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.
Producer Jeffrey Seller and the Fabulous Fox Theatre announce a digital lottery for HAMILTONtickets willbegin in conjunction with the show’s first performance on April 12 in St. Louis at the Fabulous Fox Theatre. A limited number of tickets will be available for every performance for $10 each. The lottery will first open at 10:00 AM Friday, April 1 and will close at 12:00 PM Thursday, April 7 for tickets to performances April 12–17. Subsequent digital lotteries will begin on each Friday and close the following Thursday for the upcoming week’s performances.
HOW TO ENTER
· Use the official app for HAMILTON, now available for all iOS and Android devices in the Apple App Store and the Google Play Store (http://hamiltonmusical.com/app).
· The lottery will open at 10:00 AM every Friday and will close for entry at 12:00 PM the next Thursday prior to the following week’s performances.
· Winner and non-winner notifications will be sent between 1:00 PM and 4:00 PM every Thursday for the upcoming week’s performances via email and mobile push notification. Winners will have two hours to claim and pay for their ticket(s).
· No purchase or payment necessary to enter or participate.
· Each winning entrant may purchase up to two (2) tickets.
· Only one entry per person. Repeat entries and disposable email addresses will be discarded.
· Lottery tickets may be picked up at will call beginning 2 hours prior to the performance with a valid photo ID.
· Lottery tickets void if resold.
· All times listed are in the local time zone.
ADDITIONAL RULES
Patrons must be 18 years or older and have a valid, non-expired photo ID that matches the name used to enter. Tickets are non-transferable. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice.
Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final – no refunds or exchanges. Lottery may be revoked or modified at any time without notice. A purchase will not improve the chances of winning.
Tickets for HAMILTON are currently on sale. Patrons are advised to check the official HAMILTON channels and MetroTix for late release seats which may become available at short notice.
HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education.
With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony®, Grammy®, and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
The HAMILTON creative team previously collaborated on the Tony Award ® Winning Best Musical IN THE HEIGHTS.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, casting by The Telsey Office, Bethany Knox, CSA, and General Management by Baseline Theatrical.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording is available everywhere nationwide. The HAMILTON recording received a 2016 Grammy for Best Musical Theatre Album.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny, the St. Louis Shakespeare Festival and The Midnight Company, with nine, eight and six awards, respectively, led the way at the 2022 St. Louis Theater Circle Awards, which were held in a virtual, streaming ceremony on HEC Media on Monday, March 28, 2022.
The Muny’s 2021 production of “Chicago,” which returns to open its 2022 season, took top honors for an individual show with seven awards. Denis Jones, director and choreographer of “Chicago,” and Joe Hanrahan, artistic director of The Midnight Company, each was honored with two individual awards to lead all honorees.
Nominees in more than 30 categories vied for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the combined calendar years of 2020 and 2021.
Because the coronavirus pandemic brought about the cancellation of so many productions by nearly all local professional theater companies, approximately 75 productions were considered for nominations for the combined years of 2020 and 2021. This compares to roughly 120 to 130 productions normally considered in one year alone.
The eighth annual award ceremony, which was to have been held ‘live’ at the Loretto-Hilton Center on the campus of Webster University, was canceled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event was held virtually in a highly polished presentation produced by HEC Media and streamed on HEC’s YouTube channel, Facebook page and web site, as was this ninth annual event. There was no ceremony of any type by the Theater Circle in 2021.
For the ninth annual ceremony, members of the St. Louis Theater Circle considered nominees from shows produced in the first three months of 2020 and the last eight months of 2021 combined. In addition, a few shows produced between April 2020 and May 2021 were included.
The winners for the ninth annual St. Louis Theater Circle Awards are:
Michelle Hand and Nicole Angeli in “It Is Magic”
Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role
Nicole Angeli, “It Is Magic,” The Midnight Company
Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role (Tie)
Joe Hanrahan, “It Is Magic,” The Midnight Company
Carl Overly, Jr., “It Is Magic,” The Midnight Company
Outstanding Leading Performer in a Comedy, Female or Non-Binary Role
Ellie Schwetye, “Tinsel Town,” The Midnight Company
Outstanding Leading Performer in a Comedy, Male or Non-Binary Role
Adam Flores, “The Thanksgiving Play,” Repertory Theatre of St. Louis
Outstanding Lighting Design in a Play
Seth Reiser, “A Christmas Carol,” Repertory Theatre of St. Louis
Outstanding Sound Design
David R. Molina, “King Lear,” St. Louis Shakespeare Festival
“Dress the Part”
Outstanding Costume Design in a Play
Christina Leinecke, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Set Design in a Play
Margery and Peter Spack, “The Ville: Avengeance,” St. Louis Shakespeare Festival
Outstanding Supporting Performer in a Drama, Female or Non-Binary Role
Elizabeth Teeter, “The Glass Menagerie,” Tennessee Williams Festival St. Louis
Outstanding Supporting Performer in a Drama, Male or Non-Binary Role
Brian McKinley, “Spell #7,” The Black Rep
Outstanding Leading Performer in a Drama, Female or Non-Binary Role
Laurie McConnell, “Annapurna,” St. Louis Actors’ Studio
Outstanding Leading Performer in a Drama, Male or Non-Binary Role
Andre De Shields, “King Lear,” St. Louis Shakespeare Festival
Outstanding New Play
“Tinsel Town,” by Joe Hanrahan, The Midnight Company
“Tinsel Town” by Joe Hanrahan
Outstanding Achievement in Opera
Patricia Racette, “La voix humaine,” Opera Theatre of St. Louis
Outstanding Production of an Opera
“Gianni Schicchi,” Opera Theatre of St. Louis
Outstanding Musical Director
Charlie Alterman, “Chicago,” The Muny
Outstanding Choreographer
Denis Jones,“Chicago,” The Muny
Smokey Joe’s Cafe
Outstanding Supporting Performer in a Musical, Female or Non-Binary Role
Natascia Diaz, “On Your Feet!,” The Muny
Outstanding Supporting Performer in a Musical, Male or Non-Binary Role
Adam Heller, “Chicago,” The Muny
Outstanding Lighting Design in a Musical
Sean M. Savoie, “Jersey Boys,” Stages St. Louis
Outstanding Set Design in a Musical
Edward E. Haynes Jr. and Kevan Loney, “Smokey Joe’s Café,” The Muny
Outstanding Costume Design in a Musical
Emily Rebholz, “Chicago,” The Muny
Diana DeGarmo “Always…Patsy Cline”
Outstanding Leading Performer in a Musical, Female or Non-Binary Role
Diana DeGarmo, “Always…Patsy Cline,” Stages St. Louis
Outstanding Leading Performer in a Musical, Male or Non-Binary Role
Christopher Kale Jones, “Jersey Boys,” Stages St. Louis
Outstanding Ensemble in a Comedy (Tie)
“Dress the Part,” St. Louis Shakespeare Festival
“It Is Magic,” The Midnight Company
Outstanding Ensemble in a Drama
“Two Trains Running,” The Black Rep
Outstanding Ensemble in a Musical
“Chicago,” The Muny
Outstanding Director of a Comedy
GQ and JQ, “Dress the Part,” St. Louis Shakespeare Festival
Outstanding Director of a Drama
Carl Cofield, “King Lear,” St. Louis Shakespeare Festival
Two Trains Running
Outstanding Director of a Musical
Denis Jones, “Chicago,” The Muny
Outstanding Production of a Comedy
“Dress the Part,” St. Louis Shakespeare Festival
Outstanding Production of a Drama
“Two Trains Running,” The Black Rep
Outstanding Production of a Musical
“Chicago,” The Muny
In addition, arts philanthropists Nancy and Ken Kranzberg were honored with a special award which was originally presented at the 2020 in-person ceremony. Michael Hamilton and Jack Lane, co-founders of Stages St. Louis and the troupe’s recently retired artistic director and executive producer, respectively, were honored as well for their body of work. The Kranzbergs and Lane each gave a recorded acceptance speech during the virtual ceremony.
The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.
Andre DeShields in “King Lear”
Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (LadueNews); Bob Cohn (St. Louis Jewish Light); Tina Farmer (KDHX); Michelle Kenyon (snoopstheatrethoughts.com); Gerry Kowarsky (Two on the Aisle, HEC Media); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Ann Lemons Pollack (stlouiseats.typepad.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on theAisle, HEC Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.
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.
Founded by St. Louis native Danny Meyer, Shake Shack will begin operation March 30
The St. Louis Blues announced Tuesday that Shake Shack will be the newest addition to their concession stand offerings at Enterprise Center. Shake Shack, founded by St. Louis native Danny Meyer, features classic American roadside fare, made with premium ingredients and was inspired by Meyer’s St. Louis roots. The Shake Shack stand will begin operation on Wednesday, March 30 for the Elton John concert.
“Over the last several years, we have made it a priority to provide a more diverse array of quality food offerings for our fans,” said Chris Zimmerman, President and CEO of Business Operations of the St. Louis Blues and Enterprise Center. “The addition of the ever-popular Shake Shack further enhances this progress and joins a stellar line-up of local restaurant partners and other fan favorites.”
“For someone who grew up in St. Louis, taking in a Blues home game nearly every Saturday night even before I could drive, it’s a real thrill to bring Shake Shack to the Enterprise Center,” said Danny Meyer, Shake Shack founder and CEO Union Square Hospitality Group. “We’ve been dreaming about this opportunity since first bringing Shake Shack to St. Louis, and it’s an honor to serve our burgers, shakes and fries alongside so many other outstanding food options at Blues games and concerts.”
Enterprise Center becomes the third NHL arena in the country with a Shake Shack stand and the first Shake Shack stand to feature artwork by a local artist. St. Louis artist Adam Bertels was commissioned to create a mural that captures the energy that Enterprise Center delivers through sports and entertainment. Several St. Louis icons are also showcased throughout the mural, including Meyer.
Shake Shack joins an already impressive line-up of food partners at Enterprise Center, including local favorites Chicken Out, Farmtruk, Hi-Pointe Drive-In, Mission Taco Joint and Sugarfire. Shake Shack will be located on the plaza level at Portal 3.
Shake Shack Stack
ABOUT SHAKE SHACK
Shake Shack is a modern day “roadside” burger stand serving a classic American menu of premium burgers, chicken sandwiches, hot dogs, crinkle cut fries, shakes, frozen custard, beer and wine. With its fresh, simple, high-quality food at a great value, Shake Shack is a fun and lively community gathering place with widespread appeal. Shake Shack’s mission is to Stand for Something Good®, from its premium ingredients and caring hiring practices to its inspiring designs and deep community investment. Since the original Shack opened in 2004 in NYC’s Madison Square Park, the Company has expanded to more than 240 domestic locations in 32 U.S. States and the District of Columbia and more than 125 international locations including London, Hong Kong, Shanghai, Singapore, Mexico City, Istanbul, Dubai, Tokyo, Seoul and more.
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.
A Refreshed Grande Dame of Midcentury Musicals Presented in Fine Fashion
By CB Adams
After the two-year black hole that was the COVID-19 pandemic, this reviewer was so happy to have a rear-end planted in a seat in the Fox Theatre, preparing to experience live theater with a live orchestra and a live audience, that I would have been happy just to listen to someone stand on the stage and recite selections from an old phone book.
Instead, as the house lights dimmed and orchestra played the overture to The Lincoln Center Theater Production of My Fair Lady, running at the Fox Theatre from March 22 to April 3, it felt more than a bit like The Wizard of Oz, when the film cuts from black and white into Technicolor.
There has been much written and analyzed about the success of Director Bartlett Sher’s approach to ameliorate some of the uncomfortable sexist and misogynistic moments of this musical – cringey attributes shared by others of the era, such as Kiss Me Kate. But sexism wasn’t limited to that era. It resonated in films such as “Pretty Woman” and even “Indecent Proposal.” In “Pretty Woman,” Julia Roberts’ character sleeps her way to success. In “My Fair Lady,” Eliza speaks her way to a different kind of success.
But this reviewer prefers to leave those discussions off stage. Instead, below is a live tweet-style review of the opening night’s performance, with all its due eager anticipation. All times are imaginatively approximate, but be prepared – this production runs almost three hours. When the company takes its bows, you know you’ve had a musical experience.
7:15 – The Fabulous Fox is full tonight! The stage shimmers lightly with a two-level, austere scrim of the London skyline and a single street lamp.
7:30 – The live orchestra! The overture! Through the heads in front of me, it’s actually exciting to catch glimpses Music Director/Conductor John Bell as he commands his baton. Won’t take that for granted anymore. Thanks, COVID!
7:31 – A spare stage. Silhouetted characters move across the scrim, ending with Eliza, alone, sans flowers. Does this foreshadow Eliza’s predominance in this version?
7:33 – Scene 1! Forgot the first song is Henry Higgins’ “Why Can’t the English?” as sung by Laird Mackintosh in this production. Nobody can top Lerner and Lowe at the height of the Golden Age of musical theater. Come for the songs, stay for the songs!
My Fair Lady Photo by Joan Marcus
7:45 – Balancing that Higgins tune is Shereen Ahmed as Eliza Doolittle (I hope she does a lot!) and “Wouldn’t It Be Loverly.” I was worried this might not have aged well, if for no other reason than familiarity can breed contempt. But no! It’s a plaintive call for something better, full of longing and with a pathos similar to “Somewhere Over the Rainbow.” Props to Ahmed!
7:55 – Change of pace in Scene 2, set in the dodgy side of town. It’s Eliza’s dad, Alfred, played by the athletic Martin Fisher, with his two sidekicks, Jamie and Harry, played by Wade McCollum and William Michals, respectively.
7:56 – These three engage in bro banter and well-timed roughhousing then segue into a jaunty rendition of “With a Little Bit of Luck.” Fisher’s baritone was unexpected and powerful. It seemed he could roll right into “Old Man River” without missing a beat. Definitely saw Sher’s attempt to soften the sexism by including a trio of suffragettes in the chorus shouting “Our bodies, our choice.”
8:02 – Back to Higgins, now in his two-story Wimpole Street study. Impressive, ship-like set, complete with all the accoutrements of an English academic bachelor: spiral staircase, polished dark wood and brass fittings, a cluttered desk the size of flight deck and yards and yards of books.
8:03 – Higgins’ opulent study is an Edwardian man cave, perfect for cavorting with the Higgins’ old chum, Colonel Pickering (a delightful Kevin Pariseau) that also reveals this show’s high production values. Wow! And that’s thanks to Michael Yeargan, the scenic designer.
8:20 – Jumping to Scene 5, back in Higgin’s study. The set ingeniously turns, revealing different parts of the townhouse. More kudos to Yeargan.
8:30 – Still Scene 5, replete with four numbers that lead to the ubiquitous “The Rain in Spain,” which begins Eliza’s transformation into a “proper” lady with the enunciation to match. Then, “I Could Have Danced All Night.” Ahmed brings a graceful earnestness to this familiar song.
8:40 – It’s the Scene 6 show stopper! Literally. Set outside a club tent at the Ascot horse races, Yeargan’s design includes a striped tent that was supposed to rise above the cast. Problem was, it didn’t rise. Some of the cast members had to step around the tent during the “Ascot Gavotte.” The house announcer told us the show was experiencing difficulties and instructed the cast to leave the stage for their safety. House lights came up for several minutes and the show proceeded. Hey, it’s live theater, people!
8:47 – Despite the scenery malfunction, the Ascot scene highlights another of Yeargan’s brilliant touches. He toggles sets right out of “Decorating Rich” with those like this one that are subtler, cleaner and more contemporary.
8:55 – Scene 7. Another great supporting character. This time, it’s love-struck Freddy, played by Sam Simahk. Singing “On the Street Where You Live” with a powerful tenor, Simahk commands the song and stage. Simahk, along with Fisher as Eliza’s father, may have given the best performances. What’s that they say about no small parts?
9:00 – Act I ends with the presentation of Eliza as she prepares for the embassy ball. As she steps out in a very Audrey Hepburn evening gown, it’s the perfect time to call out Catherin Zuber’s excellent costume designs. Eliza’s evening gown and gloves are perfect and elicited the anticipated oohhs and aahhs, but she becomes regal as she is enshrouded in a high-colored, deep-red cloak. Another noteworthy touch came earlier as Higgins’ house staff prepared to bathe Eliza. As she is stripped down, actually and metaphorically, the process is modestly exemplified by the way the maids pluck her dirty gloves from her hands. Small touch that says so much – love the attention to details like this.
Photo by Joan Marcus
9:20 – Act II, Scene 2. A cringe-worthy scene despite this production’s best efforts. Eliza is back in Higgins’ study after her successful foray into high society. “You Did It” is intended to be a triumphant song, but Eliza is separated physically and emotionally from Higgins, Pickering and the house staff. Higgins takes all the credit for her success while Eliza observes from the periphery. Am I the only one to see the parallels between parts of “My Fair Lady” and “Frankenstein?” “You Did It” is equivalent to Dr. Frankenstein’s “It’s Alive!” Both men are myopically impressed by their own work at the expense of the “creations.”
9:40 – Jumping to Scene 4. A rousing show-stopper with “Get Me to the Church On Time,” sung by Eliza’s father and his cohorts as he prepares to be married. Not sure what purpose this song does to move the story forward, but it is the most vigorous, uninhibited and naughty of the show. A great change of pace as a Moulin Rouge-esque song and dance routine that sneakily – at first – introduces cancan dancers in drag. What?!
My Fair Lady
10:15 – “I’ve Grown Accustomed to Her Face.” Don’t expect the Rex Harrison styling of this classic. Mackintosh’s Higgins is a linguistic king baby who cries for his mommy after Eliza leaves him in an earlier scene. Here, he grapples with his two sides – will he or won’t he. He waffles, like a Jekyll and a Hyde (apt since he played the Utterson character in “Jekyll & Hyde”) and the song ends with no clear decision.
10:30 – Not exactly the ending I expected. No spoilers. See “My Fair Lady” for yourself. It’s worth it.
11:30 – Back home. Thinking of that ending. It’s not a Hollywood ending, but it may be the best or most-right ending to a musical that others have described as “perfect but not great.” Thinking also of two moments as the audience walked toward the exits. Two separate individuals in two different parts of the theater were quietly singing, “I Could Have Danced All Night.” Nothing says “Great show” better than that.
Performances of Lerner & Loewe’s MY FAIR LADY at the Fabulous Fox run March 22 – April 3. Show times are Tuesday through Saturday evenings at 7:30 p.m., Saturday afternoons at 2 p.m. and Sunday afternoons at 1 p.m. There will be an evening performance on Sunday, March 27 at 6:30 p.m. and a matinee performance on Thursday, March 31 at 1 p.m. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“The Lost City,” directed by Adam and Aaron Nee, is a purely enjoyable action comedy with strong performances that provides comfort food for viewers seeking escapist fluff.
This wacky yarn centers around an archeologist-turned-adventure-romance-novelist named Loretta (Sandra Bullock), grieving her late husband and lacking excitement in her life, despite efforts by her publisher, Beth (Da’Vine Joy Randolph), and cringey social media manager, Allison (Patti Harrison), to support her career. Her newest novel, “The Lost City of D,” continues the treasure-hunting escapades of Dash McMahon, portrayed by cover model Alan (Channing Tatum) wearing a luscious wig. Alan, a classic Himbo, has a huge crush on Loretta and wants her to see him as more than just an attractive hunk.
After an unfortunate press conference, Loretta is kidnapped by wild-eyed businessman Fairfax (Daniel Radcliffe), who wants Loretta to help him find the actual treasure from her latest novel. Fairfax whisks Loretta away to a CGI-heavy, remote island in the Atlantic, leaving Alan and company distraught. They soon enlist the services of a chilled-out mercenary Jack Trainer (Brad Pitt) to help rescue Loretta, and real carnage ensues. Alan and Loretta end up fighting to survive, having the adventure of a lifetime and perhaps falling in love along the way.
Although “The Lost City” would likely play just as well on cable, the Nee brothers deliver a lighthearted romp that’s difficult to dislike. The cast’s comedic chops and some thrilling action sequences ensure it remains perfectly entertaining from start to finish.
Narratively, “The Lost City” doesn’t break any new ground — functioning mainly as a vessel to put Loretta and Alan in screwball situations that wind up bringing them together. With humor that aims for mid-level raunchiness, Bullock and Tatum have fizzy chemistry, adding a sense of vulnerability to their performances that gives their characters hints of depth.
Loretta, donning a sequined jumpsuit for most of the film, is unable to live in the present, having been burned by a reality far separated from the fearlessness of her writing. She’s uptight, defensive, yet still thrilled on some level by her predicament, and Bullock’s sarcastic, typically spicy line delivery serves Loretta well as she breaks out of her shell. Tatum does what he does best, embodying a goofy muscle man with a heart of gold. Alan wants to be Loretta’s knight in shining armor, though it’s just as often him in danger.
Certain scenarios — like Loretta removing leeches from Alan’s buttocks — use the exotic surroundings to mine some amusing moments and plenty of innuendos. Bullock and Tatum bounce lines off each other with solid comedic timing, even when some jokes don’t land. Indeed, the biggest laughs of “The Lost City” involve physical comedy, particularly involving Pitt, who fits the cartoonish proceedings like a glove and would give John Wick a run for his money. Calmly extinguishing bad guys with precision, he’s utterly hilarious, especially when contrasted with Alan, who aspires to meet Trainer’s badassery yet falls flat, desperately trying but failing to seem cool in Loretta’s eyes.
When “The Lost City” focuses on Alan and Loretta bumbling their way through crazy circumstances, there’s little to whine about — the group’s banter and slapstick comedy keep the momentum going. Unfortunately, Pitt aside, side-characters don’t leave much of an impression. An extended subplot involving Randolph’s Beth abandons the film’s strengths to rely on comparatively mundane, hit-or-miss dialogue that tries too hard to be current. Radcliffe is also maniacally effective, but Fairfax’s motivations — being ignored by his father — are pretty flimsy, and he remains one-note throughout. Additionally, the film’s swerve into eye-rolling sentimentality in the third act lacks any sort of surprise, falling back into a creatively stagnant formula.
That being said, “The Lost City” neither overstays its welcome nor blows your socks off. It’s a lightweight tonic for our cynical times.
“The Lost City” is a 2022 comedy directed by Aaron and Adam Nee. It stars Sandra Bullock, Channing Tatum, Danielle Radcliffe, Da’Vine Joy Randolph and Brad Pitt. It’s run time is 1 hour, 52 minutes and rated PG-13 for violence and some bloody images, suggestive material, partial nudity and language. Alex’s Grade: B
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Fabulous Fox Theatre is eager to celebrate its 40th Anniversary with an incredible lineup in the 2022-2023 U.S. Bank Broadway Series! Get ready to open the season with the signature dance moves and silky-smooth harmonies of the legendary quintet in AIN’T TOO PROUD – The Life and Times of The Temptations. Winner of eight 2019 TonyAwards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, HADESTOWN invites you on a hell-raising journey to the underworld and back in October. For the first time in forever, experience Disney’s FROZEN like never before in this unforgettable theatrical experience filled with sensational special effects. To kick off 2023, you’ll lose your head over the new original musical that is the global sensation SIX. All rise in St. Louis for the most successful American play in Broadway history, Harper Lee’sTO KILL A MOCKINGBIRD, followed by the laugh-out-loud love letter to the theater, TOOTSIE. To close out the seven-show season ticket package in May of 2023, everything will be alright with JESUS CHRIST SUPERSTAR celebrating its 50th Anniversary. An eight show package is also available to subscribers with the addition of Broadway sensation and St. Louis’ most “popular” musical WICKED when itflies into town in April.
AIN’T TOO PROUD – The Life and Times of The Temptations | September 20 – October 2, 2022
AIN’T TOO PROUD – The Life and Times of The Temptations is the electrifying, new smash-hit Broadway musical that follows The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame. With their signature dance moves and silky-smooth harmonies, they rose to the top of the charts creating an amazing 42 Top Ten Hits with 14 reaching number one. Nominated for 12 Tony® Awards and the winner of the 2019 Tony Award for Best Choreography, AIN’T TOO PROUD tells the thrilling story of brotherhood, family, loyalty, and betrayal, as the group’s personal and political conflicts threatened to tear them apart during a decade of civil unrest in America.Written by three-time Obie Award winner Dominique Morisseau, directed by two-time Tony Award winner Des McAnuff (Jersey Boys), and featuring the Tony-winning choreography of Sergio Trujillo (Jersey Boys, On Your Feet!), the unforgettable story of this legendary quintet is set to the beat of the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone,” and so many more.
HADESTOWN | October 11-23, 2022
BroadwayEva Noblezada, who plays Eurydice, and the Broadway cast of Hadestown.
Come see how the world could be. Welcome to HADESTOWN, where a song can change your fate. Winner of eight 2019 TonyAwards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album, this acclaimed new show from celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always. HADESTOWN intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, HADESTOWN is a haunting and hopeful theatrical experience that grabs you and never lets go.
Disney’s FROZEN | November 2-13, 2022
From the producer of The Lion King and Aladdin, FROZEN, the Tony®-nominated Best Musical, is now on tour across North America and the critics rave, “It’s simply magical!” (LA Daily News). Heralded by The New Yorker as “thrilling” and “genuinely moving,” FROZEN features the songs you know and love from the original Oscar®-winning film, plus an expanded score with a dozen new numbers by the film’s songwriters, Oscar winner Kristen Anderson-Lopez and EGOT winner Robert Lopez. Oscar winner Jennifer Lee (book), Tony and Olivier Award winner Michael Grandage (director), and Tony winner Rob Ashford (choreographer) round out the creative team that has won a cumulative 16 Tony Awards. An unforgettable theatrical experience filled with sensational special effects, stunning sets and costumes, and powerhouse performances, FROZEN is everything you want in a musical: It’s moving. It’s spectacular. And above all, it’s pure Broadway joy. Presented by Fox Performing Arts Charitable Foundation.
SIX | January 24 – February 5, 2023
Divorced, beheaded, died, divorced, beheaded, survived. From Tudor Queens to Pop Princesses, the SIX wives of Henry VIII take the mic to remix five hundred years of historical heartbreak into an exuberant celebration of 21st century girl power! This new original musical is the global sensation that everyone is losing their head over. The New York Times says SIX “TOTALLY RULES!” (Critic’s Pick) and The Washington Post hails SIXas “Exactly the kind of energizing, inspirational illumination this town aches for! The Broadway season got supercharged!” Written by Toby Marlow & Lucy Moss.
Harper Lee’s TO KILL A MOCKINGBIRD | February 28 – March 12, 2023
All rise for Academy Award® winner Aaron Sorkin’s adaptation of Harper Lee’s Pulitzer Prize-winning masterwork. The New York Times Critic’s Pick TO KILL A MOCKINGBIRDis “the most successful American play in Broadway history.” (60 Minutes). Rolling Stone gives it 5 stars, calling it “an emotionally shattering landmark production of an American classic,” and New York Magazine calls it “a real phenomenon. Majestic and incandescent, it’s filled with breath and nuance and soul.” With direction by Tony Award® winner Bartlett Sher, TO KILL A MOCKINGBIRD — “the greatest novel of all time” (Chicago Tribune) — has quickly become “one of the greatest plays in history” (NPR).
TOOTSIE | March 21 – April 2, 2023
Call it “musical comedy heaven” (Rolling Stone). Call it “the most uproarious new musical in years!” (The Hollywood Reporter). Call it TOOTSIE! This laugh-out-loud love letter to the theater tells the story of Michael Dorsey, a talented but difficult actor who struggles to find work until one show-stopping act of desperation lands him the role of a lifetime. Featuring a hilarious Tony®-winning book by Robert Horn and an outrageously clever score by 2018 Tony-winner David Yazbek (The Band’s Visit, Dirty Rotten Scoundrels), this New York Times Critic’s Pick is “a joyful delight” (The Washington Post) that’s “so packed with punchlines, it should be called a jokebox musical!” (Bloomberg). “In these turbulent times, when the world seems out of balance, we need a place to let the good times roll,” raves Rolling Stone. “TOOTSIEis it!”
JESUS CHRIST SUPERSTAR | May 9-21, 2023
Celebrating its 50th Anniversary, a new mesmerizing production of the iconic musical phenomenon returns to the stage. Originally staged by London’s Regent’s Park Open Air Theatre and helmed by the acclaimed director Timothy Sheader (Crazy for You, Into the Woods) and cutting-edge choreographer Drew McOnie (King Kong, Strictly Ballroom), this production won the 2017 Olivier Award for Best Musical Revival garnering unprecedented reviews and accolades. Appealing to both theater audiences and concert music fans, this production pays tribute to the historic 1971 Billboard Album of the Year while creating a modern, theatrical world that is uniquely fresh and inspiring. With lyrics and music by Emmy, Grammy, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, JESUS CHRIST SUPERSTARis set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.
WICKED I April 12 – May 7
So much happened before Dorothy dropped in. WICKED, the Broadway sensation, looks at what happened in the Land of Oz…but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin—smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.” From the first electrifying note to the final breathtaking moment, WICKED—the untold true story of the Witches of Oz—transfixes audiences with its wildly inventive story that USA Today cheers is “a complete triumph! An original musical that will make you laugh, cry, and think.”Presented by Fox Performing Arts Charitable Foundation.
Series Specials
Seven additional Broadway shows will be offered as specials to 2022–2023 season ticket holders for priority seating before their public on-sale dates. One of the world’s most beloved and timeless stories, Nebraska Theatre Caravan’s A CHRISTMAS CAROL, is a holiday tradition at the Fox and will play December 1-4, presented by the Fox Performing Arts Charitable Foundation. The longest running and highest rated holiday television special, RUDOLPH THE RED-NOSED REINDEER, will fly into St. Louis December 11. CIRQUE DREAMS HOLIDAZE will light up the stage in the popular and dazzling family holiday spectacular December 16-17. Embrace you inner elf when the modern day Christmas classic ELF The Musical plays at the Fox just in time for the holidays December 20-24. BEAUTIFUL – The Carole King Musical, the Tony® and Grammy® Award-winning inspiring true story of King’s remarkable rise to stardom, returns to the Fox January 6-8. Cameron Mackintosh presents the acclaimed production of Boublil and Schönberg’s Tony Award® winning musical phenomenon LES MISÉRABLES January 17-22 and will be welcomed by Saint Louis Ballet.Featuring pulsing, original music, custom-made instruments, surprise audience interaction and hilarious absurdity, join BLUE MAN GROUP in a joyful experience that unites audiences of all ages February 9-12.
New seven and eight show season ticket packages will go on sale June 6 at 10 a.m. Current U.S. Bank Broadway season ticket holders will receive their renewal information in the coming weeks. On-sale dates for individual shows will be announced later. For more information, please call the Fox Subscription office at 314-535-1700.
Six
2022 – 2023 U.S. Bank Broadway Series Shows and Specials:
(The Season Ticket Package shows are in bold)
AIN’T TOO PROUD – The Life and Times of The Temptations * September 20 – October 2, 2022
HADESTOWN * October 11-23, 2022
Disney’s FROZEN * November 2-13, 2022
A CHRISTMAS CAROL * December 1-4, 2022
RUDOLPH THE RED-NOSED REINDEER * December 11, 2022
CIRQUE DREAMS HOLIDAZE * December 16-17, 2022
ELF The Musical * December 20-24, 2022
BEAUTIFUL – The Carole King Musical * January 6-8, 2023
LES MISERABLES * January 17-22, 2023
SIX * January 24 – February 5, 2023
BLUE MAN GROUP * February 9-12, 2023
Harper Lee’s TO KILL A MOCKINGBIRD * February 28 – March 12, 2023
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus For 10 days preceding the 94th annual Academy Awards on March 27, we are spotlighting each of the 10 Best Picture nominees.by running a review from when the movie opened locally, and then add awards season news and other tidbits.
A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future. It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding.
As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people. The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.
The sci-fi action adventure was released in St. Louis on Oct. 22, and starred Timothee Chalamet, Oscar Isaac, Rebecca Ferguson, Zendaya, Josh Brolin, Stellan Skarsgard, Dave Bautista, Jason Momoa and Javier Bardem.
It is rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, runs 2 hours and 35 minutes, and is directed by Denis Villeneuve.
One of the films delayed by the COVID-19 pandemic, it was originally scheduled for a late 2020 release, but finally premiered at the Venice International Film Festival on Sept. 3, 2021, and was released in the U.S. Oct. 22 in theaters and streaming on HBO Max.
The film was generally well received by audiences — grossed $400 million worldwide on a production budget of $165 million. Many critics cited its visuals, scope, and ambition, A sequel is set for release next year, Oct. 20, 2023, covering the second half of the book.
2021-2022 Awards:
“Dune” was nominated for 10 Academy Awards, including Best Picture, Adapted Screenplay, Cinematography, Score, Sound, Editing, Costume Design, Production Design, Visual Effects and Hairstyling and Makeup.
It won five at the BAFTAs: Cinematography, Original Score, Sound, Production Design and Special Visual Effects.
Greig Fraser won for feature film from the American Society of Cinematographers.
On Rotten Tomatoes, 84% of 468 critics’ reviews are positive. I gave it a B, but agree on the technical aspects. The consensus was presented as thus: “Dune occasionally struggles with its unwieldy source material, but those issues are largely overshadowed by the scope and ambition of this visually thrilling adaptation.”
Audiences polled by CinemaScore gave the film an average grade of “A–”
Of the groups I belong to, It won three from the Critics Choice Association – for Production Design, Visual Effects and Original Score, with six other nominations. It was nominated for three EDA Awards from the Alliance of Women Film Journalists, for Adapted Screenplay, Cinematography and Editing. and it won two – Visual Effects and Score from the St. Louis Film Critics Association, with six other nominations – Adapted Screenplay, Cinematography, Costume Design, Director, Editing and Production Design.
Rebecca Ferguson, Zendaya, Javier Bardem and Timothee Chalamet.
This is my review that was published in the Webster-Kirkwood Times on Oct. 21, 2021. Lynn’s Take: As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.
Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.
Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”
Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?
We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.
Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.
The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.
“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.
Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and a Sci-Fi Channel miniseries in 2000.
While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem in adapting something so unwieldy – that the character development suffers.
It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.
This one does attempt to over-correct in a tedious way, with a screenplay by director Denis Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still falters in explanations.
Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by the weight of his destiny, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.
Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”
It’s not his fault that his character is a blank slate. Paul is being groomed to take over, and while at times reluctant and confused, he accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.
Far more captivating is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet convey a loyal longstanding friendship.
Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.
A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.
The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knockoffs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.
While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he conveys the grandeur of the planet landscapes as well as the more intimate moments in various degrees of light.
He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.
Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.
Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.
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.
SATE looks forward to a return to live, in-person productions in 2022, the Season of Party, with all world-premiere, original plays, including the Sixth Annual Aphra Behn Festival and Brontë Sister House Party by Courtney Bailey.
To kick off the 2022 Season of Party, SATE will present its sixth annual Aphra Behn Festival, April 29-May 1, 2022 at 8:00 PM (CST) at Centene Center for the Arts in midtown St. Louis. Established in 2017, the Aphra Behn Festival’s goal is to give women interested in directing and writing for theatre an opportunity to get more experience, experiment, and hone their craft. The 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.
In 2022, SATE will produce three original plays written and directed by women artists.
Go Before I Doby Hazel McIntire, directed by LaWanda Jackson A bar in the nightlife district becomes a portal into others life as drinks are poured and memories made. A daughter lives through the loss of both of her parents in the span of a few short years, which is viewed by her faithful bartender. A view of the world seen by the often unseen, Go Before I Do is a story of growth, exploration, and understanding.
Repurposed, by Michelle Zielinski, directed by Elizabeth Van Pelt Will a downcast visitor on a dreary day find meaning in strange modern art? And which is stranger, the art or the other people? Reply Hazy, Try Again …
The Super Fun Time Party Palaceby Lize Lewy, directed by Rae Davis The Super Fun Time Party Palace is a look into the banality of parenthood. Frankie and Jessie are first time parents who will try anything to make their 6 year old son’s birthday a success, and in doing so, chaos ensues.
Audition information can be found on SATE website at www.satestl.org under the Auditions banner.
Festival Stage Manager: Emma Glose
Festival Designers: Bess Moynihan, Liz Henning, Grace Sellers, and students from East Central College.
Festival Graphic Design by Dottie Quick.
SATE’s 2022 Aphra Behn Festival is made possible by funding from the Missouri Arts Council and The Steven Nelson Memorial Playwright’s Fund.
The second show in the 2022 season is Brontë Sister House Party by Courtney Bailey, directed by Keating, designed by Bess Moynihan and Liz Henning, running August 10-27, 2022 at The Chapel. Originally commissioned by St. Louis Shakespeare Festival as part of the Confluence Writers Project 2021 cohort, Brontë Sister House Party will receive its world-premiere production by SATE.
The Brontë sisters of Victorian literary fame (Charlotte, Emily, and Anne) are trapped in a purgatorial time loop where they must throw a fabulous house party every night for eternity. Only when they reach The Point of Celebratory Reverence, the highest point of celebration that a party can achieve, will they be released. An absurd, feminist revisionist tribute to all the women artists who’ve created under pressure and still had it in them to throw a good party.
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.
Thomas Edison said: “Genius is 1% inspiration, 99% perspiration.”
That ode to hard work is evident in New Line Theatre’s latest production of “Head Over Heels,” a most unusual romantic comedy-fantasy musical involving high-octane dance numbers with upbeat songs from the ‘80s new wave/pop rock all-female group The Go-Go’s — and a fairy tale storyline from the 16th century.
This creative burst of a show seems fresh – and a refreshing change of pace. How can you not want to sing along with “Vacation,” “Our Lips Our Sealed” and “We Got the Beat”?
With such a catchy hit song catalogue included, there is an exuberance that’s comparable to those early days of the U.S. New Wave when Belinda Carlisle (lead vocals), Jane Wiedlin (guitar and vocals), Charlotte Caffey (lead guitar, keyboards, and vocals), Gina Schock (drums) and Kathy Valentine (base and vocals) were considered part America’s sweetheart, part rebel girls.
Those girly Go-Go’s became the first multi-platinum-selling all-female band to play their own instruments and write their own songs. The feisty five were tailor-made for the music-video television revolution as they rose to fame after their 1981 debut album, “Beauty and the Beat,” was released.
Did I mention infectious hooks? We are reeled in with abandon. And two songs are included from Carlisle’s solo career – “Mad About You” and “Heaven Is a Place on Earth.”
Photo by Jill Ritter Lindberg
The cast is this unified blast of energy – a big bang of emotion as they cavort, smile, and lay on the charm. Oh, they got the beat, all right.
Because their run was unfortunately cut short in 2020, and the company has returned to live theater for a 30th season, there is a renewed spark and a collective celebratory vibe. They all look so happy to be on stage.
I first saw their regional premiere in the Before Times, right before a global coronavirus pandemic was declared and St. Louis went into lockdown. A lot has changed since then – death rate, highly transmissible variants, and political debates on public health safety vs personal rights – but – hey, The Go-Go’s were inducted into the Rock ‘n Roll Hall of Fame!
The music and movements are like a tonic here – after all the drama and reality of the past couple of years, it’s such a relief to see people doing what they are passionate about, and our second chance to make a connection that is unique to the art form.
And this is a show ultimately about connection – how we need it, how we screw it up, and what is so satisfying about it.
For more than 700 days, we have forged ahead — through dark stages, no shows going on, intermittent stays at home, getting vaccines and boosters, adapting to protocols like wear a mask and show your vaccine card at the door when theater resumed — or not, given the surges and number of cases. Some of us tested positive, others luckier in avoiding it.
We are forever changed, and art will reflect that someday. But for now, it’s time to dance!
Melissa Felps, Dawn Schmid, Grace Langford. Photo by Jill Ritter Lindberg.
In “Head Over Heels,” the source material may be hundreds of years old, but it is far from creaky, if you look at it as young folks revolting against parental authority.
“The Countess of Pembroke’s Arcadia” by Sir Philip Sidney is the novel it’s based on, which proved fertile source material for certain plot elements of Shakespeare’s “King Lear,” “Hamlet” and “A Winter’s Tale.” There are various updates and editions.
What a combo plate this story is! It blends irony with old-timey morals – chew on that – and touches on gender politics while reinforcing that there are no rules in love and romance.
In 1580, a royal family wants to save their kingdom from extinction, but their journey is a rocky one. They discover “all you need is love,’ but in surprising – and sometimes shocking – ways.
And that changing with the times and letting go of traditions is a clarion call. During their escapades, they find out the key to their realm’s survival lies within each of their own hearts but is not always in the way they expect.
The humor attempts – wordplay, double entendre, nimble timing — helps the flowery language of a bygone era go down, so dispel any notion that this is stuffy.
The New Liners are back, baby! And with only two changes from the original cast –Colin Dowd, as the dutiful but very nervous servant Dametas, and Dawn Schmid, as spunky Mopsa, make those parts their own. They play a father-daughter duo – he’s the well-meaning dad who has tried to shelter his little girl from the world, while she’s ready to plant her flag.
The rambunctious ensemble includes comic and frisky turns by Grace Langford as Princess Pamela and Melissa Felps as her sister Princess Philoclea, with Clayton Humburg exceptionally good as her major crush Musidorus, a lowly shepherd boy (but also charming in disguise – but let’s not ruin the plot).
Photo by Jill Ritter Lindberg
The three main girls, as it turns out, are as much firebrands as the rock ‘n rollers who blazed trails for other females. Hmmm…maybe this match isn’t as unlikely as it sounds.
A serious Zachary Allen Farmer plays the princesses’ controlling father, King Basilius, while Carrie Priesmeyer plays his roving-eye wife Queen Gynecia with an insouciant shrug. Girls will be girls, after all.
Graceful Tiélere Cheatem is the grand and mysterious Oracle Pythio, working his fabulous shimmery wardrobe and commanding the stage like he always does.
Rounding out the cast is ball of fire Kevin Corpuz along with the oh-so-lively ensemble — Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack keeping a full-steam-ahead pace that’s like one big spring break party.
Womack and Sauer teamed on the choreography that keeps everyone in motion for 11 dance numbers. Yes, eleven. That’s a lot for a show!
Mounting this production again means some new folks on the creative team – visionary director Scott Miller returns as the solo credit, then subbed as the music director and accompanist the first weekend while original music director Nic Valdez, St. Louis Theater Circle nominee for his work in 2020, returned for the final two weeks of the run.
The band, as always, is stellar – Adam Rugo on lead guitar, Jaylen Edwards on guitar, Clancy Newell on percussion and John Gerdes on bass.
A few changes to some costumes – superbly crafted by Sarah Porter and Courtney Gibson – but still the same kicky bright-color garments fashioned after medieval minstrels while giving the royal family a more regal appearance with lush textures and deep hues, gem tones.
Scenic designer Rob Lippert created an imaginative but simple set, so that people could romp around a fairy tale kingdom set in ancient Greece. He elevated natural elements for different height levels that helped with the blocking – such as rocks and forested nooks. Kenneth Zinkl’s lighting design expressed distinct moods between day and night.
How did this show ever come about? It took some bold veterans to enliven the musical comedy genre with some real cheeky moves. Jeff Whitty conceived it and wrote the book, which was adapted by James Magruder into a laugh-out-loud love story. Broadway composer Tom Kitt (“Next to Normal”) took care of the band and vocal arrangements.
“Head Over Heels” originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards.
And just in case you need a reminder, it contains adult content.
While New Line Theatre often offers a fresh take on musicals in need of a makeover or neglected ones who need resurrection, they have grabbed recent works who could benefit from the company’s spotlight, such as “Be More Chill” in 2019 and this cultish gem.
The night belongs to lovers, nonconformists and an ebullient cast who revel in the romance and adventure – and the twists! (And they twist!). Female independence never looked so bold, brave, boisterous, or beautiful.
Photo by Jill Ritter Lindberg
New Line Theatre presents “Head Over Heels” March 3 through March 26 (Thursday through Saturday) at 8 p.m. Performances take place at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in Grand Arts Center. For more information, visit newlinetheatre.com or call Metrotix at 314-534-1111 for tickets.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The Muny season tickets for its 2022 summer season will be available beginning Monday, March 21. Tickets can be purchased online at muny.org, by phone at (314) 361-1900, or in person at The Muny Box Office, open 9am-5pm, Monday through Friday. The Muny continues to be St. Louis’ destination for summer musicals, celebrating 104 seasons in Forest Park this summer.
The 2022 season includes two Muny premieres and the return of Broadway favorites. The seven shows are: Chicago (June 13 – 19), Lerner and Loewe’s Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd: The Demon Barber of Fleet Street (July 16 – 22), Legally Blonde, The Musical (July 25 – 31), The Color Purple (August 3 – 9), and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).
CHICAGO All That Jazz! The Triumph of the 2021 Muny Season Returns! Proudly Sponsored by Edward Jones June 13 – 19 Book by Fred Ebb and Bob Fosse Music by John Kander and Lyrics by Fred Ebb Based on the Play by Maurine Dallas Watkins Script Adaptation by David Thompson
Audiences and critics went “Whoopee!” for last season’s thrilling production of Chicago. Following an abbreviated run and early close to the 2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the town! So, re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!
LERNER AND LOEWE’S CAMELOT One Brief Shining Moment. First Production in 13 Years! June 22 – 28 Book and Lyrics by Alan Jay Lerner Music by Frederick Loewe Based on The Once and Future King by T.H. White Book adapted by David Lee New orchestrations by Steve Orich
Come re-discover this powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an unforgettable (k)night at King Arthur’s Round Table.
DISNEY AND CAMERON MACKINTOSH’S MARY POPPINS Practically Perfect for The Muny! Flies in for the Second Time! Proudly Sponsored by Ameren July 5 – 13 A Musical based on the stories of P.L. Travers and the Walt Disney Film Original Music and Lyrics by Richard M. Sherman and Robert B. Sherman Book by Julian Fellowes New Songs and Additional Music and Lyrics by George Stiles and Anthony Drewe Co-Created by Cameron Mackintosh
Based on one of the most popular films ever, Disney and Cameron Mackintosh’s MaryPoppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious, magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love. With winds in the east and mist coming in, your heart will soar for this enchanting show – and yes, Mary Poppins will fly over The Muny!
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET A Bloody Good Time. Muny Premiere! Proudly Sponsored by Missouri Lottery July 16 – 22 Music and Lyrics by Stephen Sondheim Book by Hugh Wheeler From an Adaptation by Christopher Bond Originally Directed on Broadway by Harold Prince Orchestrations by Jonathan Tunick
The spine-tingling American musical masterpiece makes its long-awaited Muny debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem. Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award-winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at The Muny.
LEGALLY BLONDE, THE MUSICAL Being True to Yourself Never Goes Out of Style. First Production in 11 Years! Proudly Sponsored by BMO Harris Bank July 25 – 31 Book by Heather Hach Music and Lyrics by Laurence O’Keefe and Nell Benjamin Based on the novel by Amanda Brown and the Metro-Goldwyn-Mayer Motion Picture
“Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law graduate. Her journey of determination, self-discovery and finding true love receives its first Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is ready to “Bend and Snap” for a great time!
THE COLOR PURPLE I’m Beautiful and I’m Here. Midwest Regional and Muny Premiere! Proudly Sponsored by Emerson August 3 – 9 Based upon the novel written by Alice Walker and the Warner Bros./Amblin Entertainment Motion Picture Book by Marsha Norman Music and Lyrics by Brenda Russell, Allee Willis and Stephen Bray
Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s landmark film, The Color Purple makes its Muny debut! Featuring a Grammy Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016 Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of courage, hope and healing.
JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT Any Dream Will Do! First Production in a Decade! Proudly Sponsored by U.S. Bank August 12 – 18 Lyrics by Tim Rice Music by Andrew Lloyd Webber
Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor adventures of Joseph features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph” and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a night of big Muny family joy – with, of course, a megamix!
Subscribers save up to 30% on tickets to the 2022 Season.
Single tickets on sale Monday, May 23, 2022. Muny gift cards for the 104th season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
