursday through Saturday, Aug. 17-27, at 7:30 p.m., with Sunday matinees at 2 p.m., at the Grandel Theatre, 3610 Grandel Square, St. Louis. Tickets are available at MetroTix.com. Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com
Dylan Stanley, one of the Angels. Photo by Taylor Gruenloh.
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.
