Lynn Venhaus

Total Post: 1138

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.

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

By Lynn Venhaus

One of the best films of the year, “Being the Ricardos” defies expectations, and it’s exhilarating.

During one critical production week of their groundbreaking sitcom “I Love Lucy,” Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) are threatened by shocking personal accusations, a political smear, and cultural taboos in Aaron Sorkin’s behind-the-scenes drama “Being the Ricardos.”

Because this biographical drama focuses on richly textured storytelling, an extraordinary ensemble goes beyond impersonations of the “I Love Lucy” cast to seamlessly weave potential personal and professional crises within one week’s time.

Writer-director Aaron Sorkin has brilliantly constructed how household names Lucille Ball and Desi Arnaz coped with damaging headlines while filming their groundbreaking television series that was seen by 60 million viewers each week.

The sitcom, which ran for six seasons from 1951 to 1957, was the first scripted television program shot on 35mm film in front of a studio audience and the first to feature an ensemble cast.

It was a big deal. One of the most influential shows in history, it was voted Best TV Show of All Time in a 2012 survey conducted by ABC News and People magazine. Fans remember certain episodes fondly – the unforgettable candy factory, Vitameatavegamin and grape stomping to name a few. (Don’t worry – fans get a taste).

Sorkin incorporates the Red Scare, courtesy of the hysteria caused by the House Committee on Un-American Activities by now disgraced Sen. Joseph McCarthy, as tabloid headlines screamed Lucy was a Communist – and powerful gossip columnist Walter Winchell announced it on his weekly radio show.

Sorkin also depicts how cavalierly women were treated in Hollywood in a sharp script that can resonate with modern audiences.

After five Emmy Awards for “The West Wing” and multiple Oscar nominations – and one win for “The Social Network,” his style is familiar – “Sorkin speak” – and it remains riveting.

Above all, the film concentrates on the relationships. The actors nimbly deliver the material to make it sing – and zing.

Lucille Ball is portrayed as a talented creative force who struggled to be taken seriously in a male-dominated business in the early days of a young industry. She was tough, but she had to be, and fought for what she wanted.

The time is 1952, and the creative team gets everything right about the period – including attitudes and social mores.

And so do the actors — three Academy Award winners and one Tony Award winner deliver a master class on portraying four real people from the inside out.

Proving the naysayers wrong, Nicole Kidman may make believers out of her harshest critics with her multi-layered portrayal. She shows us different facets of Lucy’s life – the wife, mother, performer, and producer.

Kidman works fluidly with equally magnetic Javier Bardem as her mate and business partner, and he’s an indelible Desi Arnaz – he captures the savvy producer, protective husband, charismatic singer, vivacious musician, and a Cuban immigrant torn from his former life.

A pioneering power couple, both were driven, intelligent people who blazed trails and envisioned the big picture. They had a tempestuous hot-cold relationship that affected their careers and didn’t last in their personal lives. Sorkin honors them as visionaries while not sugar-coating their issues.

As the show’s sidekicks Fred and Ethel Mertz — the Ricardos’ landlords – William Frawley and Vivian Vance were further from their character’s reality than the public knew.

As hard-drinking, sarcastic veteran Bill Frawley, ace character actor J.K. Simmons is a terrific grumpy old guy with little tolerance for fools – yet a softer, wiser man when letting his guard down. He’s a certain supporting actor nominee, and awards nominations should be forthcoming for all.

A spirited Nina Arianda, 2011 Tony Award winner for “Venus in Fur” in her first Broadway role, knows exactly who Vivian was and honors the second-fiddle actress while announcing her arrival in a major way.

TV was just beginning to be a force for societal change, and “I Love Lucy” was the biggest show on television at that time, the gem in CBS’s crown.

Back then, the sitcom’s premise was different – As the wife of Cuban bandleader Ricky Ricardo, Lucy tries to help him succeed in show business but usually gets in a pickle, driving her husband crazy. She usually enlisted best gal pal Ethel Mertz – her neighbor – in the shenanigans.

When the Ricardos welcomed little Ricky back in 1953, it was a major TV event. This film shows how the sausage was made, so to speak – the network brass dealing with Lucy’s real-life pregnancy in a typical tone-deaf way indicative of the times.

The supporting cast excels at revealing the period restrictions, and the dilemmas involved in running a successful TV show. Tony Hale, Alia Shawkat and Jake Lacy play crucial staffers Jess Oppenheimer, Madelyn Pugh, and Bob Carroll Jr. as their young selves while John Rubinstein, Linda Lavin and Ronny Cox play them as older retirees looking back.

As director, Sorkin shows us the writers’ room and the soundstage, then opens the doors on their personal life – and their Hollywood back stories. It’s a revealing glimpse into the personalities as well as Lucy’s comedic genius and Desi’s practicality focused on moving the show forward.

This is only his third film directing, and most accomplished work to date (“Molly’s Game” and “The Trial of the Chicago 7” preceded it.)

In a clever move, Sorkin displays Lucy’s thought process on making scenes work – and often better. Alan Baumgarten’s editing and Jeff Cronenweth’s cinematography are exceptional in this regard, but every element – Jon Hutman’s production design, Susan Lyall’s costume design and Daniel Pemberton’s music score come together in a top-tier polished way. Most have worked with Sorkin before.

As is well-documented, the Arnaz’ marriage didn’t survive – and we see why here. In this case, Desi has more explaining to do than Lucy.

And Sorkin took creative liberties with the storyline – the events happened, but not in seven days. But it’s fascinating nonetheless and a well-crafted showbiz drama. Comedy is not pretty, Steve Martin titled his third comedy album in 1979, and this film certifies that to be true.

Above all, the film serves up a fresh appreciation for the talented pair. Engaging and entertaining, “Being the Ricardos” is a lush look at legends Lucille Ball and Desi Arnaz and the way they were at a crossroads time in America.

“Being the Ricardos” is a 2021 drama directed and written by Aaron Sorkin. Starring Nicole Kidman, Javier Bardem, JK Simmons, Nina Arianda, Tony Hale, Alia Shawkat, its run time is 2 hours, 11 minutes and is Rated R for Language. In theaters on Dec. 10 and on Amazon Prime on Dec. 21. Lynn’s Grade: A.

Heavy and Dull ‘Swan Song’ Messes With Fate Despite Virtuoso Ali

Heavy and Dull ‘Swan Song’ Messes With Fate Despite Virtuoso Ali

By Lynn Venhaus

Sometime in the future, Cameron (Mahershala Ali), diagnosed with a terminal illness, contemplates an alternative solution by his doctor (Glenn Close) – a clone will take his place, sparing his wife Poppy (Naomie Harris) and his young son Cory (Dax Rey at 8) the grief of his loss. They must not discover the deception. In this heavy — and heavy-handed “Swan Song,” altering their fate has consequences. Can he let go, and how much can we sacrifice in such cases?

With its daring premise and showing the technology to back up messing with fate, “Swan Song” takes us on an unusual journey. However, without two-time Oscar winner Mahershala Ali delivering a heart-wrenching performance – and this time in a dual role, this film would be a slow-moving ‘what if?’ storyline without much to recommend.

Writer-director Benjamin Cleary, who won an Oscar for his short “Stutterer” in 2015, raises ethical questions but fumbles by not fully develop any answers, or explain certain aspects about the likelihood of technology overreach and those inherent implications. Playing God has its costs. (And shouldn’t we know this?)

The tone is all over the place. It’s cold and clinical with a lot of fancy high-tech, slick 3-D graphics (Cam is a graphic designer) and sterile surroundings, but then it’s warm and fuzzy when depicting happy family scenes.

Dax Rey, as 8-year-old cute-as-a-button Cory, melts your heart during the time he spends with his father. As his wife Poppy, Naomie Harris has terrific chemistry with Ali – they were both Oscar-nominated for their performances in “Moonlight,” with Ali winning Best Supporting Actor in 2017. He won two years later for “Green Book.”

That trio’s emotional earnestness goes a long way in softening such disconcerting material. But it’s not enough to overcome what is, for the most part, a dull slog.

Mahershala Ali and Awkwafina

The small ensemble includes Awkwafina as a glum participant in the experiment who becomes friends with Cam.

The replica, who has been programmed with all of Cam’s memories, emotions, and experiences, is groomed to take over and will assume his place in the family. Two weeks after that, everything will seem normal – like there was no replacement and the clone won’t think he is a clone.

Some of the movie’s puzzling elements include not explaining his illness, and it’s just weird that the doctors have a compound where the dying live out their final days without their loved ones, who will never know about the secret experiments.

With any loss, not being able to say goodbye is always a regret. Therefore, this seems cruel, not helpful. Are we saying loss is too painful so let’s live a lie so that others, oblivious, will live longer happily ever after (up to a point).

Isn’t death an inevitable part of life? How we cope is key to the human experience.

Here, Ali’s Cam is jealous of the clone – and suspicious, and it’s all gone too smooth, except for him getting testy about the clone’s ease in assimilating into his former life. One of the reasons he wants to shield his wife is that her twin brother had died a year earlier, and she fell into a deep depression over his death.

These kinds of scientific fiction films are always trippy mind-benders, only this one happens to be just ‘meh.” We need more of a satisfying story to understand and accept it.

“Swan Song” appears incomplete, leaving out crucial details and then ending abruptly. Nevertheless, Ali has become one of our most reliable and exciting actors, so his performance is a standout in an otherwise tepid film.

“Swan Song” is a 2021 sci-fi drama written and directed by Benjamin Cleary. It stars Mahershala Ali, Naomie Harris, Glenn Close, Awkwafina and Dax Rey and is rated R for heated language. In select theaters and streaming on Apple TV+ starting Dec. 17. Lynn’s Grade: C

The Warners’ Made-for-Hollywood Life Inspires in ‘American Underdog’

The Warners’ Made-for-Hollywood Life Inspires in ‘American Underdog’

By Lynn Venhaus

:Believe. In your dreams, in where your heart leads, in your talents and in what you can do as a teammate. That’s the satisfying take-away from “American Underdog: The Kurt Warner Story,” which takes us on a remarkable journey from homespun Iowa to a glorious shining moment in Super Bowl XXXIV in 2000.

Obviously, there is more to his life, but for a tidy 1 hour, 52-minute film, this is a worthy timeline. With a real Hollywood ending and a movie-script-like life, the major beats of  Kurt and Brenda Warner’s pinch-me-I-must-be-dreaming story has been turned into an inspirational drama that’s more about overcoming adversity and less about football action – but all of it equally compelling.

The NFL two-time MVP and Hall of Fame quarterback went from stocking shelves at a supermarket to becoming an American football star, but that’s not the only thing covered — so is his courtship and marriage to his wife Brenda.

The movie kicks into high gear when an undrafted Kurt is signed by the then-St. Louis Rams, and hometown fans will remember with pride and revisit with glee what happened that miraculous season, when the second-string quarterback lead the Greatest Show on Turf to a 13-3 record, a thrilling playoff run and stunning 23-16 Super Bowl championship victory.

Because we lived through it, that story is unforgettable, and the filmmakers do the St. Louis team’s first title justice.

Both directors Jon Erwin and his brother Andrew Erwin, started out as camera operators, filming the Crimson Tide’s games in Alabama for ESPN, so they have well-honed skills in that regard.

The feel-good aspect of the Warners’ tale about their struggles and how their faith and close-knit family helped them get through the tough times is bona fide, largely due to the skills of Zachary Levi and Anna Paquin. And like the Warners themselves, they are easy to admire.

Levi is best known as the star of TV series “Chuck,” the leading role in “Shazam!” and a Tony nominee for the musical “She Loves Me.” Paquin won an Oscar for best supporting actress at age 11 for 1993’s “The Piano,” and originated the role of Sookie in HBO’s “True Blood” (2008-2014).

This film adaptation could have been cheesy and sappy, but it’s rooted in reality. And you cheer for the couple – especially if you regarded Kurt and Brenda during their exciting years in St. Louis. Traded away, they left in 2004, Kurt eventually played for the Arizona Cardinals, and was part of their first-time Super Bowl appearance in 2009. Now living in Phoenix, they remain involved in local charity work here.

Based on Kurt’s book, “All Things Possible: My Story of Faith, Football and the First Miracle Season,” written along with Michael Silver and published in 2009, the screenplay co-written by Jon Erwin, Jon Gunn, and David Aaron Cohen, who wrote the 2004 film adaptation of “Friday Night Lights,” is as much Brenda’s story as it is Kurt’s.

The former Brenda Meoni served in the Marines and was a divorced mother of two when she met Kurt at a country music bar. Her son Zach, well-played by newcomer Hayden Zaller, had been injured as a baby and was partially blind with some brain damage, and Kurt developed a special relationship with him.

Their sweet love story chronicles how they supported each other through difficult patches and how strong they became together.

Their relatable circumstances tug on the heartstrings as it must, but the film isn’t preachy. It’s better than most people – worried about that approach – will find. The Erwin brothers have made Christian faith-based feature films since 2010, so stories about redemption and the human spirit triumphing are in their wheelhouse. I just wanted it to be believable and not mawkish, and I think it strikes the right balance..

The football storyline brings in Dennis Quaid as Dick Vermeil, and while he’s fine, his make-up and prosthetics are horrible, and Chance Kelly plays Assistant Coach Mike Martz as a villain, which is eye-opening.

Cynics may stay away, but for the most part, St. Louisans who are Warner fans, will embrace it. The Warners’ impact on St. Louis is undeniable, and the movie is a good example of how perseverance sometimes makes things happen.

Zachary Levi as Kurt Warner and Dennis Quaid as Dick Vermeil in American Underdog. Photo Credit: Michael Kubeisy/Lionsgate

And in this case, a movie was made about their lives – which is a testament to the kind of people they are and what they achieved, and the movie makes sure we know they didn’t do it alone.

“American Underdog” is a sports biopic directed by Jon and Andrew Erwin, starring Zachary Levi, Anna Paquin, Dennis Quaid, Chance Kelly and Bruce McGill. Rated PG for some language and thematic elements, it runs 1 hour, 52 minutes. It opened in theatres Dec. 25. Lynn’s Grade: B+.

Bright and Shiny ‘Tinsel Town’ is Funny Look at Showbiz Foibles

Bright and Shiny ‘Tinsel Town’ is Funny Look at Showbiz Foibles

By Lynn Venhaus

The intoxicating mystique of Los Angeles, with its star-making machinery and as the Dream Factory capital in Hollywood, has enticed starry-eyed people to flock there for at least a century.

Inevitably, some become disillusioned and compare the unnatural and phony atmosphere to the shiny synthetic Christmas tree decoration, thus the derogatory L.A. nickname. — “Tinsel Town.”

This is also the title of local playwright Joe Hanrahan’s witty collection of three short one-acts that are an insightful and humorous view of the deals, players, sights and sounds of La-La Land. They say write what you know, and Hanrahan has cleverly captured the rhythms of the industry as a ‘company town’ in the land of swimming pools and movie stars.

Hanrahan, artistic director of The Midnight Company, is producing these original works Dec. 2-18, with performances Thursdays, Fridays and Saturdays at 8 p.m., including two Sunday matinee performances Dec. 5 and 12 at 2 p.m., at the .ZACK Theatre.

The show presents three relatable scenarios that take place in a 24-hour period: “Late Lunch on Melrose,” “Just Off Sunset” and “Shoot in Santa Monica.”

This amusing glimpse is directed by Rachel Tibbetts, and she brightly capitalizes on the obvious chemistry between Hanrahan and the multi-faceted Ellie Schwetye. The duet work in sync, playing off each other seamlessly, which takes trust and displays their comfort with each other on stage.

The trio are true collaborators and have worked together in different capacities over the years. It’s fun to watch people who mutually respect each other have fun telling stories in tandem.

Aided by Michael B. Musgrave-Perkins’ stellar videography capturing the glitz, glamour, and gorgeous weather – and palm trees! — we have a keen sense of time (present) and recognizable places on a small, economical set.

An outdoor café is the setting for a “Late Lunch on Melrose” between a talent agent (Hanrahan) and his most famous client, a narcissistic actress (Schwetye) who is unhappy about the lack of work – and is no longer the flavor of the month. It’s 1:30 p.m., and the drama queen is impatient. The pair adjust their temperaments, between air kisses, depending on who has the edge as they sip martinis.

That’s the start of a tiny plot thread that will smartly unify all three parts, with the second, “Just Off Sunset,” taking place at 12:15 a.m. in an alley behind a nightclub where a once-hot rock singer (Schwetye) is trying to rejuvenate her career but is frustrated. She bonds with a grizzled session musician who’s seen it all, who has some tips for her, and she’s grateful for the feedback and advice.

The first act mimics L.A.’s notorious wheeling and dealing for laughs, no matter how disingenuous, and the characters are exaggerated to suit standard images we have in our minds – and is more caricature than sincere, but that’s the point.

The second one really percolates with the speech patterns of experienced, world-weary musicians, and the two performers seem authentic as they discussed their working lives.

Ellie Schwetye and Joe Hanrahan in “Shoot in Santa Monica.” Photo by Joey Rumpell.

The final act, “Shoot in Santa Monica,” is broader comedy and hits the nail on the head about selling out for commercial blockbusters just so you can do the smaller projects for love of the craft. Sound familiar? A stage actor from England (Hanrahan) is making his first movie and is anxious and overwhelmed. But at the urging of the director (Schwetye), he will muster his courage to deliver a speech about vanquishing their nemesis – space vampires. Not saying the lines exactly as written, it may sound like one of Winston Churchill’s addresses during World War II, but who’s gonna figure it out, right?

The time is 12:40 p.m. the next day. With a simple outfit change, Hanrahan conveys an actor in military garb acting in front of a ‘green screen,’ and his character must inspire the crowd. In a world where evil lurks in the fictional form of ridiculous monsters – and CGI-heavy movies that could be written by chimps – they know it’s sci-fi crap, but hey, that’s entertainment!

Hanrahan has a flair for writing about the behind-the-scenes drama — and comedy — of showbiz, and the two-person exchanges are sharp. He acknowledges a ‘new normal’ because of the pandemic and adds those challenges to the script.

The performers capably navigate these characters in a natural, appealing way, and it’s a pleasant experience escaping a tumultuous winter as an armchair traveler whisk away to Southern California. From Melrose to the Sunset Strip to Santa Monica, we see three facets of a process that’s fertile grounds for comic human exploration.

In these post-vaccinated pandemic times, Hanrahan, a brilliant storyteller, has used his talents to keep active on stage, earlier presenting two interesting one-man shows – his original crowd-pleasing nostalgic account of his childhood in the mid-60s, “Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond,” which he developed from a one-act first presented at the St. Louis Fringe Festival, in July, and then “Here Lies Henry,” with a book by Daniel Brooks and Daniel MacIvor and directed by Schwetye, about an odd personality telling us his life story – which may or may not be true because of his penchant for alternative facts.

He has kept very busy — also performing in the five-person ensemble “It Is Magic,” by one of his favorite playwrights, Mickle Maher, that comically mashes up “Macbeth” and “The Three Little Pigs” by a community theater with some very colorful characters and was directed by Suki Peters in the fall.

For this year’s St. Louis Theatre Showcase (instead of the Grand Center Theatre Crawl), he presented an earlier penned one-act, “Tonight’s Special.”

The Midnight Company will celebrate its 25th anniversary next year – and it’s quite an achievement because he has skillfully used available resources to present humorous and thought-provoking works.

For this latest production, he has brought the two accomplished professional actresses and directors along for the journey. Tibbetts, the current artistic director of the Prison Performing Arts group, and Schwetye, are leaders of SATE (Slightly Askew Theatre Ensemble), a highly regarded creative troupe.

Hanrahan first worked with Tibbetts when he recruited her to direct “Sex, Drugs and Rock ‘n Roll,” and their association has since included his acting in SATE’s “One Flea Spare,” “Of Mice and Men,” “Doctor Faustus,” and last year’s Aphra Behn Festival.

And she has acted in Midnight’s “Judgment at Nuremberg” and “A Model for Matisse,” which Schwetye directed, who also helmed Midnight’s Irish thriller “Little Thing Big Thing,” featuring Tibbetts and Hanrahan. He directed both of them in SATE’s vampire drama, “Cuddles,” during the 2016-2017 season

Schwety also directs for other groups – next up in 2022 is “Every Brilliant Thing” for New Jewish Theatre.

This fruitful collaboration in “Tinsel Town” is an example of a dream team hitting all the beats well.

ffEllie Schwetye and Joe Hanrahan in “Just Off Sunset.” Photo by Joey Rumpell.

The Midnight Company presents “Tinsel Town” Dec. 2-18, with performances Thursdays, Fridays and Saturdays at 8 p.m., including two Sunday matinee performances Dec. 5 and 12 at 2 p.m., at the .ZACK Theatre, 3224 Locust, St. Louis. For tickets, visit MetroTix.com. For more information, visit www.midnightcompany.com.

Photos by Joey Rumpell

Polizzi Sparkles in Merry ‘Who’s Holiday’ at Stray Dog Theatre

Polizzi Sparkles in Merry ‘Who’s Holiday’ at Stray Dog Theatre

By Lynn Venhaus

If you are seeking a sugar-coated Hallmark Christmas movie, “Who’s Holiday” is not that kind of warm-and-fuzzy. Nevertheless, the amusing one-woman show is an engaging cup o’ cheer – unless your heart is two sizes too small.

If you are familiar with past holiday season productions at Stray Dog Theatre, then you are aware of their penchant for a non-traditional offering, and this suits that M.O.

The R-rated merriment runs Dec. 2 – 18, Thursday through Sunday, with a Sunday matinee Dec. 12, at the Tower Grove Abbey – only all performances are sold out, but one can get on their in-person waiting list before each show. –

An irreverent, bawdy post-childhood spin on Dr. Suess’ “How the Grinch Stole Christmas” is a festive communal experience, which could get you in the mood for the holidays – especially when you sing along to an evergreen sentimental song.

Laced with adult humor, this sweet and salty 2017 work by Matthew Lombardo is a natural vehicle for spirited comic actress Sarah Polizzi, who portrays the grown-up Cindy Lou Who. The character is both naughty and nice, and the effervescent performer revels in that aspect.  

Cindy Lou was the adorable 2-year-old Who caught the famous green ogre stealing all the Christmas presents, the Christmas tree and the feast because he did not want anyone to enjoy the holiday. To carry out his nefarious deed, he was dressed as Santa Claus and his dog Max accompanied him. That did not deter the Whos from celebrating, however.

The grouchy Grinch became Dr. Seuss’ legendary storybook villain in 1957, and then immortalized in an animated TV special in 1966, narrated by Boris Karloff. In the years since, it has been adapted several times, including a live-action film starring Jim Carrey that came out in 2000, then a musical followed in 2007, and then a computer-animated feature with Benedict Cumberbatch in 2018 and a live television musical adaptation starring Matthew Morrison last year.

So, it helps to have some sort of working knowledge of the Dr. Seuss book and his first villain.

No longer an innocent, Cindy has returned to living on Mount Crumpit, north of Whoville, and ostracized by her people. Her fall from grace included an illicit romance with the big green beast, teen pregnancy, drug addiction and a prison term. Does not sound very jolly, does it?

So, she engages the audience in cocktails and conversation while sharing her shocking tale of woe.

Despite her hard times, the irrepressible Cindy Lou shows an indomitable spirit – with a beaming smile and a cheery demeanor, although she can get as sour as that grumpy guy – and get a little testy with the neighborhood hooligans. She is ready to put the sordid past behind her and start anew. In a convivial mood, she has invited guests over. But no one shows, much to her dismay. What’s a Party Girl to do? She just wants to have fun.

Polizzi also has the difficult task of speaking in rhyme, the kind that Dr. Seuss was known for in his 60 books, without it sounding sing-song-y, and she accomplishes that.

In a one-person play, the solo character always has a heavy weight to carry an entire show, but it’s only an hour – and she feeds off the audience’s energy with ad libs and being as sparkly as the festive vintage set.

Scenic designer Josh Smith festooned Cindy Lou’s tiny trailer with enough colored lights and kitschy seasonal decorations to make the yuletide bright – and it is delicious eye candy, with lighting designer Tyler Duenow’s effective touches.

Megan Bates’ playful costume design is simple but fetching – retro housewife turned into a livelier vixen.

The twisted tale benefits from Artistic Director Gary F. Bell’s light-hearted direction and it is a very smooth, well-rehearsed production. And Justin Been’s sound design always elevates a show – and his music choices are very smart.

Playwright Lombardo isn’t mean-spirited, just having fun with a parody that’s not unlike a Hollywood child actor’s downfall that makes tabloid fodder – only he exaggerates it to cartoonish proportions.

This isn’t his first production in St. Louis – he wrote the intense heavy drama “High,” which ran as a world premiere-pre-Broadway tryout at the Repertory Theatre of St. Louis in 2010 and starred Kathleen Turner as a nun who was an addiction counselor.

“Who’s Holiday” has both a peppery girls-gone-wild vibe and an affectionate nostalgia for Christmases past. It is certain to leave you feeling merry and bright.

Photos by John Lamb

“Who’s Holiday” is a solo show that runs slightly more than an hour and is presented Dec. 2, 3, 9, 10, 11, 16, 17, 18 at 8 p.m., with a 2 p.m. matinee on Sunday, Dec. 12. The show is sold out, but you may get on a waitlist at the door each performance and must be there in person. Call 314-865-1995 for more information. Visit the website www.straydogtheatre.org

Those with tickets should be aware that seats will only be held until 10 minutes prior to curtain.

Masks are required to be worn by all guests, regardless of vaccination status, at all times while inside the theater and while in the lobby unless actively drinking. They still maintain social distancing throughout the theater. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated.

Bravura Performances Mark Fierce LaBute World Premiere of ‘Comfort’

Bravura Performances Mark Fierce LaBute World Premiere of ‘Comfort’

By Lynn Venhaus

Jacqueline Kennedy once famously said: “If you bungle raising your children, I don’t think whatever else you do well matters very much.”

The cold-hearted Iris Banks (Kari Ely) apparently did not agree. She made a choice, to pursue a literary career first, leaving her husband and child. Now grown, her bitter and resentful son Cal (Spencer Sickmann) unexpectedly returns home, but he is not exactly welcomed like the Prodigal Son. And she is closer to “Mommy Dearest” than Mother Earth.

In an intense psychologically complex drama, “Comfort,” a fierce new work by renowned playwright Neil LaBute that is premiering at St. Louis Actors’ Studio (Dec. 3-19), two of our finest stage artists fearlessly tango.

There is much baggage to unpack as mother, now a literary titan – three Pulitzers! — and child, who is still finding his way, reveal their past and present relationship.

These fully dimensional roles are demanding and exhaustive, but brave Ely and Sickmann exhibit their stamina and superior skills at delivering such emotionally layered performances.

Awkward exchanges and pleasantries give way to an uneasy détente (short-lived), stunning disclosures (the hits just keep on coming) and blistering confrontations. They are two people on opposite sides of a great divide, a rift that has grown over time and still an open wound, for no healing was attempted.

At times, the icy Mom, who admitted she had no maternal instinct but attempted the wife-and-motherhood roles set forth in society, seems to thaw.  And son appears to soften his hostility, but those are brief respites from some harsh exchanges as Iris declares she is all about the “truth,” but son reveals he has evidence to the contrary.

The two performers wear their characters’ bravado like a badge of honor – until they don’t. Mom is unapologetic about her distain for literary rivals or for ‘normal’ trappings of family life – but occasionally, her steely demeanor will crack, showing us an inkling of regret.

It’s such a masterful portrayal by Ely, who has tackled her share of uncommon, tough females – including Martha in “Who’s Afraid of Virginia Woolf?”, Violet in “August Osage County” and Regina in “The Little Foxes,” all on the Gaslight stage.

And a never-better Sickmann plays Cal like a wounded animal, cornered but ready to pounce. Since bursting on the local theater scene about five years ago, he has capably delved into guys with an edge but also showing vulnerability – Mitch in “A Streetcar Named Desire,” Hal in “Picnic,” press secretary Stephen in “Farragut North” and artist Matt in “The Feast,” among them.

LaBute’s rhythmic dialogue has bite, and the pair show their verbal dexterity in meaty exchanges. Do not underestimate their ruthlessness.

LaBute, a prolific playwright and screenwriter who has made waves since the early 1990s, often writes characters that are schemers or callous, calculating ones who use people for their own advantage. They may not be likable, but they are survivors – and they are fascinating

One of LaBute’s hallmarks is that he will divulge character flaws in such a chilling way as to take a jarring and dramatic turn that changes the temperature in the room. He’s all about the gray area, never specifically black-and-white – and that’s what makes his plays so compelling.

Director Annamaria Pileggi keeps the unsettling narrative moving at a brisk clip, and Patrick Huber’s impressive set design efficiently uses the space to move the action forward. Fine work by Huber as lighting designer, sound designer Robin Weatherall, costume designer Teresa Doggett and fight choreographer Shaun Sheley.

Even with a lengthy run time, you still want to hear what Iris and Cal have to say to each other – and you’ll still be caught off-guard.

STLAS has collaborated with LaBute since 2012, mainly as part of the LaBute New Theater Festival, in which international one-act entries are selected to be part of two line-ups. He is a co-producer and often an active participant.

The previously unproduced plays must be 45 minutes or less, and not have more than four characters. They must be able to be presented in The Gaslight Theatre’s intimate space.The selected works are usually marked by sharp writing and smart acting.

And LaBute writes an original work to premiere every summer, which is included in both slates. A few of them have been dark and disturbing or acerbic, or both.

One of the festival’s components that LaBute is most proud of is the High School Play Competition, encouraging teenage writers to pursue playwrighting. The winning plays are presented as readings.

But this is the first time that LaBute is premiering a new two-act play separate from the annual summer fest.

The fest will return the summer of 2022. In the meantime, theatergoers can marvel at the riveting work by Ely and Sickmann, who bob and weave like pro athletes.

The ironically titled play, “Comfort,” may still be a work in progress, but it provides a bracing vehicle in which to show a delicate balance in a mother-son dynamic.

Spencer Sickmann and Kari Ely

“Comfort” is presented by the St. Louis Actors’ Studio at The Gaslight Theatre, 358 N. Boyle Avenue, St. Louis, Thursday through Saturday at 8 p.m. and Sunday at 3 p.m. Dec. 3-19. Tickets are available through Ticketmaster. For more information, call 314-458-2978 or visit www.stlas.org.

Proof of Vaccination Must Be Presented and a Mask Must Be Worn While in the Theater.

‘West Side Story’ Brims With Vitality

‘West Side Story’ Brims With Vitality

By Lynn Venhaus

This re-imagining of the classic Broadway musical is magnificent. “West Side Story” is brimming with vitality and breathtaking songs.

With so many expectations, director Steven Spielberg has made smart choices – honoring the original yet finessed it for a new generation.

Star-crossed lovers Tony and Maria meet, and they are connected with two rival gangs in a modern slant on “Romeo and Juliet” – only it’s the mean streets of Manhattan in an unfriendly urban jungle, where the Jets and the Sharks each want to rule the turf. Adapted by Arthur Laurents into the 1957 stage musical, which became a smash hit movie in 1961, earning 11 Academy Awards, and features music by Leonard Bernstein and lyrics by Stephen Sondheim.

Renowned playwright Tony Kushner’s grittier script effectively expanded the backstories, made the relationships more intimate and urgent. Spielberg’s go-to Janusz Kaminski’s vintage-hued cinematography pops – the film’s look and sound stands out.

The musical numbers have been staged with great care and are seamlessly integrated into the story. The work of choreographer Justin Peck, artistic director of New York City Ballet, is exquisite. It would be hard to top visionary Jerome Robbins, who not only conceived the 1957 musical but also directed and choreographed it, but what Peck achieves with lean, muscular and lithe dancers in the dynamic “Dance at the Gym” and an epic bold, swirling, vibrant “America” that spills out into the streets like an impromptu carnival is stunning.

There isn’t a better musical score – “Tonight,” “Maria,” “Somewhere,” “One Hand, One Heart,” “Something’s Coming,” “The Jet Song,” “Gee, Officer Krupke,” and more. Composer Leonard Bernstein’s music is timeless –orchestrations are lush while the young vocalists deliver the Stephen Sondheim lyrics with depth and understanding.

An impressive mix of Broadway and Hollywood talent elevates it – especially with youthful energy and soaring vocal chops. Tony winner David Alvarez (“Billy Elliot”) and Mike Faist (Connor Murphy in original Broadway cast of “Dear Evan Hansen”) are electric as Bernardo and Riff. Ariana deBose is ablaze as Anita while newcomer Rachel Zegler is something special as Maria. The others are so dazzling that Ansel Elgort is the weakest link as a blander Tony, but he can sing and dance.

Best of all is Rita Moreno in a new role as Doc’s wife. If she is nominated (and she should), it won’t be as a sentimental career nod — it will be because she is that good. After all, she is an EGOT winner (Emmy, Grammy, Oscar, Tony) and to this day, is the only Latino to win an Oscar, for playing Anita in “West Side Story.”

Character actors Corey Stoll and Brian D’Arcy James play Lt. Shrank and Officer Krupke, the old-guard police guys trying to keep peace.

The modern retelling of “Romeo and Juliet” remains relevant and should excite a new audience like the 1961 movie did in its day.

While some didn’t think the movie should be messed with, it was 60 years ago, with a predominantly white cast and leads whose singing voices were dubbed, so it wasn’t perfect, and the updates are effective in bringing it into the 21st century – while keeping the time references the same.

“West Side Story” is an extremely challenging musical, and they manage to pull it off with style and grace. It deserves an audience – to be seen on a big screen in all its full technicolor glory — and I hope it lives on as a remarkable example of new approaches to a beloved classic that work.

“West Side Story” is a 2021 musical directed by Steven Spielberg and starring Ansel Elgort, Rachel Zegler, David Alvarez, Arianna Debose, Mike Faist, Corey Stoll, Brian D’Arcy and Rita Moreno. It is rated PG-13 for some strong violence, strong language, thematic content, suggestive material, and brief smoking, and it’s run time is 2 hours, 36 minutes. In theaters Dec. 10. Lynn’s Grade: A.

‘C’mon C’mon’ Takes the Road Less Traveled in Exploring Family Ties

‘C’mon C’mon’ Takes the Road Less Traveled in Exploring Family Ties


By Lynn Venhaus

A gentle outlook on family dynamics and how adults communicate with children, “C’mon C’mon” takes the road less traveled approach. It has something to say and achieves that with uncommon simplicity and openness.

Johnny (Joaquin Phoenix), a radio journalist, is traveling across the country to interview children for an assignment. He stops in Detroit and New Orleans and asks kids about what they think about the future – their fears, expectations, and outlook.

While in L.A., he visits his sister, Viv (Gaby Hoffmann), and spends time with his precocious 9-year-old nephew Jesse (Woody Norman). He and the deeply inquisitive Jesse bond, and they return to his home in NYC together, at a time where the boy’s devoted mother needs to be with his father Phil (Scoot McNairy), who is not well.

Working in stark contrasting black-and-white with cinematographer Robbie Ryan (Oscar nominee for “The Favourite”), writer-director Mike Mills captures distinctive geographic landscapes that allows more focus on intimate interactions in day-to-day living.

This is not an ordinary look at our contemporary world, nor is it typical in its displays of major metropolitan cities. With his keen eye, Mills establishes a rhythm that lets us see things differently, opens the audience to various possibilities – but stays within a narrow framework.

Think of this like chapters in folklore or a fable, sometimes meandering, often illuminating, but the earnest characters are always learning and striving towards understanding.

You get a sense that one day, the relentlessly curious Jesse may write a memoir recalling a most memorable time – a sort of “Travels with My Uncle” from his generational viewpoint. But for now, it’s what appears to be a collection of daily engagements: selecting a toothbrush without audio stimulation, not being able to sleep, mom reading “The Wizard of Oz” to him over the phone and eating a slice of pizza at a neighborhood joint.

The cast excels at its depiction of family ties. In a demonstrative departure, Joaquin Phoenix’s first role since his Oscar-winning turn in the dark and disturbing “Joker” in 2019, finds him softer and squishier, with a scruffy beard and shaggy hair. As Johnny, a bachelor without a significant other or children, Johnny cares about his family and is dedicated to the documentaries he works on but has settled into a mundane routine. Having a child to care for disrupts that — but also provides those teachable moments that propel youth forward. (And also makes a mark on the adult forced to open up).

Phoenix, a new father in real life, and guileless child actor Woody Norman, who has worked in mostly British TV, present an evolving human relationship that unfolds naturally. Norman’s performance is revealing, and Phoenix shows a completely different side of his nature. They are both acting, of course, only it doesn’t look or feel like it.

Gabby Hoffmann, a child actress (“Field of Dreams,” “Sleepless in Seattle”) who grew into a formidable adult artist (Emmy nominated for “Transparent” and “Girls”), plays a responsible adult trying to raise a decent human being, and having all the doubts and anxiety that goes with those choices and decisions. Like the rest of the cast, she gives an engaging lived-in portrayal.

The scenes recording the thoughts of school children provides yet another perspective from diverse voices. Nobody’s life is static, after all, and what they say offers a different slant.

The film’s score is also noteworthy for its interesting mix of synthesizer and classic music pieces. Composers Aaron and Bryce Dessner are known professionally as part of The National, an indie alternative rock band that’s been around for two decades.

Specific in the details he wrote about, Mills has presented an insightful look at life – it may seem slight, and that not much happens, but look closer — you will find pieces of your loved ones and your own journey that will resonate.

Kids are hard work to raise. We don’t match their energy and our senses of wonder and joy are rekindled in their company because they look at life with fresh pairs of eyes. They can be tiring and frustrating – just like we are to them. But they teach us more than we teach them, give us a purpose, and increase our capacity to love ten-fold.

“C’mon C’mon” is not the same-old, same-old. It’s a jagged atmospheric little slice of life that will open your heart and deepen your connection to the people in your world.


“C‘mon C’mon” is a 2021 drama written and directed by Mike Mills. It stars Joaquin Phoenix, Woody Norman, Gaby Hoffmann and Scoot McNairy. It is rated R for language and runs 1 hour, 48 minutes. It is in select theaters on Nov. 24 and premiered locally at the St. Louis International Film Festival on Nov. 7. Lynn’s Grade: B+.

Not Quite ‘Gucci’ in True Crime Tale

Not Quite ‘Gucci’ in True Crime Tale

By Alex McPherson

Overlong, goofy at some points and deadly serious at others, not even a star-studded cast can save Ridley Scott’s “House of Gucci” from mediocrity.

This true-crime drama, beginning in the late 1970’s, centers around Patrizia Reggiani (Lady Gaga), a confident woman born into a poor family in Northern Italy who profits generously from her stepfather’s trucking business in the present-day. She meets Maurizio Gucci (Adam Driver) at a glitzy party, and the two soon fall for each other.

Reggiani is attracted both to Maurizio and the Gucci company itself. Maurizio wants to distance himself from the spotlight and follow his own path. Soon enough, they’re married, to the anguish of Maurizio’s father, Rodolfo (Jeremy Irons), who’s aghast that his son would wed such a peasant.

Maurizio’s uncle, Aldo (Al Pacino), sees an opportunity to lure Maurizio back into the family business through Patrizia; he shuns his immature, resentful son, Paolo (an unrecognizable Jared Leto), who desperately wants to be recognized as worthy of the family name. As time progresses, Maurizio is reluctantly brought back into the fray, and Patrizia grows increasingly conniving as she seeks to make herself “successful,” no matter who gets in her way.

The soapy drama that ensues involves backstabbing, manipulation, and cold-blooded murder. Sadly, “House of Gucci” doesn’t develop its central players enough to make its narrative compelling from an outsider perspective, but there’s still some fun to be had in watching Gaga, Leto, and Pacino go all-out on their respective roles, cringe be damned. Contrary to what the film’s marketing indicates, though, this is a ponderous, disjointed, messy affair that — despite a few memorably over-the-top sequences — remains unfortunately dull.

At least the actors involved are up to the task. Gaga, carrying herself with gusto, lends a formidable power to the role of Patrizia, devolving into ferocious, animalistic mentalities as her greed envelops her. Frustratingly, Scott attempts to cover so much ground during the 2-hour-45-minute runtime that Patrizia’s arc is sped through, particularly regarding her infatuation with the Gucci brand early on and her slide into madness. With a thick Italian (Russian?) accent, eye-catching outfits, and a fiery temper, she’s entertaining to watch, but it’s difficult to ultimately care about what happens to her. Indeed, Patrizia is always dialed up to 11, for better and worse.

Carried by Gaga’s charisma, the other actors are seemingly unsure whether to ham-it-up or keep themselves down-to-earth. Irons has one delicious verbal takedown that wouldn’t be out of place in “Succession,” and Pacino exudes warm, fatherly vibes while scheming behind the scenes.

Driver’s Maurizio represents the voice of reason in most situations, and his emotional expression is considerably downplayed compared to the others. On the complete opposite side of the spectrum is Leto, whose go-for-broke approach calls to mind Tommy Wiseau of “The Room,” to uneven levels of success (there’s a scene where he pisses on a scarf). Salma Hayek leaves a positive impression as an unhinged, upper-class psychic.

This inconsistency extends to the film’s screenplay, co-written by Becky Johnston and Roberto Bentivegna. Highlight-reel lines like “Father, Son, and House of Gucci” are amusingly self-aware, but dry discussion of the company’s inner-workings is far less engaging. In terms of editing, “House of Gucci” also feels jumbled, cutting between scenes abruptly without giving each exchange a satisfying climax or providing viewers time to reflect as the film lunges forward. 

Stylistically, Scott misses an opportunity to capitalize on the peoples’ loony psyches. The image is often bathed in a muted, gray filter — perfect for Scott’s own, far superior “The Last Duel,” but out-of-place here — and only sometimes embraces the campiness inherent in the subject matter, inserting a few bluntly effective musical cues that put a smile on my face. 

Generally, “House of Gucci” seems unsure of what it’s trying to be. Brisker pacing, an hour-shorter runtime, and more focus on Patrizia in all her malevolent glory could have rendered it gleefully dark escapism. In its current state, however, viewers would be better off watching Scott’s criminally underseen epic “The Last Duel” instead.

“House of Gucci” is a 2021 crime drama directed by Ridley Scott and starring Lady Gaga, Adam Driver, Al Pacino, Jared Leto, Jack Huston, Jeremy Irons and Salma Hayak. It is rated  R for language, some sexual content, brief nudity, and violence and is 2 hours, 37 minutes long. In theatres Nov. 24. Alex’s Grade: C


‘Bruised’ Pummels With Melodramatic Misery, Cliches

‘Bruised’ Pummels With Melodramatic Misery, Cliches

By Lynn Venhaus

“Bruised” is a cliché-riddled and formulaic sports story that strives to be a “Million Dollar Baby” or “The Wrestler,” but pales in comparison, offering little inspiration and few reasons to care.

Halle Berry took over acting and directing duties as the story switched from a troubled white Irish Catholic woman to a down-and-out middle-aged black fighter, but she doesn’t bring anything new to the genre. She plays a thoroughly unpleasant person who has consistently made bad choices and it is an uphill battle to convince us that this time she is really going to get her life together.

Of course, that is why everyone has counted her out. She has fallen into the gutter on the inner-city streets of Newark, N.J.

Berry won an Oscar nearly 20 years ago for her searing performance as grieving mother Letitia in “Monster’s Ball” and had been on a hot streak, wowing in her Emmy-winning title role in “Introducing Dorothy Dandridge” in 1999. Unfortunately, despite high-profile roles in James Bond’s “Die Another Day,” as Storm in “X-Men” and as DC villainess Catwoman, she has not given another performance remotely close to her Oscar winner since then.

“Bruised” is the kind of gritty, unglamorous role that actresses find irresistible – and to her credit, she met the physical challenge with a ferocity and is believable in fight scenes, although those are poorly choreographed.

In a movie that wastes considerable time, first-time feature screenwriter Michelle Rosenfarb has piled on the melodramatic misery with every possible stereotypical character in tired, predictable situations.

The quick-tempered Jackie, fueled by rage and regret, is a substance abuser, absentee mom, horrible girlfriend, bad daughter, unstable nanny and unsympathetic female who has frittered away opportunities to do better in life.

She boozes and brawls with abusive alcoholic boyfriend-manager Desi (Adan Canto), and gets little sympathy about her life choices and predicaments from her pill-popping mother Angel (Adriane Lenox). Their difficult relationship mostly consists of shouting matches. Oh, and her 6-year-old son is mute from trauma.

So, naturally, her fighting spirit resumes when Manny shows up –using a cute kid for the 800th time in a movie to propel the heavy-handed action. Although Danny Boyd Jr. is adorable, his unfortunate character gets stuck with this hot mess because there is no alternative after the sudden death of his father. It’s practically child abuse watching her screw up so many times – but wait for it – she learns how to be a Mom.

Though, taking the kid to the movies and eating popcorn while music plays does not smooth over what she has put him through — except to soften the story. To wrap up 2 hours and 9 minutes of a mostly bleak and brutal narrative with a gooey-sticky sweet ending is ridiculous but expected.

Those who enjoy Ultimate Fighting Championship bouts may find “Bruised” passable, especially with UFC Women’s Flyweight Champion Valentina Shevchenko playing Lady Killer, whom Jackie faces in the Octagon in the final showdown.

But it would have helped for the writer to create characters that we haven’t seen many times before. For instance, Shamier Anderson plays Immaculate, a fight league promoter, who recruits Jackie, and the grueling training begins. Her shape-up team includes Sheila Atim as Bobbi “Buddhakan” Berroa, a tough instructor with a Zen-like approach and veteran character actor Stephen McKinley Henderson as a grizzled trainer named Pops.

Despite what it might look like on the surface, this raw underdog story is not the comeback vehicle Berry fans might have hoped for – and leaves viewers feeling pummeled.

“Bruised” is a tough film to watch, let alone like.


“Bruised” is a 2020 sports drama directed and starring Halle Berry. It also stars Danny Boyd Jr., Adriane Lenox, Adan Canto, Sheila Atim, Shamier Anderson and Bobbi Berroa. It is rated R for pervasive language, some sexual content/nudity and violence and has a run time of 2 hours, 9 minutes. Lynn’s Grade: D. It is in selected theaters Nov. 19 and streaming on Netflix beginning Nov. 24.