Lynn Venhaus

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

‘Still: A Michael J. Fox Movie’ Is Candid Look At Actor’s Life Challenges

‘Still: A Michael J. Fox Movie’ Is Candid Look At Actor’s Life Challenges

By Lynn Venhaus

A heartbreaking documentary told with warmth and humor, “Still: A Michael J. Fox Movie” pulls no punches. 

This unvarnished look at the life of beloved actor and advocate Michael J. Fox explores his personal and professional triumphs and travails as he confronts the incurable Parkinson’s Disease.

Neither a pity party nor a puff piece, the film is a thoughtful chronicle of the life and career of one-time “Boy Prince” of Hollywood as told through his performances and candid conversations with the film’s director Davis Guggenheim.

Guggenheim, a St. Louis native who became an Oscar-winning documentarian (for “An Inconvenient Truth” in 2007), takes a compelling approach to shaping the narrative.

With quick-cut editing of Fox’s TV and film work, he highlights the actor’s physicality  and crisp comic timing that boosted him from breakout ‘80s sitcom star to mega-popular movie mainstay. They also illustrate scenes from his life using actors that are artfully staged. 

Two striking visual takeaways include how much running he did as a young whirling dervish and how much prescription medicine he must take to help control his symptoms.

Growing up in Canada, he moved to Los Angeles at age 18, and was mired in dire straits pretty much until his fortuitous casting as Alex P. Keaton, the Reagan-era conservative kid raised by hippie activist parents in “Family Ties” (1982-1989).

Marty McFly in “Back to the Future”

He became a sensation as an integral part of NBC’s Thursday night “Must-See TV” lineup, replaced actor Eric Stoltz as Marty McFly in 1985’s mega-hit movie “Back to the Future,” launched a franchise, and was reliable box-office until a string of duds in the ‘90s — “Life with Mikey,” “For Love or Money,” “Greedy,” “Doc Hollywood” among them — became a catalyst for him returning to TV in 1996 with the hit sitcom “Spin City.”

His career achievements include five Emmy Awards for “Family Ties” and “Spin City” as lead actor in a comedy series, one for guest actor in “Rescue Me.” After going public with his young-onset Parkinson’s Disease diagnosis in 1998, he appeared on such shows as “The Good Wife,” :The Good Fight,” “Boston Legal,” and “Curb Your Enthusiasm.” Among his movies were “Teen Wolf,” “The Secret of My Success,” “The American President,” “Homeward Bound” (voice of Chance), “Stuart Little” (voice), “The Casualties of War,” “The Frighteners,” “Light of Day,” “Bright Lights, Big City” and “Mars Attacks!”

Emmy nominated as Lewis Canning in “The Good Fight”

Retired from acting since 2020, Fox has written four books, and the movie uses them as source material.
Fox noticed his pinky finger moved  uncontrollably in 1991, when he was filming “Doc Hollywood,” and later diagnosed as the incurable Parkinson’s Disease. He was 29.

His hid the trembling as best as he could, but psychologically, the effects were taking its toll. He frankly discusses his struggles and challenges, as we see the physical disabilities and what he has had to go through.

His outlook is remarkable, and he displays a toughness we haven’t seen before. His wife of 35 years, Tracy Pollan, is as much a profile in courage as he is. They have four children – son Sam, twin daughters Esme Annabelle and Aquinnah, and youngest daughter Schuyler. 

His family is a guiding force, a source of sustenance and strength, and grounded. They show the laughter, not the tears.
The amount of advocacy and awareness he has done regarding Parkinson’s is immeasurable, raising over two billion dollars through his foundation to date (The Michael J. Fox Foundation for Parkinson’s Research).

Last fall, he was given an honorary Oscar, the Jean Hersholt Humanitarian Award, last year by the Academy of Motion Picture Arts and Sciences. 

While he is matter-of-fact about his limitations, the impact he continues to have is inspiring. Now 61, his legacy is rich, and you will appreciate the man even more for his humanity than his admirable talent upon viewing this 1 hour, 36 minutes ode to living.

“Still: A Michael J. Fox Movie” is a 2023 documentary directed by Davis Guggenheim. It is rated R for language and the run time is 1 hour, 36 minutes. In select theatres and streaming on Apple TV + starting May 12 

Performers Enliven Esoteric, Mystical Reworking of ‘Carmen’ as Dance Film

Performers Enliven Esoteric, Mystical Reworking of ‘Carmen’ as Dance Film

By Lynn Venhaus

A bizarre and strange reimagining of Georges Bizet’s 1875 opera “Carmen,” this experimental film is also oddly compelling.

That’s because of the chemistry of the two leads Melissa Barrera as Carmen and Paul Mescal as Aidan. They are haunting in a modern story long on magic realism and short on backstories, character development and motives. Even the time and place aren’t definitive.

And because the fragmented and unfocused screenplay is the most frustrating aspect of the gritty film, what we glean from the tragic romance co-written by Oscar winner Alexander Dinelaris (“Birdman” in 2015), Loïc Barrère, and Lisa Loomer is that there is little resemblance to the classic opera but a smidgeon of similarity to the 1954 film “Carmen Jones.”

However, there is a tormented soldier and a fierce young woman both drawn to each other because of circumstances.

Carmen and her mother are mysterious women living in the Mexican desert, and the discharged Marine Aidan, now back home, has PTSD.

The daughter is forced to flee after her mother Zilah (Marina Tamayo) is murdered while she dances flamenco-style. Then, during a dangerous border crossing, Carmen is rescued by Aidan, who takes a job working as a border guard. His first night isn’t exactly what he had in mind, and he’s now on the run with a stranger.

Lots o’ baggage is obvious but not revealed. The pair head to Los Angeles where she seeks her mother’s best friend, the mercurial Masilda (Rossy De Palma), who owns a nightclub, La Sombra. The exotic entertainer gives them a safe space to hide but the police are on their trail. (Fun fact: De Palma, a Spanish actress, has been in multiple Almodóvar films.

Melissa Barrera as Carmen

The very fit couple spend a good deal of time physically running while they try to avoid getting caught.

In his feature film directorial debut, French choreographer Benjamin Millepied is fascinated by doorways and other symbolism, crafting a dreamscape using the color red as a visual nod to the iconic opera (and Pedro Almodóvar’s bold use of color in his films, anyone?).

Millepied, who choreographed “Black Swan” (starring his wife, Natalie Portman, in her Oscar-winning role), uses interpretive dance numbers in an attempt to propel the muddled story.

Barrera, a Mexican actress who was in the film adaptation of Lin-Manuel Miranda’s “In the Heights” as Vanessa, is not a trained dancer but her grace and technique are impressive. She has played Sam Carpenter in the fifth installment of “Scream” and its follow-up “Scream VI,” and has a hypnotic quality to her performances.

She pairs well with Mescal, the Irish actor Oscar-nominated this year for “Aftersun,” who competently dances with her in the desert and at the club. They also sing (separately) in the movie.

Composer Nicholas Britell has crafted an intriguing original score, further enhancing his reputation that includes three Oscar-nominated compositions (“Moonlight,” “If Beale Street Could Talk” and “Vice”) and an Emmy Award for Outstanding Original Main Title Theme for “Succession.”

Julieta Venegas and Taura Stinson wrote lyrics to Britell’s music for several songs, and a French choir is used as soundtrack background.

Not sure why more dance and less opera are a means to connect the characters, but the concept is “inspired by,” and not a remake per se. I think it is equally confusing to those who are familiar with the opera and those who’ve never seen it before.

While one can applaud the ambition and certain moments, overall it is not a satisfying experience.

Paul Mescal as Aidan

“Carmen” is a 2022 drama with music and dance directed by Benjamin Millepied and starring Melissa Barrera, Paul Mescal and Rossy De Palma. It is rated R for language, some violence and nudity and the run time is 1 hour, 56 minutes. The movie opens in select local theaters on May 12. Lynn’s Grade: C.

The Black Rep and Pulitzer Arts Join Forces for Phoenix Rising Series

The Black Rep and Pulitzer Arts Join Forces for Phoenix Rising Series

Performance Series Featuring Two Weeks of Movement in Conversation with Landscape
Presented by the Whitaker Foundation June 15-25 at the Pulitzer

Two of St. Louis’ top cultural institutions, The Black Rep and The Pulitzer Arts Foundation are collaborating this summer to bring audiences Movement in Conversation with Landscape, as part of the The Black Rep’s Phoenix Rising Performance Series, presented by the Whitaker Foundation, June 16-25, 2023 at the Pulitzer. The Series includes unique dance performances, dance film screenings, and master classes. Full schedule and details below, with FREE admission to all.


June 16-18: Fri., 6-7 p.m.; Sat., 5-6 p.m.; Sun., 5-6 p.m.

12.15.2017– MFA dance student Heather Himes. James Byard/Washington University

Performances including:

The Seventh Floor Dance Collective – Founded by Heather Beal, this St. Louis based dance company is dedicated to the preservation and legacy of Dunham Technique. Performing inside in the Galleries. 

Brother(hood) Dance – An interdisciplinary duo that seeks to inform its audiences on the socio-political and environmental injustices from a global perspective, bringing clarity to the same-gender-loving African-American experience in the 21st century. Performing outside throughout Park Like.

Nana – A performance ritualist, youth educator, and loquacious lover, their artistry is the lens through which they conjure Black Queer Feminist research. Nana is the Artistic Director of Healing the Black Body. Performing outside at Spring Church. 

Thurs., June 22: 8-9:30 p.m. 

Screening of dance films:

With introductions and post-show conversation led by Kirven Douthit-Boyd, Artistic Director of Big Muddy Dance Co. Held outside in the courtyard between the Contemporary Art Museum and The Pulitzer. Space limited, FREE with registration required. Register at pultzerarts.org. Films include: 

The Weight of Sugar

Director: Jingqiu Guan; Choreographer: Bernard Brown 

Filmed on location at a renovated historic mill, the short film uses the lens of sugar to illuminate some of the lasting effects of colonialism on women of color. With support from a strong community, a young black woman guides us toward ascension, releasing the vestiges of oppression scattered. 

“a clearing” a part of the FLY | DROWN series

Co-Directors: Jennifer Harge and Devin Drake

This short chronicles a dance folktale honoring Black women’s movement towards flight. Set in a post-Great Migration home in Detroit, MI, it is an interwoven story of two characters, elder and nyeusi, and moves between the mundane, the majestic, fact, and fable. 

June 23-25: Fri., 6-7 p.m.; Sat., 5-6 p.m.; Sun., 5-6 p.m.

Performances including:

 Swamp Body Dance – Brittany Williams is an international dancer, choreographer, and organizer; a principal dancer with Olujimi Dance; the founder of Dancing for Justice and Obika Dance Projects. A womanist, a ride or die freedom fighter, and art-maker, Brittany creates work that is part reality, part fugitive. Performing outside in the Tree Grove.

Harge Dance Stories – Jennifer Harge is an interdisciplinary choreographer, performance artist, and educator based in Detroit whose work centers on Black and queer vernacular movement practices, codes, and rituals that manifest at the intersections of performance, installation, and community gathering. Performing outside at Spring Church. 

The Seventh Floor Dance Collective with Siobhan Monique  – Singer, songwriter, and educator based in Florida, Siobhan is also the founding artist of Ancestral Funk TM, Inc.  Held outside in the courtyard between the Contemporary Art Museum and The Pulitzer.

Sat., June 17 & Sat., June 24: MASTER CLASSES 

A full schedule of Master Classes will be offered. Space limited, FREE with registration; full class listing at www.theblackrep.org.

About The Black Rep

The Black Rep, a 46-year-old legacy Black arts organization, is committed to producing, re-imagining, and commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of opportunities and resources for Black professionals and students in the theatre; improved representation on and back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will follow. For more information: www.theblackrep.org. 

The PHOENIX RISING SERIES honors The Black Rep’s original name on its founding in 1976 and is designed to create a platform for creative expression from an African American perspective in alternative spaces for new audiences, with support from the Whitaker Foundation. For a complete schedule of this summer’s SERIES visit www.theblackrep.org.

About The Pulitzer 

The Pulitzer Arts Foundation is an art museum dedicated to fostering meaningful experiences with art and architecture. Since its founding in 2001, the museum has presented art from around the world in its celebrated building by Tadao Ando and its surrounding neighborhood. Offering personal encounters with art, the Pulitzer brings art and people together to explore ideas and inspire new perspectives.

The Pulitzer campus is located in the Grand Center Arts District of St. Louis, Missouri, and includes the museum, the Spring Church, the Park-Like garden, and a tree grove. The museum is open Thursday through Sunday, 10am–5pm, with evening hours until 8pm on Friday. Admission is free. For more information, visit pulitzerarts.org.

Tickets On Sale for Arts For Life’s Best Performance Awards July 2

Tickets On Sale for Arts For Life’s Best Performance Awards July 2

Chris Moore to emcee, Nancy Bortosky to receive the Life Achievement Award

Tickets are now available for the Arts For Life’s 23rd Best Performance Awards on July 2 at 2 p.m. at the Florissant Performing Arts Center, 1 James J. Eagan Drive, Florissant, Mo. 63033.

Local singer-actor-dancer-director Chris Moore will be the master of ceremonies. At last year’s return to a live ceremony, he won the Best Actor in a Comedic Role Award for his performance as the Donkey in “Shrek,” which was produced by the Kirkwood Theatre Guild.

Chris Moore

He directed “Godspell” for Take Two Productions this spring. Other recent theatrical credits include Cutler in “Ma Rainey’s Black Bottom” at Clayton Community Theatre; in the ensemble of New Line Theatre’s “Urinetown” and “Head Over Heels,” and as a minstrel and Peter Quince in “Something Rotten!”; “Dreamgirls,” “Guys and Dolls,” and in the Polar Express event at Union Station. He will be part of New Line’s “A Funny Thing Happened on the Way to the Forum” production this June.

A graduate of Hazelwood Central High School, in addition to acting, Chris has a growing social media platform where he enjoys creating content about self-worth and being your most authentic self.

Awards will be presented in 30 categories. The BPAs have honored musical theater in community and youth productions beginning a year after the nonprofit organization AFL was founded in 1999.

“Arts For Life provides a community recognition program to spotlight the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” said Mary McCreight, AFL president.

Nancy Bortosky, executive director of DaySpring Arts and Education, will receive the Lifetime Achievement Award. She founded DaySpring in 1993 as a daytime arts program for homeschoolers and an after-school arts program for the community.

Under her direction the past 29 years, DaySpring has grown into a community organization offering dance, musical theatre, drama, fine arts, and music classes and performances, as well as offering an accredited Pre-K through 12th grade hybrid model Academy.

This year DaySpring will have produced five musicals, a mixed-bill ballet, a drama, numerous instrumental and vocal music recitals, and end-of-the-year drama, musical theatre, and dance recitals. Nancy has been instrumental in growing these programs. She plans to retire this year.

Nominations are listed on the website, www.artsforlife.org.

Formal attire is requested. A cash bar will be available. Doors will open at 1:30 p.m.

BPA tickets are available online at $30 with a service fee of $2 added, which can be purchased at: https://arts-for-life-2.square.site/.

You can download a mail order form online and save the service fee. Reservations can be arranged via mail. If ordering for a group, please attach a list of individual names for box office pick-up. Please make check payable to ARTS FOR LIFE and mail to PO Box 16426, St. Louis, MO 63125.

All BPA ticket orders will be held at the box office on event day.

Please contact us at afltrg@artsforlife.org if you have any special seating needs or COVID-19 related concerns. Handicapped seating is available.

Award Nominations

Four youth musicals presented by Gateway Center for the Performing Arts — “13” (8), “Bonnie and Clyde” (10), “A Christmas Story” (2), and “Something Rotten!” (13) — combined for 35 nominations, the most of any community theater or youth group. Gateway Center for the Performing Arts is based in Webster Groves.

Monroe Actors Stage Company in Waterloo, Ill., led all St. Louis area – metro-east Illinois community theater groups, with 25 — 14 for the classic musical “The Pajama Game” and 11 for the Steve Martin-Edie Brickel musical “Bright Star.”

Christ Memorial Productions received 13 nominations for “Joseph and the Amazing Technicolor Dreamcoat.” Goshen Theatre Project in Collinsville, Ill., earned 12 – 11 nominations for “Percy Jackson: Lightning Thief” and 1 for “Meet Me in St. Louis.” Spotlight Productions had 12 nominations for “The Addams Family.”

The Kirkwood Theatre Guild had nine BPA nominations for “Little Shop of Horrors,” as did Hawthorne Players in Florissant for “A Chorus Line.”

Act Two in St. Peters had eight BPA nominations for “The Full Monty.”

Other groups receiving nominations included Looking Glass Players, 6; Over Due Theatre, 6; Curtain’s Up Theater, 2; DaySpring Arts and Education, 2; and Young People’s Theatre, 1.

Florissant Performing Arts Center

Arts For Life is dedicated to the healing power of the arts through its work with youth, the underserved, and the community, with its goal of “Making a Dramatic Difference.”

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

Exuberant Cast in Tesseract’s Reflective ‘Welcome to Arroyo’s’

By Lynn Venhaus

With its energetic and appealing cast of six, and its earnest mission from a buzzy contemporary playwright, “Welcome to Arroyo’s” is a fine example of Tesseract Theatre Company’s commitment to fresh voices and perspectives.

It was written when the promising storyteller Kristoffer Diaz was in college but produced after his acclaimed 2009 play “The Elaborate Entrance of Chad Diety” was a finalist for the Pulitzer Prize for Drama. Diaz incorporated an American Dream theme in this dramatic comedy about the wrestler Macedonio Guerra, and it also won the Obie Award for Best New American Play in 2011.

Here, Diaz focuses on dreams, stressing community and touching on family, art, grief, loss, and his Latino culture.

Underscored with a lively hip-hop beat, “Welcome to Arroyo’s” is set on New York City’s Lower East Side in 2004. Victor Mendez portrays with conviction the industrious Alejandro Arroyo, whose dream is to convert the space where his late mother ran a bodega/deli for 20 years into a neighborhood bar/lounge that could become a cultural hot spot, but so far, not going so well.

The hard-working Al is at odds with his younger sister Amalia, aka Molly, who is full of anger and rebellion, and spray-paints graffiti outside the 7th precinct police station. Remi Mark conveys her character’s agitation and how mad at the world she is.

She courts trouble, he wants a better life. They are both dealing with the loss of their mother and will meet people who result in changes in direction for them.

Her unexpected love interest? Derek, a rookie police officer who recently moved to the area. He’s nice to her when she is mean to him, and Marshall Jennings is effective playing the concerned guy trying to understand her.

Al’s romantic attraction is to Lelly, a quirky college student tracing the history of a Puerto Rican woman that played a big part in hip-hop music. Could their mother have been one of its founders? Based on her research, Lelly seems to think that 20 years ago, she was the first female hip-hop DJ. Hannah de Oliveira brings out Lelly’s passion for her work.

Two DJs, Nelson and Trip, are Alejandro’s pals who hang out at the bar, and act as narrators sharing this fangirl theory, tying it all together. Kevin Corpuz (Nelson) and Jacob Schmidt (Trip) are the high-spirited rappers devoted to getting the party started, and they succeed in engaging audience members, who are eager to follow their direction. Corpuz’ enthusiasm is always contagious, and their contributions are easily the most relatable aspect of the show.

While heartfelt, Diaz’s play, however, seems incomplete, and the characters aren’t as developed as they could be for us to really care about them and be drawn into the scenario.

Nevertheless, director Brittanie Gunn worked well with an exuberant cast of four men and two women who give their all to pull us into the narrative. There is much goodwill here for what they are trying to accomplish with this show and the people involved.

The main problem with staging at the .Zack is its challenging acoustics, which have been problematic since it opened, some more pronounced than others. On the plus side, Corpuz and Schmidt have individual microphones, and Mark is loud as Molly, but de Oliveira is, at times, hard to hear as Lelly, although she is animated in her performance. Usually, in Tesseract’s previous shows staged there, it wasn’t an issue, but the uneven sound detracts.

Diaz appears destined to be a powerful presence in American theater. Besides writing plays, he is an academic – an associate arts professor at New York University’s Tisch School of the Arts and has worked in television.

Diaz went on to write the book for “Hercules,” the stage adaptation of the 1997 Disney film, with music by Alan Menken and lyrics by David Zippel, which was presented at The Public Theatre in 2019.

For television, Díaz adapted Jonathan Larson’s musical “Rent” into the 2019 live show on Fox and was the editor for Season 1 of “GLOW” on Netflix in 2017.

Tesseract gives this playful production a celebratory feel, and with its dedicated creatives, will likely continue its commitment to diverse talents and plays with something to say. And those are reasons to rejoice.

Tesseract Theatre Company presents “Welcome to Arroyo’s” April 28 – May 7, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at the .ZACK, 3224 Locust St., in Grand Center. For more information, visit the website: www.tesseracttheatre.com

This play contains adult language and themes.

Corpuz, Schmidt, Jennings

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE Presents Annual Aphra Behn Festival May 5-7 at Fontbonne U.

SATE presents the Seventh Annual Aphra Behn Festival, May 5-7, 2023, at Fontbonne University. Performances are at 8:00 PM on Friday, May 5 and Saturday, May 6. Performance on Sunday, May 7 at 4:00 PM.

When established in 2017, a goal of the Aphra Behn Festival was to give women interested in directing and writing for theatre an opportunity to get more experience, try out ideas, experiment, and hone their craft. SATE now looks to make the Festival a more inclusive space for transgender and non-binary artists, as well.

The Aphra Behn Festival is named for the fascinating poet, translator, and spy, Aphra Behn, who is widely considered to be the first English woman to make her living as a playwright. SATE produced a play about her, Or, by Liz Duffy Adams, in February 2015 and collaborated with Prison Performing Arts to adapt Behn’s play, The Rover, for the artists at the Women’s Eastern Reception, Diagnostic, and Correctional Center in Vandalia to perform. The Rover was also the text shared by the directors in the 2020 Festival. SATE feels very much a part of Aphra’s legacy.

This year’s list of ingredients for plays to be submitted in the 2023 Festival challenged the writers to re-tell, adapt, or respond to one of the plays on Hedgepig Theatre Ensemble’s Expand the Canon list (www.expandthecanon.com) SATE hosted readings of all three “Re-Told” plays on February 19, March 19, and April 30.

2023 Festival Plays

Bold Stroke for a Villain by Summer Baer
Directed by Emma Glose
Inspired by Hannah Cowley’s Bold Stroke for a Husband
Performed by Gabrielle Lynn, Jaelyn Hawkins, Greta Johnson
Welcome to purgatory! Victoria, condemned to an eternity of reflection, attempts to call into the void to someone she wronged but gets Elle Woulds instead.

Lieblingstante, by Aurora Behlke
Directed by Kayla Ailee Bush
Based off The Uncle by Princess Amalie of Saxony
Performed by Maida Dippel, Michael Pierce, and Leslie Wobbe
Julius introduces his girlfriend to his aunt Claudia. Who knows where the conversation may go after one or two (or four) glasses of wine.

reANIMA by Aly Kantor
Directed by Britney N. Daniels
A speculative subversion of Amelia Rosselli’s Anima
Performed by Keating and Taylor Kelly
Cricket totaled her meat vessel at a party—but not to worry! Her best friend has an industry hookup and made her a brand new one with all the bells and whistles she could ever want (and a few she’s slightly reluctant about). Now everything can get back to normal…right?

PRODUCTION ENSEMBLE
Stage Manager: Spencer Lawton
Costume Design: Liz Henning
Lighting Design: Michael Sullivan
Graphic Design: Dottie Quick
Photography: Joel Rumpell
Set/Props Design: Rachel Tibbetts, Ellie Schwetye
Sound Design: Emma Glose, Ellie Schwetye
Intimacy Coordinator: Rachel Tibbetts

Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

Spirited ‘Finale’ Excels At Examining Creative Process in WEPG’s Premiere

By Lynn Venhaus
Inspired by real 19th century artists, “Finale” examines the creative process of renowned Italian composer Gioachino Rossini with a nimble cast of four and jaunty, skillful writing.

West End Players Guild has produced its final play of the 111th season, and this comedy-drama is well-suited for their intimate theater space.

It’s also a feather in their cap, a world premiere written by Vladimir Zelevinsky, who is a playwright at home in the Union Avenue Christian Church basement, for this is his fourth play to be presented there.

For his previous WEPG works, he received a welcome reception and critical praise that garnered St Louis Theater Circle nominations, with “Manifest Destiny” in 2016 and “The Great Seduction” in 2018. His world premiere of “The Cricket on the Hearth” happened in December 2019, all directed by Steve Callahan.

Zelevinsky is also a research scientist based in Massachusetts and was in St. Louis to attend the inaugural performances last weekend.

While the play is fiction, it’s based on historical figures, and he obviously put in a lot of research into the characters: roguish “Jack” Rossini (Tim McWhirter), talented diva Isabella Colbran, his lover and later wife (Paula Stoff Dean), wealthy and anxious impresario Domenico Barbaia (Matt Anderson) and a coquettish muse Angel (Sadie Harvey), a likely composite of lovers vying for the outgoing genius’ attention.

Sadie Harvey, Paula Stoff Dean, Timothy McWhirter. Photo by John Lamb.

If you are not an operagoer, you are still likely to have heard of Rossini, who composed 39 operas, in addition to some chamber music, sacred music and piano pieces. His “The Barber of Seville” was a major success and his overture is legendary in his final piece, “William Tell.”

If you’re familiar with his work and life, you’ll understand the timelines and how impactful his creations were – among his accomplishments, he is credited with establishing the bel canto style of singing, using unusual rhythms, and effectively inserting crescendos. After he gained fame for his comic approach, he turned to more serious, dramatic fare, and those tones are reflected in the two acts.

“Finale” focuses on the popular Jack’s chaotic approach to deadlines, for as brilliant as Rossini was, he was notoriously lazy and insouciant. In the first act, as portrayed superbly – and pliant — by McWhirter, he’s ambitious and full of vigor, but in the second act, he’s disillusioned and dour, which is quite a departure after the jolly fun of Act I. There is a 15-minute intermission.

Act I is set in 1816 Rome, backstage at an opera, when Rossini was nearly 24 years old. Act II takes place 15 years later, in 1823, in a grand opera house in Paris. This time, at 39, it’s not procrastination troubling him, but how to handle the crossroads in his life. While no one knows for certain why, Rossini never composed another opera, and lived well until age 76. He loved to travel and entertain, and Zelevinsky drops names of his famous contemporaries and places he frequented to give us a sense of his place in history.

Photo by John Lamb

The second act’s noticeable shift of tone is a jolt but is based on the knowledge that Rossini ceased composing operas, which is puzzling to comprehend.

With Zelevinsky’s keen wit and penchant for detail, the spirited cast enlivens the first act much like a vintage screwball comedy. Their verbal dexterity and crisp comic timing make the snappy repartee a delight.  

After all, his comic operas were considered farcical fun, for his sitcom-like plots took lively twists and turns, and Callahan, an opera afficionado, mimics those wacky antics in crafting the physical comedy onstage and keeping the pace of the sprightly banter.

McWhirter’s hilarious nonchalance about writing pages so close to opening is contrasted by Anderson’s palpable exasperation over that unruffled demeanor.

In the second act, the supportive Barbaia has learned how to handle the prima donna, Bella is pragmatic about their marriage after distance separated them, and all the characters convey a more serious approach.

One of the show’s highlights is Dean showcasing her strong vocals, for she is an accomplished singer. Last summer, she played Desiree in Stray Dog Theatre’s “A Little Night Music.”

That’s an appreciated addition, for a show about music should give us a sample, at least.

Adding to the ambiance is scenic designer Ken Clark’s versions of two different houses hosting Rossini’s operas – one less opulent in Rome and the other more lavish in Paris. He has astutely serviced the action with furniture placement. Marjorie Williamson contributed graphic and scenic art.

Proficient costume designer Tracey Newcomb outfits the quartet in authentic-looking period pieces, with the women cavorting in petticoats for a good stretch, and lovely bright-colored gowns indicating stature.

Nathan Schroeder’s lighting design and Chuck Lavazzi’s sound design expertly provide smooth transitions for an effective overall production, with special mention to music advisor Caetlyn Van Buren.

Despite the abrupt change of moods between the first and second acts, the capable ensemble is pitch-perfect in depicting their characters. It’s often difficult to explore the inner workings of writers in a narrative, because the process is so internal, but Zelevinsky provides a reasonable backstory with good humor and interesting dialogue for a fitting “Finale.”

The West End Players Guild presents “Finale” April 28-30 and May 4-7, 8 p.m. Thursday through Saturday and 2 p.m. on Sunday at Union Avenue Christian Church, 733 Union Boulevard, St. Louis. For more information, visit www.westendplayers.org

Photo by John Lamb

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

Emotional Beats Amid Busy Action Mark Uneven ‘Guardians of The Galaxy Vol. 3’

By Lynn Venhaus

Equal parts salty, sweet, silly, sentimental, scary, and strange, this third chapter spotlighting freaky misfits saving the universe is a very busy mixed bag in “Guardians of the Galaxy Vol. 3.”

Legendary Star-Lord Peter Quill (Chris Pratt) leads his rag-tag team through life-and-death situations, all in superhero service of protecting good galactic folks under siege. This time, the High Evolutionary (Chukwudi Iwuji) wants to rule the universe by controlling all living things. Sure, it’s a lofty goal, but many obstacles are in the way, and inevitably, there will be an epic battle between good and evil. (We’re not allowed to divulge much)

The best part of these grandiose Marvel Cinematic Universe series is the chemistry of the superheroes, and having this motley crew back together one more time has deepened their ties, softened their tough exteriors, and created playful exchanges that enhance what is a dense and convoluted story.

Earth-born Peter Quill leads a rascally turbo-charged group that includes a hulking Drax the Destroyer (Dave Bautista, who is endearing as a gentle giant), intuitive Mantis (Pom Klementieff, lively as a smart and sweet says-it-like-it-is sentinel), intimidating Nebula (Karen Gillan, whose bark is worse than her bite), the versatile tree monster Groot (voice of Vin Diesel, who is able to morph into a number of effective sizes and shapes), and a sarcastic racoon named Rocket (voice of Bradley Cooper as a big-brained, no-nonsense warrior). Zoe Saldana returns as an alternate Gamora, which is better left unexplained (No spoilers from me).

Does anyone remember the plots other than bickering and banter between the Guardians, gnarly ginormous figures wreaking havoc, chaotic flights and fights through space, and clever needle drops that make characters shut up and dance?

This third outing is quite complicated: Rocket’s origin story, Ravagers show up with some key characters, and then a power-hungry maniacal villain called The High Evolutionary messes with species and is focused on wiping out civilization.

Merry band of misfits

The action, while often well-staged with choreographed slow-motion and quicksilver derring-do, has the usual repetitive litany of explosions, flying chunks of concrete, interstellar mayhem, and grotesque creatures to become mind-numbing. The film feels every bit of its 2 hours and 30 minutes run-time.

Director James Gunn, who co-wrote the script with his writing partners on the other two, Dan Abnett and Andy Lanning, has again stamped his devil-may-care attitude on this quirky comic book series, but also built up the found family theme

The elaborately designed spacecrafts and hub of activity known as the Knowhere outpost seem to layer on excessive visual effects.

The first Guardians of the Galaxy in 2014 was a breath of fresh air in the superhero realm, and the second one in 2017 capitalized on the original’s charm, laying on the kitchy pop culture. While Gunn retains his puckish sense of adventure, he has added more emotional beats this time around.

Newcomers include Will Poulter as Adam Warlock and Elizabeth Debicki as his mother Ayesha, characters introduced in the comics but not explained well here, and Maria Bakalova is the voice of the funny Cosmo the space dog. And Chukwudi Iwuji makes an impression as the flamboyant mad scientist who goes increasingly over the top.

For this final time, Pom Klementieff as Mantis and Dave Bautista as Drax are the standouts, creating a delightful comical dynamic.

But one of the bigger missteps is that this film is rated PG-13, for there are many elements that will frighten youngsters, especially about animals in cages.

The movie starts rather raggedy but ends with genuine emotional beats, and staying through the credits is a must. Also, it helps to be familiar with the other two.

When this overstuffed finale is hitting the right notes, it’s an earnest tug on the heartstrings, but because the story so often shifts tones and is stretched so thin – too many people! – overall, it’s frustrating.

“Guardians of the Galaxy Vol. 3” is a 2023: Sci-Fi, Fantasy, Action, Adventure film directed by James Gun and starring Chris Pratt, Zoe Saldana, Bradley Cooper, Dave Bautista, Karen Gillan, Pom Klementieff, Sean Gunn, Chukwudi Iwuji, Will Poulter, Sean Gunn and Maria Bakalova
Rated PG-13 for intense sequences of violence and action, strong language, suggestive/drug references, and thematic elements and run time is 2 hours, 30 minutes. Opens in theaters May 5. Lynn’s Grade: C+

Will Poulter as Adam Warlock

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny Announces Cast for ‘Sister Act’ Set For Season Finale

The Muny has announced that Bryonha Marie, Mamie Parris, James T. Lane, Alan H. Green, Thom Sesma, Meredith Aleigha Wells, Madeleine Doherty, Katy Geraghty, Brandon Espinoza, F. Michael Haynie and Darron Hayes will star in the divine musical comedy Sister Act, August 14 – 20, 2023. The grand finale to The Muny’s 2023 Season will be directed and choreographed by Denis Jones, with associate choreographer Barry Busby and music direction by Sheilah V. Walker. Walker will also conduct.

“To head directly to the obvious, this cast is heaven,” said Muny Artistic Director and Executive Producer.  “We are so inspired that so many great talents will be creating our “Sister Act.”   Our prayers have indeed been answered.”

Bryonha Marie

BRYONHA MARIE (Deloris Van Cartier) Muny: The Sound of Music (Mother Abbess) and A Little Sondheim Music (Powell Hall). Broadway: Prince of Broadway, The Book of Mormon, After Midnight, The Gershwin’s Porgy and Bess, Ragtime. Off-Broadway/NY: Promenade (NY City Center Encores!), Candide (Carnegie Hall), NY Philharmonic’s Show Boat and Sweeney Todd (Beggar Woman), Ragtime (Lincoln Center). Tour: Falsettos. World premiere: Dave (Arena Stage, 2019 Helen Hayes nominee), Prince of Broadway (Tokyo Orb). A 2022 Jeff nominee for her performance in Life After, Bryonha has appeared regionally, most recently as Mrs. Lovett in the Signature Theatre production of Sweeney Todd, directed by Sarna Lapine, The Gershwin’s Porgy and Bess (ART), Ragtime (Kennedy Center), The Civil War (NETworks), Hair (Broadway Sacramento), Dreamgirls (Effie White, North Shore), Little Shop of Horrors (Berkshire Theatre Group) and many more. TV: The SpongeBob Musical: Live on Stage!; Madam Secretary, Show Boat and Sweeney Todd (Live from Lincoln Center).

MAMIE PARRIS (Mother Superior) Muny: Paint Your Wagon (Cayla Woodling), Hello, Dolly! (Irene Molloy) and Joseph… Dreamcoat (Narrator). On Broadway, Mamie is perhaps best known for her iconic rendition of Memory from the recent revival of Cats. Other Broadway: School of Rock, Ragtime, The Drowsy Chaperone, On The 20th Century and 110 in the Shade. Off-Broadway: Anything Can Happen in The Theater (plus cast album), Pump Boys and Dinettes (Prudie). Tours: Wicked (Elphaba), 9 to 5 (Judy), Legally Blonde. Regional: Paper Mill Playhouse, Arena Stage, The Old Globe, Goodspeed, Pittsburgh CLO and more. Film/TV: A Standup Guy, State of Affairs, The Blacklist and The PBS Great Performances 50th Anniversary special. Audiobook narrator and lauded symphony soloist.

JAMES T. LANE (Eddie Souther) is from Philadelphia. Muny: Chicago (Billy Flynn), Disney’s The Little Mermaid (Sebastian). West End: The Scottsboro Boys, A Chorus Line. Broadway: Chicago (Billy Flynn), Kiss Me, Kate (Paul), King Kong, The Scottsboro Boys (Ozie Powell/Ruby Bates), A Chorus Line (Richie Walters). National tours: Ain’t Too Proud – The Life and Times of The Temptations (Paul Williams), Jersey Boys. Regional: Guys and Dolls (Nicely-Nicely Johnson), Mary Poppins (Bert), The Wiz (Tin Man) and more. Lane also created and performed in Triple Threat, a “play that moves and sings.”

Alan H. Green

ALAN H. GREEN (Curtis Jackson) Broadway: Charlie and the Chocolate Factory, School of Rock, Sister Act and Play On! Original Cast Albums include his Broadway shows as well as Broadway Bounty Hunter, Freaky Friday and Carols for a Cure. First national tours: 25th Annual Putnam County Spelling Bee, Swing!; Smokey Joe’s Cafe. International: Miss Saigon (sung in German). Recent Regional: The Griswold’s Broadway Vacation (5th Avenue Theatre), The Karate Kid (Stages St. Louis), A.D. 16 (Olney Theatre). TV: Almost Family, Unforgettable, Murphy Brown, 30 Rock, Peter Pan Live!; Law & Order: SVU; Guiding Light and lots of national commercials. Awards: Outstanding Lead Actor in a Musical (Berkie), Best Performer in a Streamed Musical (BroadwayWorld). BA in Vocal Performance from Rice University. Board Member and Associate Artist at Barrington Stage Company.

THOM SESMA (Monsignor O’Hara) made his Muny debut in 2013 as Jafar in Disney’s Aladdin. He has numerous credits at Repertory Theatre of St. Louis, where he appeared in Sweeney Todd, A Little Night Music, Dinner with Friends and where he directed Life (x) 3. Elsewhere, he was most recently seen in Oliver! (New York City Center Encores!), followed by the world premiere production of Madeline Myers’ Double Helix (Bay Street Theatre, Sag Harbor, NY). Other recent New York credits include A Man of No Importance (Classic Stage Company), Letters of Suresh (Second Stage, Lortel Award nomination), Unknown Soldier (Playwrights Horizons) and Ghosts (Williamstown/Seattle Rep). Broadway/National tour credits include: The Times They Are A-Changin’; Disney’s The Lion King, Titanic, Miss Saigon, Man of La Mancha, Search and Destroy, Nick & Nora. Select TV credits: Instinct, The Good Wife, Madam Secretary, Gotham, Jessica Jones.

MEREDITH ALEIGHA WELLS (Sister Mary Robert) made their national tour debut in Dr. Seuss’ How the Grinch Stole Christmas!, marking the first performance in a Broadway national tour by a wheelchair user. They have also toured their original one-person musical Dysfunctioning Just Fine (Purple Skies Playwright Award) across the northeast. Off-Broadway: Various readings with New York Theatre Workshop. Regional: Teenage Dick (Buck, Seattle Rep), Disney’s The Little Mermaid (Atina, Music Theater Works), Blue Roses (Laura Wingfield, Rec Room Arts), Shrek (Ugly Duckling, Beck Center) and Cleveland Public Theatre. Other appearances include Dance St. Louis, CounterBalance, OhioDance Festival, Boston’s Symphony Hall, Playhouse Square, Ailey Citigroup Theater, The Macy’s Thanksgiving Day Parade, and the Luminous Festival in Beijing, China. In 2020, Meredith started their newsletter, Message in a Bottle, where they continue to spread chronic illness awareness and help others through sharing their experience as a queer disabled performer.

MADELEINE DOHERTY (Sister Mary Lazarus) Broadway: Les Misérables (Ensemble, u/s Madame Thenardier, dance captain), A Christmas Carol (Char Woman, original cast), The Producers (Hold Me Touch Me, original cast), Sister Act (Sister Mary Teresa, original cast), Gigi (u/s Mamita/Alicia, original cast/revival), Charlie and The Chocolate Factory (Grandma Georgina, original cast). Off-Broadway: Romance, Romance (original cast), A Time for Singing (York Theatre). Six national tours, over 50 regional theatres, one son, one grandson, four step-kids, five step-grandkids, one dog and three unions.

Katy Geraghty

KATY GERAGHTY (Sister Mary Patrick) was most recently seen as Little Red in Into the Woods on Broadway as well as the national tour. Other Broadway credits include the original cast of Groundhog Day, as well as the pre-Broadway run of & Juliet in Toronto. Select Regional: Hairspray (Tracy Turnblad), Bliss (Princess Carmella, world premiere, 5th Avenue), Shrek (Gingy). TV: Modern Love and Sing It On.

BRANDON ESPINOZA (Pablo) Muny: Grease (Danny Zuko, Director/Choreographer: Denis Jones). Broadway: SpongeBob SquarePants, Tuck Everlasting, Gypsy, Big, Les Misérables, The Will Rogers Follies. Off-Broadway: The Visitor (Public Theater), Substitution (Playwrights Realm), Scarcity (Atlantic Theater Company), Tea and Sympathy (Keen Company), Captains Courageous (Manhattan Theater Club; Drama League honoree/nominee). Regional: The Rembrandt (TheaterWorks Hartford), Anna in the Tropics (Director/Playwright: Nilo Cruz, Miami New Drama, 20th anniversary production), On Your Feet! (Paper Mill Playhouse), The Way of the World (Director/Playwright: Theresa Rebeck; Folger Theatre), A View from the Bridge (Director: Ivo van Hove; Goodman Theatre). Current TV: Power Book III: Raising Kanan (Detective Garcia, Starz). Other TV: The Blacklist (NBC), Law & Order: Organized Crime (NBC), The Equalizer (CBS), FBI (CBS), The Leftovers (HBO), The Following (Fox), The Mysteries of Laura (NBC), The Carrie Diaries (CW).

F. MICHAEL HAYNIE (Joey) most recently starred as Olaf in the North American Tour of Frozen. Broadway: Wicked, Charlie and the Chocolate Factory, Holler If Ya Hear Me. Off-Broadway: Carrie (MCC), Dogfight (Second Stage) and others. Regional: Quasimodo in The Hunchback of Notre Dame (Ogunquit), Found (PTC) and more. TV/Film: Jesus Christ Superstar Live in Concert (NBC), Peter Pan LIVE! (NBC), Not Fade Away (Paramount).

DARRON HAYES (TJ) Muny: Joseph and the Amazing Technicolor Dreamcoat. He recently returned home to the states after playing Pharus in the Australian Premiere of Choir Boy. Australian Theatre: The National Theatre of Parramatta. Off-Broadway/New York: The Gospel According to Heather, Notes from Now, Love Around the Block. Regional: Asolo Repertory Theatre, Music Theatre Wichita, Two River Theater, New London Barn Playhouse, and JAG Productions where he premiered in the first ever all-Black Production of Next to Normal. University of North Carolina School of the Arts 2017. Penn State Musical Theatre 2021.

About the show:

Based on the smash hit film, Sister Act is a heavenly musical comedy that proves nothing can stand in the way of sisterhood! Disco diva Deloris dreams of fame and fortune, but is she prepared for the way she receives it? Songs inspired by Motown, soul and disco, including “Take Me to Heaven,” “Fabulous, Baby!” and “Raise Your Voice,” this score is sure to raise your spirits. The grand finale to the Muny season promises to be divine!

Music by Alan Menken, Lyrics by Glenn Slater, Book by Cheri Steinkellner & Bill Steinkellner, Additional Book Material by Douglas Carter Beane. Based on the Touchstone Pictures Motion Picture, Sister Act, written by Joseph Howard.

The Telsey Office is the official casting partner for The Muny. Full casting and design team 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.