Lynn Venhaus

Total Post: 1248

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.

Midnight Company Announces Cast of ‘The Years’ Running July 13-20

Midnight Company Announces Cast of ‘The Years’ Running July 13-20

The Midnight Company will present Cindy Lou Johnson’s THE YEARS, running July 13-29 at The Chapel.  Performances will be Thursdays, Fridays and Saturdays at 8pm, with Sunday matinees July 16 and 23. 

Tickets, $20 for Thursdays and $25 for Fridays, Saturdays and Sundays, will be on sale at MetroTix.com on Monday, June 12. The show will be directed by Midnight’s Artistic Director, Joe Hanrahan.

The play opens on a tumultuous day for two sets of cousins:  Andrea and Eloise, and Isabelle and Andrew.  It is Andrea’s wedding day, and she and her sister Eloise, are dealing with the recent death of their father, which was soon followed by their mother’s suicide.  On the day of her wedding, Andrea has gone into work to help someone, and returning home is mugged. Meanwhile Eloise has just learned of her husband’s betrayal and the end of their marriage.   They make it through that turbulent day.  And as the story continues, thirteen years pass, and all of the cousins are forced to deal with the vagaries of life and death that the years deliver.

Joe Hanrahan directed this script some years ago for The Orthwein Theatre Company, and Gerry Kowarsky, writing for the St. Louis Post-Dispatch, called that production of THE YEARS “…an exceptional work.  Many plays deal with the pain of family relationships, but few have as much insight, pathos and humor as THE YEARS.”  And Phyllis Thorpe, for Intermission, a theatre publication at the time, called it “…a beautiful play.  Those who saw it will cherish it for a long, long time.”  In its premiere New York production, Broadway World cited an “…amazing script,” that resulted in “…a poignant play.”

Hanrahan said, “THE YEARS is a delicate, haunting, unusual play.  It deals with situations everyone faces in life, and so we’re able to quickly connect and feel  deeply for these characters.  I’m so looking forward to working with it once more.  And so lucky to have such a great cast to tell this story.”

The Midnight production features Summer Baer and Alicen Moser as sisters Eloise and Andrea.  For Midnight, Summer was seen in last year’s RODNEY’S WIFE.  And recently she’s appeared in PROOF for Moonstone,  THE BIRTHDAY PARTY for Albion, and currently GLORIA: A LIFE at New Jewish Theatre.  Alicen, Artistic Director for Poor Monsters, just directed THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY for Midnight, and previously appeared in the Company’s Beatle play at the St. Louis Fringe Festival, THE EVEREST GAME.  She’s currently appearing in ERA’s THE BRECHTFAST CLUB.  

Ashley Bauman and Joey File will play their cousins, Isabelle and Andrew.  Ashley has appeared in AS YOU LIKE IT for SIUE, A LATE SUMMER NIGHT’S STROLL for St. Louis Shakespeare Festival and DR. FAUSTUS: THE MODERN PROMETHEUS for SATE.  Joey was also in the cast of AS YOU LIKE IT, and has also been seen in MUCH ADO ABOUT NOTHING and RENT at SIUE.

Michael Pierce will portray Jeffrey, husband to Eloise.  Michael, who will also serve as Fight Director for the play, has been seen in the Aphra Behn Festival for SATE, and LAUGHTER ON THE 23rd FLOOR for New Jewish.  He also served as Fight Director for St. Louis Shakespeare Festival’s TWELFTH NIGHT and MURDER ON THE ORIENT EXPRESS for The Rep.  And Joseph Garner will portray Bartholomew, a stranger who becomes involved in the cousins’ lives.  Garner appeared in Midnight’s ANOMALOUS EXPERIENCE, was seen in THE CHRISTIANS at West End and currently in CLASH OF THE TITANS for Cherokee Street Theater.

Hanrahan recently appeared in Midnight’s THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY.  He wrote and directed the Linda Ronstadt show, JUST ONE LOOK, currently playing in extended performances at The Blue Strawberry, and is writing and directing the upcoming Judy Garland show, YOU MADE ME LOVE YOU, coming in late July there.  Hanrahan was nominated by The St. Louis Theatre Circle as Outstanding Director for last year’s RODNEY’S WIFE from Midnight.

Mason Hunt will be Stage Manager for the show,  Brad Slavik is designing the set, Tony Anselmo the lights, and Elizabeth Henning costumes.  Miriam Whatley will handle props.

Photos Todd Davis.  Alicen Moser (black eye/wedding dress)  Summer Baer (wedding veil/smile)

The Midnight Company’s 2023 season continues with:
Extended Performances of the JUST ONE LOOK July 19, August 16 & 30 at Blue Strawberry
YOU MADE ME LOVE YOU July 26, August 2 & 9 at Blue Strawberry
HUMANS OF ST. LOUIS at The St. Louis Fringe Festival  August 15-21
and
THE LION IN WINTER at the .ZACK  October 5-21

Kelly Howe in “Just One Look”

more at MidnightCompany.com

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

By Lynn Venhaus

“From the Garden” is a clever topical one-act play that deserves to be seen. Its brief weekend run revealed a local writer’s biting wit and sharp observations that were realized by a zealous cast.

Whip-smart playwright Donald C. Miller directed his own show earlier this month (May 5-7) for four performances at the intimate venue, The Chapel, a modest production by Wee Laddie Theatrics.

It may have been staged on a shoestring budget, but the satire had big ideas and pointed barbs delivered by a taut ensemble of veteran performers, whose natural abilities carried over the message.

The three sold-out and one near-capacity matinee crowds got the jokes, so merry laughter ensued. Whether or not you know the real-life community conflict that sparked Miller to put pen to paper, tongue firmly in cheek in this “work of fiction,” you’ll mull over the points he’s making that are far from heavy-handed.

This is not a preachy diatribe about well-meaning citizens whose self-righteous stances can derail compassionate acts for ‘the greater good.’ It’s far more insightful about hypocrisy and personal agendas, pegging the democratic divide between old-school liberals and uberleft progressives.

And how some decent folks who want to avoid drama in their daily lives are unwittingly caught up in the maelstrom. And made very uncomfortable by those purporting to know what’s best for everyone.

We are familiar with the modern political climate of loud extremists, the right and left often far apart and unwilling to compromise or work together. It’s not just at the national and state level, but in our fair city’s distinct neighborhoods – and lines are drawn between left and far-left in the Democratic Party (and right and far-right in Republican circles).

This is an ‘across the aisle’ situation, only it’s set in an outdoor community garden tended to by neighbors and civic-minded people.

You’ll be able to recognize numerous characters as the cast nails the nimble wordplay. They are playing relatable people, not overly complicated roles.

Donald Kidd, Brenda Morrison, Mara Bollini and Camille Elena Fensterman

Playing against type, Ann Hier Brown is amusingly annoying as Lisbeth Stanton, an upper middle class urban housewife that has cultivated an activist-advocate persona through curated social media posts.

She considers herself a feminist but is not seeking equality, for she is a control-freak do-gooder. As the comedic melodrama unfolds, she agitates her neighbors who want to get involved but eventually are put off by her sanctimonious lectures – and her assortment of chic bandanas. She is not above escalating conflicts for her personal gain.

It’s no coincidence her name resembles the great woman’s suffragette Elizabeth Cady Stanton. Miller is not anti-women’s rights at all, just pointing out how some folks take charge and then play martyrs or victims when they don’t get their way.

He provides more Easter Eggs, for other characters are given the last names of Nixon, Carter, Monroe and Ford. Ring a bell?

Funny guy Jason Meyers plays her husband Kirk, who tries to be supportive but is often a referee between mother and daughter. Teenager Emmy, conveyed by Nadja Kapetanovich in a defiant and questioning way, is like oil and water with her mom, who gets snippy and defensive in interactions.

Lisbeth also tussles with her no-nonsense natty mom, Sylvia Ford, played shrewdly by Margeau Steinau. Sylvia, with a deep pocketbook, travels in important circles and is organizing a benefit that Lisbeth is loath to attend.

Donald Kidd is well-suited to play Dwayne Jenkins, a committed activist who is running for the city council, but Lisbeth attempts to pull the strings and back another candidate. Rut-ro.

Neighbors who want to make a difference, but not necessarily get into a toxic situation, include Mara Bollini as Kate Carter, Camille Elena Fensterman as Xiomara Monroe, and Brenda Morrison as Ruth Nixon. They toss off snappy remarks with ease – and can spot a Karen lurking on the tree-lined streets – and don’t buy the disingenuous Lisbeth’s savior schtick.

Calvin Chambers was the technical coordinator and stage manager Ann Rapko.

The scenes are divided into soil preparation, weed prevention, watering and care, infestation, harvest, and dormancy. Of course, these are structured so that people can read between the lines.

The scene changes were a tad cumbersome, given the short time-length and the small performance space. But the sets were simple, reflecting the low-budget labor of love.

Nevertheless, small technical issues – like some performers being easier to hear than others – would be worked out in an encore presentation.

Hopefully, the play will have some staying power and there will be an opportunity for more theatergoers to enjoy it. Because an examination of identity politics is a good thing, exposing how unproductive it can be.

For background on playwright motivation, read this article in the Riverfront Times:

https://www.riverfronttimes.com/news/andoes-society-page-its-left-vs-far-left-in-maplewood-politics-39605670?media=AMP%20HTML&fbclid=IwAR1tU88TYee-aMpt9BK_yUxpL_y2libTFCqj52gq5_jSabftcc009Gvzk9E

Because after all, not conforming and speaking out instead is always the preferable way to go, especially someone as skilled as Miller in expressing himself. In “From the Garden,” he mocks the obvious – and is not so subtle in a very funny way.

Margeau Steinau and Ann Hier Brown

Cover Photo: Nadja Kapetanovich and Jason Meyers

Mutual Satisfactory Settlement Reached Between Fox Associates & Foxland Inc

Mutual Satisfactory Settlement Reached Between Fox Associates & Foxland Inc

Fox Associates, L.L.C. and Foxland, Inc. are pleased to announce that they have reached a mutually satisfactory settlement in resolution of their dispute over the Fox Theatre. Fox Associates has operated the Theatre for 40 years after undertaking its restoration in the 1980s.

Since April 2021, the parties have been involved in a lawsuit in the Circuit Court of the City of St. Louis over which party will have the right to own and operate the Theatre once the current lease expires in 2025.

Under the parties’ settlement agreement, Fox Associates will purchase Foxland’s interest in the land underlying the Theatre, thereby consolidating ownership in one party. The parties worked together to achieve this resolution and share the belief that this is the right result for the St. Louis community, as it will ensure uninterrupted Theatre operations.

“On behalf of myself and partners Lisa Baudendistel Suntrup and Julie Baudendistel Noonan, we are thrilled that the Fabulous Fox Theatre will continue to bring world class entertainment to St. Louis for generations to come,” said Mary Strauss, Fox Associates partner. “It has been a labor of love for our Strauss and Baudendistel families to be the custodians of this St. Louis treasure and national landmark for the past four decades and we look forward to a fabulous future.”

Charles Modlin of Foxland, Inc. stated, “While our family had been looking forward to operating the Theatre for many years, we are happy with the result and believe the Theatre remains in good hands with Fox Associates, who we are confident will continue its important legacy of successfully operating one of the most magnificent historic Theatres in the world.”

Cinema St Louis Announces Lineup For This Year’s Golden Anniversaries

Cinema St Louis Announces Lineup For This Year’s Golden Anniversaries

Films of 1973 spotlighted in online discussions and in-person screenings

The Golden Anniversaries film series — an annual presentation of Cinema St. Louis (CSL) — features classic films celebrating their 50th anniversaries. The sixth edition of the event highlights films from 1973.

This year, Cinema St. Louis will hold both virtual conversations and in-person screenings as part of Golden Anniversaries. Virtual conversations are presented free of charge.

The online conversations, with people watching the films on their own but gathering virtually to discuss them, will continue through December. The virtual programs will be available as livestreams through Eventive. Each online event has a link to register on the CSL website: cinemastlouis.org/golden-anniversaries.

This year’s series kicked off in April and will continue through December, with films playing on Sunday afternoons at the Hi-Pointe Theatre, 1005 McCausland Ave, 63117.

Tickets are required for the in-person screenings at the Hi-Pointe. Free parking is available at the Hi-Pointe Backlot or Lindell Bank across the street from the theater.

Ryan and Tatum O’Neal in “Paper Moon”

In addition, during the 32nd Annual Whitaker St. Louis International Film Festival, which takes place from Nov. 9-19, CSL will offer a trio of free Golden Anniversaries screenings — Jack Hill’s “Coffy” (with Novotny Lawrence), Robert Clouse’s “Enter the Dragon” (with Daniel Yezbick), and Peter Bogdanovich’s “Paper Moon” (with Tom O’Keefe) — on the second Saturday and Sunday of the fest at the St. Louis Public Library – Central Branch, 1301 Olive St., 63103.

Whether the event is held online or in person, film critics, film academics, filmmakers, and writers will offer introductory remarks and participate in discussions about the films. In addition to St. Louis-based experts, Golden Anniversaries will again feature contributors from elsewhere, including returning presenter Novotny Lawrence (“Coffy” and “Cleopatra Jones”) and new participants such as freelance writer and film historian, Marya E. Gates (“Love & Anarchy”).

For full descriptions of the films, visit the Cinema St. Louis website.

In-Person Screenings

Sunday, April 1, at 1:00 PM

The Sting

George Roy Hill, U.S., 129 min.

With Chris Clark, artistic director of Cinema St. Louis.

Sunday, May 21, at 1:00 PM

Robin Hood

David Hand & Wolfgang Reitherman, U.S., 83 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, June 18, at 1:00 PM

Live and Let Die

Guy Hamilton, U.K. & U.S., 121 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, July 16, at 1:00 PM

The Three Musketeers

Richard Lester, Spain & U.S., 106 min.

With Robert Hunt, former film critic for The Riverfront Times.

Sunday, Aug. 20, at 1:00 PM

Sissy Spacek and Martin Sheen in “Badlands”

Badlands

Terence Malick, U.K., 94 min.

With T.J. Keeley, Ph.D. student in contemporary American literature at Saint Louis University and teacher of English and film at college prep schools in the St. Louis area.

Sunday, Sept. 17, at 1:00 PM

The Long Goodbye

Robert Altman, U.S., 112 min.

With Calvin Wilson, theater, film, dance and jazz critic for the St. Louis Post-Dispatch/stltoday.com.

Sunday, Oct. 15, at 1:00 PM

F for Fake

Orson Welles, Gary Graver & Oja Kodar, France, Iran & West Germany, 89 min.

With Joshua Ray, film critic for KMOV and Co-Founder and Contributing Editor of The Take-Up.

Robert Redford and Barbra Streisand, The Way We Were

Sunday, Dec. 17, at 1:00 PM

The Way We Were

Sydney Pollack, U.S., 118 min.

With Lynn Venhaus, a Rotten Tomatoes-approved film critic who reviews for the Webster-Kirkwood Times, KTRS Radio (Jennifer Blome and Wendy Wiese Show), and PopLifeSTL.com website, www.poplifestl.com

Virtual Discussions

Monday, June 12, at 7:30 PM

Love & Anarchy

Lina Wertmüller, Italy, 120 min., Italian

With Marya E. Gates, freelance film writer and historian who specializes in the work of female directors.

Monday, July 10, at 7:30 PM

The Spirit of the Beehive

Victor Erice, Spain, 98 min.

With Cait Lore, who holds a Master’s Degree in Film Theory from the University of Kent, teaches film studies at Websger University, and serves as a co-programmer of QFest St. Louis.

Monday, Aug. 14, at 7:30 PM

Day for Night

François Truffaut, France, 116 min., French

With Robert Hunt, former film critic for The Riverfront Times.

Randy Quaid and Jack Nicholson in “The Last Detail”

Monday, Sept. 11, at 7:30 PM

The Last Detail

Hal Ashby, U.S., 104 min., English

With Robert Garrick, attorney and former contributor to the davekehr.com film blog.

Monday, Oct. 9, at 7:30 PM

Amarcord

Federico Fellini, Italy, 122 min., Italian

With Cate Marquis, a Rotten Tomatoes certified film critic and film historian who writes for We Are Movie Geeks, the St. Louis Jewish Light, and the Alliance of Women Film Journalists, and a member of the Alliance of Women Film Journalists and the St. Louis Film Critics Association.

Monday, Dec. 11, at 7:30 PM

Cleopatra Jones

Jack Starrett, U.S.,  89 min.

With Novotny Lawrence, associate professor at Iowa State University.

Bruce Lee in “Enter the Dragon”

One-Man Show ‘Leonard Pelkey’ Delves into Intolerance and An Indomitable Spirit

One-Man Show ‘Leonard Pelkey’ Delves into Intolerance and An Indomitable Spirit

By Lynn Venhaus

As we head into Pride Month, “The Absolute Brightness of Leonard Pelkey” couldn’t be timelier, especially in this unfortunate age of intolerance.

This passion project from The Midnight Company stars an empathetic Joe Hanrahan in multiple roles and is deftly directed by Alicen Moser.

A one-man show, written by Celeste Lecesne, is based on their young adult novel, and illuminates a very personal struggle about acceptance.

Lecesne has gone by he/they since 2020, and is best known for winning an Academy Award for Best Live Action Short in 1995, for “Trevor.” In 1998, they co-founded and launched The Trevor Project, which is a 24-hour suicide prevention and crisis intervention lifeline for LGBTQ+ youth.

The 2015 narrative fictional play is structured as a police procedural, with a detective seeking answers about a missing teen in a small-town on the Jersey Shore. A hard-hitting story that draws inspiration from such horrific true incidents as high school student Jadin Bell in Portland, Ore., who committed suicide after gay-shaming, and college student Matthew Shepard who was attacked and left for dead in Laramie, Wyoming in 1998, among other anti-gay hate crimes.

The playwright, who described Leonard as a luminous force of nature who encountered evil and whose magic wasn’t truly felt until he disappeared, shines a compassionate spotlight on this character you feel that you know.

Unapologetically flamboyant, theatrical, and true to himself, the 14-year-old chatterbox looked and acted as he pleased, just being himself. He planned to dress up as Lady Gaga on Halloween.

Bullied for being who he was, Leonard did win some people over. Details emerge about what a colorful presence he was, and how that light dimmed in the people’s lives who loved him.

Joe Hanrahan .Photo by Joey Rumpell

Besides the inevitable pensive sadness that permeates the one-act, there is also a glimmer of hope about progress and brings more focus on the never-ending mission to understand those who are lesbian, gay, bisexual, transgender and questioning – and anyone who beats to a different drummer.

Over the course of 1 hour and 20 minutes, Leonard looms larger than life, although he is not physically present. We feel him. We see him through the people who knew him, which Hanrahan effectively presents.

Besides playing the primary character — police detective Chuck DeSoto, Hanrahan takes on the characters Chuck interviews – Ellen Hertle, a hair salon owner who cared for Leonard after his mother died, and her 16-year-old daughter Phoebe Hertle, who report him missing; Buddy Howard, who ran the drama and dance school where Leonard took classes; Gloria Salzano, who saw a platform sneaker floating in the lake next to her home; Marion Tochterman, Otto Beckerman, suspect Tyler Lembeck; and Chuck’s boss, Marty Branahan.

Trevor didn’t tell people he was gay, they just assumed, although he liked to remain a mystery. That didn’t stop name-calling. And he attempted suicide.

As Chuck discovers clues and puts together details of a brutal murder, it’s hard not to be moved by the melancholy, but also discover how this boy touched lives, and eventually made a difference in how people saw others.

The minimalist drama, with stage manager Linda Menard placing props on sparse furnishings and production support from Kevin Bowman, features expressive lighting design by Tony Anselmo in the Kranzberg Black Box Theatre.

Although Leonard isn’t a real person, you leave feeling like you know every character. Hanrahan, who often presents one-man shows, makes the people relatable.

The show’s message reflects Shakespeare’s line from “Hamlet”: “To thine own self be true,” and it’s always good to reinforce that, no matter how one identifies themselves. And to bring more attention to The Trevor Project – hotline is 1-866-488-7386.

Hanrahan, himself a force of nature, has dedicated this show to the Absolute Brightness of Travis Hanrahan, his son who died at age 27 in 2017.

Photos by Joey Rumpell

The Midnight Company presents “The Absolute Brightness of Leonard Pelkey” from May 4-20, Thursday through Saturday at 8 p.m., in the Kranzberg Black Box Theatre, 501 N Grand Blvd, St. Louis, MO 63103. For more information, visit www.MidnightCompany.com

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

By Lynn Venhaus
The turbo-charged “Fast X,” aka “Fast Ten,” the latest entry of the 22-year-old “Fast and Furious” saga, continues to defy logic and physics in a dizzying grandiose globe-trotting revenge tale.

A gimmicky gearhead grind, no. 10 features a sprawling star-studded cast racing from one continent to the next between massive explosions, shoot-outs, fisticuffs, and an enormous cavalcade of car crashes all staged to show off high-tech weaponry, fast-paced fight choreography and sensational stunts.

As usual, the muscular hero Dom Toretto has a price to pay for antagonizing his foes, but his list of friends and enemies certainly has grown over the years. We pick up with doting dad Dom teaching his 8-year-old son Brian (Leo Abelo Perry) his own set of rules on the road while his wife Lettie (Michelle Rodriguez) is helping Grandma (Rita Moreno) cook the family dinner, a time-honored ritual.

The gang’s all there – the bickering yet bonded core group of Dom’s team: Roman Pearce (Tyrese Gibson), mechanic Tej Parker (Chris “Ludacris” Bridges), hacker Ramsey (Nathalie Emmanuel), and Han Lue (Sung Kang).

In recent films, their certain set of skills have been in demand by an international government operation called “The Agency.” But even those seemingly fortresses of good can be infiltrated by evildoers, especially this chapter’s megalomaniac villain Dante (Jason Momoa).

He’s the vengeful son of drug kingpin Hernan Reyes, who was killed in “Fast Five,” and now comes calling with heavy artillery, having spent the last 12 years planning his retaliation.

Jason Momoa is Dante in FAST X, directed by Louis Leterrier

The hulking beefcake Momoa, best known as the DC superhero Aquaman, has a blast going over-the-top as a flamboyant, preening sociopath seeking vengeance. Part Cesar Romero’s Joker, part Jim Carrey’s Riddler, and all peacock-strutting and rooster-crowing swagger, Momoa ups the ante as a sadistic dominating presence. (His character is hastily explained as being institutionalized.)

Dom’s sister Mia (Jordana Brewster), widow of Brian O’Conner (Paul Walker, who died in 2013, and was in five of the films), and brother Jakob (John Cena) also figure into the plot threads. And a noteworthy sentimental touch: Paul’s daughter Meadow Walker has a cameo as a flight attendant helping Jakob.

Oscar winners Charlize Theron, as cyberterrorist Cipher, Helen Mirren as Shaw’s (Jason Statham) mom, and Brie Larson as Tess, daughter of Mr. Nobody (Kurt Russell), make brief appearances, and Moreno has one scene.

But even the big-name cast – peppered with stunning cameos (must-see end credits) that the internet has already spoiled – is overshadowed by the mind-numbing number of pileups, combustible engines, bomb detonations, and burning rubber that result in a reckless high body count and ridiculous disregard for the laws of gravity.

That’s not a surprise – it’s always expected in these big, bold and bravura blockbusters. Yet, for those who have been paying attention throughout the soap opera-on-wheels thrill ride sequels, some previous villains are now allies (well, maybe frenemies in a couple cases) and it will be established that former friends betray the good guys. That can get rather head-scratching – but really, thinking is not a requirement here.

Nevertheless, the one constant is that the theme of family remains central to the core. It’s just that the death-defying action becomes a distraction as escaping without harm gets increasingly preposterous.

When this popular franchise began, the personalities carried the minimal plot and maximum action adventures through, but as the scope became bigger, the plots became more convoluted.

I can’t imagine anyone who hasn’t seen the last four or five really knowing – or caring – what has happened and what is going on now, as they’ve swelled from streetfighters to save-the-world in land, sky, and sea scenarios.

Dom in Rome

Case in point: A submarine in the South Pole. Before you ponder this, keep in mind the latest cliffhanger ending is an intriguing tease for “Fast X Part 2,” now scheduled for 2025. Apparently, not the end of the road but “the last chapters” with another or two.

This latest excursion through Brazil, Rome, Portugal, London, Los Angeles, and Antarctica is ultimately fan service. Let’s face it – few view these for interesting intricate stories. Now going into their third decade, people want bullets to spray, cars to fly and more pedals to the metal than in the last chapter.

The stories are such a minimal template that I’ve accused them of being written by chimps, but now, after number 10, I’m convinced they are employing AI.

The latest screenwriters – veteran Justin Lin plus newbie Dan Mazeau — touch on previous scenarios for some sense of a plot thread, but it doesn’t make “Fast X” easy to follow. The characters are based on those created by Gary Scott Thompson in 2001’s “The Fast and the Furious.”

Lin, who directed the third through sixth movies (“The Fast and the Furious: Tokyo Drift” in 2006, “Fast and Furious” in 2009, “Fast Five” in 2011 and “Fast and Furious 6” in 2013, returned for the ninth (“F9, The Fast Saga” in 2021), but abandoned directing this movie, over ‘creative differences,’ and Louis Leterrier, who made the first two “Transporter” movies, took over. Lin, however, stayed on as a producer and has a screenwriting credit.

The entire canon includes “2 Fast 2 Furious” in 2003, “Furious 7” in 2015, “The Fate of the Furious” in 2017, and then “Fast and Furious Presents Hobbs and Shaw” in 2019.

What happens next will determine the franchise’s grand finale. But harkening back to the early glory days would be a nice change of pace, for these increasingly ludicrous sequels have spun the original intentions out of control. After all, it’s supposed to be about family.

Vin Diesel as Dom

“Fast X” is a 2023 action thriller directed by Louis Leterrier and starring Vin Diesel, Michelle Rodriguez, Jason Momoa, Charlize Theron, Jason Statham, John Cena, Jordana Brewster, Brie Larson, Helen Mirren, Rita Moreno, Tyrese Gibson, Sung Kang, Nathalie Emmanuel, Ludacris, Scott Eastwood, Alan Ritchson. It is rated PG-13 for intense sequences of violence, action and language, and some suggestive material. and the run time is 2 hours, 21 minutes. It opened in theaters May 19. Lynn’s Grade: C-.

Subscription Tickets On Sale May 16 for Sheldon’s 2023-2024 Season

Subscription Tickets On Sale May 16 for Sheldon’s 2023-2024 Season

Line-Up Includes Rising Stars and Returning Favorites, Plus New Partnership with St. Louis Symphony – 

ST. LOUIS, MO – New subscription tickets for The Sheldon’s exciting 2023-2024 concert season go on sale Tuesday, May 16 at 10 a.m. through The Sheldon at 314-533-9900 or at TheSheldon.org. Concert packages start at $85 and offer an eclectic mix of artists and genres set in the acoustically-perfect and intimate Sheldon Concert Hall.  Signature series including The Sheldon Rhythm & Jazz, Sheldon Folk, Coffee Concerts and the Whitaker World Music Concerts return, along with an expanded classical music series – St. Louis Symphony Orchestra (SLSO): Live at The Sheldon – debuting in partnership with the SLSO.  

Highlights for the season include modern jazz great Christian McBride and Inside Straight featuring St. Louis favorite, Peter Martin; alt-country originators The Jayhawks; mandolin wizard Sam Bush; dynamic Afro-Cuban percussionist Pedrito Martinez; bluegrass and world music superstars Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia; Eliades Ochoa, an original member of the famed Buena Vista Social Club; rising bluegrass star Sierra Hull; and many more. The series also showcases local favorites including jazz vocalist Denise Thimes, swing band Sweetie and the Toothaches anda Christmas concert withsaxophonist Kendrick Smith. 

Bela Fleck

The Friends of The Sheldon fall benefit will see the return of Grammy-winning roots artist Rhiannon Giddens, 2023 Pulitzer Prize winner, co-founder of the Carolina Chocolate Drops and McArthur Genius Grant recipient.

The Sheldon is also pleased to announce an expanded classical music series in partnership with the St. Louis Symphony Orchestra. Curated and performed by SLSO musicians, the St. Louis Symphony Orchestra: Live at The Sheldon series will give classical music fans a rare chance to see their favorite SLSO musicians in an intimate setting, performing new and beloved chamber works in The Sheldon’s perfect acoustics.  

Sheldon Rhythm & Jazz series tickets are $180 orchestra / $164 balcony; Sheldon Folk series tickets are $210 orchestra /  

$190 balcony; St. Louis Symphony: Live at The Sheldon series tickets are $175 orchestra/$153.75 balcony 1 / $132.50 balcony 2, and Coffee Concerts are $85 orchestra / $70 balcony.  

Single tickets go on sale Friday, August 4 at 10 a.m. through MetroTix at 314-534-1111 or at TheSheldon.org.     

SHELDON RHYTHM & JAZZ 


Subscription Price: $180 orchestra/$164 balcony (Best Value!) 

Pedrito Martinez                                                                                                             Saturday, October 14, 2023 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Brad Mehldau Trio                                                                                                          Wednesday, November 15, 2023 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student  

John Pizzarelli and Catherine Russell                                                                      Saturday, February 24, 2024 at 8 p.m. 

Two Legendary Singers Share the Stage 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Christian McBride and Inside Straight                                                                     Friday, May 24, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 / $15 student 

Rhythm & Jazz is sponsored by Steward Family Foundation  |  Welcomed by 88.7 The Sound 

SHELDON FOLK 

Subscription Price: $210 orchestra/$190 balcony (Best Value!)

The Black Opry Revue                                                                                                   Friday, October 6, 2023 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2  

Hasta La Muerte: A Day Of The Dead Show by Las Cafeteras                       Wednesday, November 8, 2023 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 

Sam Bush Band                                                                                                                 Friday, February 9, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2  

Sierra Hull                                                                                                                          Thursday, March 21, 2024 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 

The Jayhawks                                                                                                                    Friday, April 19, 2024 at 8 p.m. 

$50 orchestra / $45 balcony 1 / $40 balcony 2 

WHITAKER WORLD MUSIC CONCERTS 

Béla Fleck, Zakir Hussain, Edgar Meyer and Rakesh Chaurasia                    Friday, November 3, 2023 at 8 p.m. 

$55 orchestra / $50 balcony 1 / $45 balcony 2 / $15 student 

Eliades Ochoa                                                                                                                    Saturday, March 9, 2024 at 8 p.m. 

$45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student 

Oumou Sangaré                                                                                                               Saturday, April 13, 2024 at 8 p.m. 

 $45 orchestra / $40 balcony 1 / $35 balcony 2 / $15 student 

Made possible by the W H I T A K E R F O U N D A T I O N

St Louis Symphony Orchestra

St. Louis Symphony Orchestra: Live at The Sheldon 

Subscription Price: $175 orchestra/$153.75 balcony 1/$132.50 balcony 2 (Best Value!) 


Valerie Coleman and Louis Spohr: Winds with Strings                            Wednesday, October 25, 2023 at 7:30 p.m.  

$41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Schubert, Jessie Montgomery, Christian Quiñones: Strings                    Wednesday, December 6, 2023 at 7:30 p.m.  

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Ravel and Dvořák: Strings with Piano                                                    Wednesday, February 7, 2024 at 7:30 p.m. 

$41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Stravinsky, Martinů, and Shannon Wood: Percussion Spotlight              Wednesday, March 6, 2024 at 7:30 p.m. 

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Beethoven and Hindemith: Horns with Strings                                      Sunday, April  7, 2024 at 3 p.m. 

 $41 orchestra / $36 balcony 1 / $31 balcony 2 / $10 student 

Sheldon Classics is sponsored by the Sinquefield Charitable Foundation  |  Welcomed by Classic 107.3 

COFFEE CONCERTS 

Subscription Price: $85 orchestra/$70 balcony (Tuesday mornings only) (Best Value!)  

Denise Thimes                                                                                                                  Tues. & Wed., October 10 & 11, 2023 

$23 orchestra / $20 balcony 

Christmas with Kendrick Smith                                                                                  Tues. & Wed., December 12 & 13, 2023 

$23 orchestra / $20 balcony 

Eleanor & Dario:                                                                                                               Tues. & Wed., February 20 & 21, 2024 

A Trip Around the World  

$23 orchestra / $20 balcony 

Steve Neale & Ben Nordstrom: We’re Not Cool                                                 Tues.** & Wed., March 12 & 13, 2024 

$23 orchestra / $20 balcony  

Sweetie and The Toothaches                                                                                      Tues.** & Wed., April 16 & 17, 2024 

$23 orchestra / $20 balcony 

SPECIAL CONCERTS 

Friends of The Sheldon benefit featuring
Rhiannon Giddens                                                                                                          Thursday, September 14, 2023 at 8 p.m. 

Patron tickets: $175 Patron  |  Concert-only tickets: $66 orchestra / $56 balcony 1 / $46 balcony 2 

All prices include a $1 per ticket historic preservation fee. 

Cinema St. Louis celebrates Wes Anderson with Wes-Fest, screens six

Cinema St. Louis celebrates Wes Anderson with Wes-Fest, screens six

Venue: Hi-Pointe Theatre, 1005 McCausland Ave. 63117

Tickets: Tickets are $12 for general admission; $10 for students and Cinema St. Louis members. Advance tickets can be purchased through the Cinema St. Louis website.

More Info: 314-200-5684, cinemastlouis.org

Cinema St. Louis celebrates American film auteur Wes Anderson with a six film retrospective in advance of the release of Anderson’s newest film, Asteroid City on June 16th. Before the director’s 11th feature is released, Cinema St. Louis will screen Anderson’s first six live action films over the first two weekends in June. The series will kick off with Anderson’s 1996 debut, Bottle Rocket, and culminate with 2012’s Moonrise Kingdom. The full lineup can be found on the Cinema St. Louis website.

“Wes Anderson has a unique voice and vision among American directors and it’s exciting to share these six films that have truly become iconic,” says Brian Spath, operations supervisor for Cinema St. Louis, “you know to expect certain hallmarks from an Anderson film, but his visual style, production design, and sly wit make each film different from the last.”

Anderson has been nominated for seven Academy Awards, including three times for Best Original Screenplay.

Films on Fridays and Saturdays will screen at 7:00 PM, while films on Sundays will screen at 5:00 PM.

Jason Schwartzman, “Rushmore”

FILM SCHEDULE

For film synopses, see the CSL website

Friday, June 2, 7:00 PM

Bottle Rocket

Wes Anderson, 1996, 92 min., color, DCP

Saturday, June 3, 7:00 PM

Rushmore

Wes Anderson, 1998, 92 min., color, DCP

The Royal Tenenbaums cast

Sunday, June 4, 5:00 PM

The Royal Tenenbaums

Wes Anderson, 2001, 92 min., color, DCP

Friday, June 9, 7:00 PM

The Life Aquatic with Steve Zissou

Wes Anderson, 2004, 92 min., color, DCP

Moonrise Kingdom

Saturday, June 10, 7:00 PM

The Darjeeling Limited

Wes Anderson, 2007, 92 min., color, DCP

Sunday, June 11, 5:00 PM

Moonrise Kingdom

Wes Anderson, 2012, 92 min., color, DCP

Go to https://www.cinemastlouis.org/hi-pointe for more information, showtimes, and online ticket sales.

“Asteroid City” will open on June 16.

Cinema St. Louis

For more than 30 years, Cinema St. Louis (CSL) has served as the region’s go-to arts nonprofit for educating and inspiring audiences of all ages through film. Annually, the organization hosts the St. Louis International Film Festival (SLIFF) —  included among USA Today’s 10 Best “Film Festivals Worth Traveling To” — as well as the St. Louis Filmmakers Showcase, QFest St. Louis, Classic French Film Festival, and Golden Anniversaries. In addition, Cinema St. Louis seeks to engage younger audiences, exposing them to the possibilities of becoming filmmakers, through free hands-on filmmaking camps and screenings through Cinema for Students.

Sara Sheperd Headlines Muny Cast of ‘Beautiful: The Carole King Musical’

Sara Sheperd Headlines Muny Cast of ‘Beautiful: The Carole King Musical’

The Muny has announced that Sara Sheperd, Jackie Burns, Jarrod Spector, Steven Good, Noah Weisberg and Sharon Hunter will star in the kickoff to The Muny’s 2023 season, Beautiful: The Carole King Musical, June 12-18, 2023. The inspiring true story is led by director Marcia Milgrom Dodge, choreographer Patricia Wilcox, associate choreographer Kelly Liz Bolick, with music direction by Charlie Alterman. Beautiful: The Carole King Musical is proudly sponsored by Emerson.

“Carole King’s music and story have been an inspiration to millions,” said Muny Artistic Director and Executive Producer Mike Isaacson, “this is a thrilling group of artists to bring her journey to powerful life on our stage. Sweet inspiration indeed.”

Sara Sheperd

SARA SHEPERD (Carole King) Muny: Legally Blonde (Vivienne Kensington), Les Misérables, The Pajama Game, Hello, Dolly!; Irving Berlin’s White Christmas, The Wizard of Oz. Broadway: Beautiful: The Carole King Musical (OBC), Paradise Square, Cry-Baby. National tour: Beautiful (Carole King), Legally Blonde (Kate/Chutney). Regional: Oliver! (Nancy, Human Race Theatre Company), Funny Girl (Fanny Brice, Drury Lane), Little Women (Jo March, Engeman Theater). Sara is so excited to be back at The Muny, where her professional career began, getting to play this iconic role.

JACKIE BURNS (Cynthia Weil) is Broadway’s longest running Elphaba in Wicked. She replaced Idina Menzel on the national tour of If/Then and was also a part of the original Broadway company. Other credits include the Tony Award-winning revival of Hair (OBC) and Rock of Ages (original off-Broadway company).

Selected regional theatre credits include Pittsburgh Civic Light Opera, Paper Mill Playhouse, Alley Theatre, Broadway Sacramento, Casa Mañana and George Street Playhouse. Film/TV: Set It Up, The Magnificent Meyersons, Power Book II: Ghost; The Great Wall of Warren. Jackie has sung all over the world with Grammy and Tony Award-winning composer Frank Wildhorn. She most recently completed a successful run as the title character in the new musical Cowboy Bob and the leading role in the new musical A Walk on the Moon.

Jarrod Spector

JARROD SPECTOR (Barry Mann) Broadway: Les Misérables (Gavroche), Jersey Boys (Frankie Valli), Beautiful: The Carole King Musical (Barry Mann, Tony nomination), The Cher Show (Sonny Bono). New York: Hamlet (Hamlet). National tours: Les Misérables, Jersey Boys. Regional: Piece of My Heart (Bert Berns, New York Stage and Film), Presto Change-O (Michael, Barrington Stage), Roman Holiday (Irving Radovich, Golden Gate Theatre), The Cher Show (Sonny Bono, Nederlander Theatre), Bruce (Steven Spielberg, Seattle Rep). TV/Streaming: Halston, Wormwood, A Killer Party, The Kate (in concert, playing himself, Regional Emmy nomination). Jarrod tours the country with his critically acclaimed solo concerts and duet performances with his wife, Kelli Barrett, and has released two solo albums.

STEVEN GOOD (Gerry Goffin) Broadway: Waitress (Dr. Pomatter), Escape to Margaritaville (Mr. Utley, u/s Tully). National tour: Waitress (Dr. Pomatter). Regional: Lend Me a Soprano (Leo, Alley Theatre, world premiere), Austen’s Pride (Mr. Darcy, 5th Avenue Theatre), Grey Gardens (Ahmanson), Prometheus Bound and Once (American Repertory Theater), Woyzeck (Santa Barbara Ensemble Theatre). Film/TV: Younger (Rob Davis), The Blacklist (NBC), A Neighbor’s Vendetta (Tubi), Nightmare Nurse (Lifetime), Notorious (ABC), Hart of Dixie (WB). Education: MFA (Acting) Harvard, Moscow Art Theatre, A.R.T.; BFA (Music Composition/Classical Voice) UC Santa Cruz.

NOAH WEISBERG (Don Kirshner) Muny: Bye Bye Birdie, Grease, Damn Yankees, Joseph…Dreamcoat, Meet Me In St. Louis. Broadway: Legally Blonde, South Pacific, Enron, Elf. National tour: Charlie and the Chocolate Factory (Willy Wonka). New York: Two Gentlemen of Verona (Shakespeare in the Park). Regional: Calvin Berger (Calvin, George Street Playhouse, Original Cast Recording), Diner (Delaware Theatre), Enter Laughing (Wallis Annenberg Center). TV: NBC’S Emmy-winning Zoey’s Extraordinary Playlist (Danny Michael Davis), Showtime’s Super Pumped (Quentin), Modern Family (Brett), Major Crimes, Law & Order, K.C. Undercover, Wisdom of the Crowd, The Good Wife, iCarly, Franklin & Bash, Team Umizoomi, Bad Teacher, Bones, The New Normal, JoJo’s Circus, Cashmere Mafia, Law & Order: CI; Kenny the Shark, Love Monkey, Indoor Boys, Snowy Day, Charlie’s Big Flight, Doonce. Film: Zoey’s Extraordinary Christmas. Weisberg wrote and directed the award-winning films Thank You Kindly and What’s Life Got to Do with It? Education: NYU. 

SHARON HUNTER (Genie Klein) is thrilled to be making her Muny debut! Off-Broadway: The House of Bernarda Alba (Gene Frankel Theatre), Bad Seed (Nicu’s Spoon Theater), The House of Blue Leaves (Gallery Players), The Picture of Dorian Gray (Robert Moss Theatre). Regional: Imaginary Theatre Company, Jake’s Women (Karen, Moonstone Theatre Company), Working (Waitress, Hot House Theatre), Falsettos (Trina) and Hello Muddah, Hello Faddah! (Sarah, New Jewish Theatre). Sharon has maintained an active cabaret career in both New York (Metropolitan Room, Don’t Tell Mama) and St. Louis (The Monocle). Sharon is the Producing Artistic Director and Founder of Moonstone Theatre Company in St. Louis, where she directed critically acclaimed productions of Proof, Barefoot in the Park and Grand Horizons. She just directed Gloria: A Life at New Jewish, and last season’s highly successful Dear Jack, Dear Louise. Later this summer she will star in Moonstone’s production of The Sound Inside.

Carole King and Gerry Goffin

About the show:

An inspiring true story of a music legend, Beautiful: The Carole King Musical takes you on an unforgettable journey of a remarkable career. A tapestry of creativity and innovation, Carole King paved the way for female artists for generations to come. The musical’s Grammy Award-winning album features over two dozen pop classics including “It’s Too Late,” “You’ve Got a Friend” and “I Feel the Earth Move.”

The Telsey Office is the official casting partner for The Muny. Full casting will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Season tickets are currently on sale. Single tickets will be available beginning May 22. Muny gift cards for the 105th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

With Vim and Vigor, The Black Rep Celebrates Eubie Blake in Stellar Musical Revue

By Lynn Venhaus
Guaranteed to put a spring in your step and a song in your heart, “Eubie!” is a sparkling and joyous tribute to one of the groundbreaking talents of the 20th century.

The Black Rep’s third time presenting a musical revue of American musician and composer Eubie Blake’s greatest hits is musical theater of the finest caliber.

The convivial cast, high-spirited choreography, cheerful musical numbers, elegant costumes, and silky-smooth orchestra combine for an uplifting production.

The musical extolling the talents of James Hubert “Eubie” Blake over his long, lauded career, especially his achievements in the early 1900s that helped spark the fabled Harlem Renaissance in the ‘20s and ‘30s, was the of the toast of the 1978-1979 Broadway season, nominated for three Tony Awards, including Eubie’s score and Gregory Hines’ performance. Blake died in 1983 at 96 years old.

With his 1921 musical, “Shuffle Along,” he and lyricist Noble Sissle helped break down racial barriers because it was the first Broadway musical written, directed by and starring black Americans. It also helped shape American musical theater as we know it today.

In 2006, his album “The Eighty-Six Years of Eubie Blake” from 1969 was included in the Library of Congress’ National Recording Registry by the National Recording Preservation Board. They annually select music that is “culturally, historically, or aesthetically significant.”

Coda Boyce. Photo by Phillip Hamer

This effervescent cast has individual standouts but really comes together as an ensemble to celebrate Eubie’s contributions in ragtime, jazz, and popular music. Director Ron Himes’s thorough knowledge of the piece and the song styles helps expertly extract the very best from the cast, which has five performers making their Black Rep debut (DeAnte Bryant, Serdalyer Darden, Carvas Pickens, Tamara PiLar, and J’Kobe Wallace).

Himes deftly stages the group numbers – ‘Shuffle Along,” “I’m Just Simply Full of Jazz,” “High Steppin’ Days,” and “Roll Jordan” with polished and buoyant dance designed by master choreographers Heather Beal and Vivian Watt. Such verve!

Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography, He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”

In perhaps Blake’s most well-known song, “I’m Just Wild About Harry,” Crenshaw joined Evann De-Bose, Coda Boyce, Samantha Madison and PiLar for a rousing rendition.

Crenshaw opened the show with Boyce and Venezia Manuel, performing the jolly “Charleston Rag” and “Good Night Angeline” in the prologue.

J’Kobe Wallace. Photo by Phillip Hamer

Boyce, so good in “The African Company Presents Richard III” at the Black Rep last year, shows off her vocal chops in “Craving for That Kind of Love” and her playful moves in “Baltimore Buzz” with Manuel and lithe Bryant and Wallace.

The acrobatic moves of Bryant and Wallace are eye-popping and crowd-pleasing, and add pizzazz to the music numbers, Wallace is especially impressive in “Dixie Moon” and “Got to Get the Getting While the Gittin’s Good.”

Newcomer Darden has a good time with “I’m a Great Big Baby” and other solos of note include PiLar in “Daddy,” and De-Bose in “Memories of You.”

PiLar has a terrific duet with powerful-voiced Pickens in “My Handyman Isn’t Handy Anymore.”

They both have a good time with the cast in a fun, very theatrical number “If You Never Been Vamped by a Brownskin, You’ve Never Been Vamped At All,” where they take on roles of The Vamp, wife, husband, judge, bailiff and jury.

Taijah Silas is part of the 11-person ensemble, and they all move with vigor and enthusiasm.

Phillip Hamer Photo

Music Director Joe Dreyer, who also plays piano, is a virtuoso musician, and seamlessly leads a superb orchestra of Chris Tomlin on tuba, Bernard Long on drums, Anthony Wiggins on trumpet and Harvey Lockhart on saxophone. They are behind a scrim, but they breeze through the music catalogue with aplomb.

The musicians are part of this dream team that delighted in delivering a beautiful lesson in music appreciation of an earlier era.

The sound design by Justin Schmitz is splendid, and so is the look of the production, with impressive lighting design by Jasmine Williams and scenic design by Tim Jones setting the atmosphere through the decades.

Costume Designer Marc W. Vital II’s exceptional craftsmanship captured the period’s glamour perfectly.

It’s rare when you get to experience not only the cast having the best time on stage, but the audience thoroughly engaged and enchanted with the vitality of those involved.

“Eubie!” closes the Black Rep’s 46th season on a high note.

Photo by Phillip Hamer

The Black Rep presents the musical revue “Eubie!” from May 3 to May 21 at the Edison Theatre on the Washington University campus. Performances are Wednesday and Thursday at 7 p.m., Saturday at 8 p.m., and Sunday at 3 p.m. For more information, visit www.theblackrep.org

Photo by Phillip Hamer.
Photo by Phillip Hamer