The Tesseract Theatre Company is moving to the Marcelle Theatre with two new plays by local playwrights. The St. Louis premieres of “The Length of a Pop Song” by Taylor Gruenloh and “All That Remains” by JM Chambers will open in July.

“The Length of a Pop Song,” directed by Karen Pierce and featuring the cast of Rhiannon Creighton, Donna Parrone, and Kelvin Urday, will run July 8 – 17.

“All That Remains,” directed by Brittanie Gunn and featuring the cast of Luis Aguilar, Melody Quinn, Morgan Maul-Smith, Nyx Kaine, Sherard Curry, and Victor Mendez will run July 22 – 31.

Performances will be Friday and Saturdays at 8 pm, Sundays at 4 pm.

The Length of a Pop Song by Taylor Gruenloh: Lex has no choice but to move back into her parent’s house after another incident of self-harm. Her mother wants to help prepare her for an upcoming trial against an adult website hosting non-consensual videos of Lex, but Lex can’t find a reason to look forward to tomorrow.

All That Remains by JM Chambers: Gary survives a school shooting and isn’t dealing with the trauma well. Gary’s wife Elaine is trying her best to hold it all together, take care of Gary, work, pay the bills, and deal with her own sadness. Gary and Elaine can’t go on living this way forever and soon they both reach a breaking point.

The Marcelle Theatre is located at: 3310 SAMUEL SHEPARD DRIVE, SAINT LOUIS, MISSOURI 63103

Tickets are available for both plays at MetroTix.com. $20 for general audience and $15 for students.

Questions can be sent to Tesseract Theatre at contact@tesseracttheatre.com

Winners to be Announced at Gala Ceremony June 12 at the Fairmont Century Plaza

The Fourth Annual Critics Choice Real TV Awards will recognize excellence in nonfiction, unscripted and reality programming across broadcast, cable and streaming platforms.

The annual event returns to an in-person ceremony and gala this year, taking place on June 12 at the Fairmont Century Plaza in Los Angeles. Bob Bain and Joey Berlin will serve as Executive Producers. Michelle Van Kempen also executive produces the show. 

Hosts are The Sklar Brothers (Randy and Jason Sklar), St Louis natives, are actors, comedians and television and podcast hosts. The brothers notably hosted and produced History Channel’s “United Stats of America” and created and starred in the ESPN cult hit series “Cheap Seats,” besides being guest hosts on “Jeff Ross Presents Roast Battle.” The Sklars can next be seen on “The Nose Bleeds,” a hilarious deep dive into UFC’s history that will launch this summer on UFC’s Fight Pass streaming service.

Presenters include Alan Tudyk, Amir Mathis, Carrie Ann Inaba, Chris Hardwick, Chrishell Stause, Chelsea Lazkani, Christine Chiu, Dashaun Wesley, Derek Hough, Garcelle Beauvais, Judge Mathis, Kandi Burruss, Kathy Griffin, Kevin Kreider, Linda Reese Mathis, Michelle Visage, Padma Lakshmi, Rob Riggle, Tracy Tutor, Tyler Henry, and many more special guests.

The Critics Choice Association and nonfiction producers’ organization NPACT unveiled the nominees on May 14 for the fourth annual Critics Choice Real TV Awards, which recognize excellence in nonfiction, unscripted and reality programming across broadcast, cable and streaming platforms.

The annual event returns to an in-person ceremony and gala this year, taking place on June 12 at the Fairmont Century Plaza in Los Angeles.

“Top Chef” leads this year’s nominations, earning nods in five categories including Best Competition Series, Best Culinary Show, and Best Ensemble Cast in an Unscripted Series, with Padma Lakshmi earning nominations for Best Show Host and Female Star of the Year. Netflix leads the networks, having projects recognized in 20 categories.

“Given its ongoing popularity across broadcast and cable networks, streaming services and other platforms, it’s clear that unscripted programming is deserving of special recognition by the Critics Choice Association,” said Ed Martin, President of the Critics Choice Association’s TV Branch. “The exciting programs and diverse personalities selected by our five nominating committees represent the best that this multi-faceted genre has to offer. The fourth annual Critics Choice Real TV Awards ceremony promises to be our most exciting yet.”

The Sklar Brothers

Said NPACT General Manager Michelle Van Kempen, “The amazing depth and quality of unscripted programming is evident in this year’s nominees, and we’re especially excited to be able to pay tribute to them and the entire unscripted community at an in-person gala, after two virtual years. It’s truly an honor to collaborate with the Critics Choice Association to celebrate the excellence and innovation of nonfiction content

The Critics Choice Real TV Awards were launched in 2019 as a large-scale awards platform to give the robust (and still growing) unscripted genre critical attention and support. The awards celebrate programming across platforms, and also recognize industry leaders with special awards highlighting career achievements.

The Critics Choice Association monitors all awards submissions and selects the nominees in all competitive categories. Blue-ribbon nominating committees made up of CCA members with expertise in nonfiction, unscripted and reality programming determine the nominees. Winners will be chosen by a vote of the CCA membership. NPACT leads the selection of non-competitive discretionary awards and awards for platforms and production companies.

About NPACT

NPACT is the trade association for nonfiction production companies doing business in the U.S. Its members are comprised of production companies of all sizes, as well as allied services companies. NPACT serves as the voice for the nonfiction creative community, providing a forum for producers as they navigate changes in media and tackle business issues. For more information visit NPACT.org.

NOMINATIONS FOR THE FOURTH ANNUAL CRITICS CHOICE REAL TV AWARDS

BEST COMPETITION SERIES

Chopped (Food Network)
Making It (NBC)
RuPaul’s Drag Race (VH1)
The Amazing Race (CBS)
Top Chef (Bravo)
The Great British Baking Show (Netflix)

BEST COMPETITION SERIES: TALENT/VARIETY

Dancing with the Stars (ABC)
Finding Magic Mike (HBO Max)
Legendary (HBO Max)
Lizzo’s Watch Out for the Big Grrrls (Prime Video)
Next Level Chef (Fox)
The Voice (NBC)

BEST UNSTRUCTURED SERIES

Couples Therapy (Showtime)
RuPaul’s Drag Race: Untucked (VH1)
The Kardashians (Hulu)
The Real Housewives of Beverly Hills (Bravo)
The Real World Homecoming: New Orleans (Paramount+)
We’re Here (HBO)

BEST STRUCTURED SERIES

Catfish: The TV Show (MTV)
Diners, Drive-Ins and Dives (Food Network)
Dr. Pimple Popper (TLC)
Gordon Ramsay: Uncharted (National Geographic)
How To with John Wilson (HBO)
Sketchbook (Disney+)

Is it Cake? S1. Mikey Day in episode 5 of Is it Cake? S1. Cr. Courtesy of Netflix © 2022

BEST CULINARY SHOW

Cooking with Paris (Netflix)
Crime Scene Kitchen (Fox)
Is It Cake? (Netflix)
Magnolia Table with Joanna Gaines (Magnolia)
The Great British Baking Show (Netflix)
Top Chef (Bravo)

BEST GAME SHOW

Family Game Fight! (NBC)
Holey Moley (ABC)
Jeopardy! (Syndicated)
Supermarket Sweep (ABC)
The Price Is Right (CBS)
Weakest Link (NBC)

BEST TRAVEL/ADVENTURE SHOW

Alone (History)
Family Dinner (Magnolia)
Somebody Feed Phil (Netflix)
The Amazing Race (CBS)
The World According to Jeff Goldblum (Disney+)
The World’s Most Amazing Vacation Rentals (Netflix)

BEST BUSINESS SHOW

American Greed (CNBC)
Bar Rescue (Paramount+)
Million Dollar Wheels (Discovery+) 
Restaurant: Impossible (Food Network)
Shark Tank (ABC)
Undercover Boss (CBS)

Crikey! It’s the Irwins

BEST ANIMAL/NATURE SHOW

Crikey! It’s the Irwins (Discovery)
Critter Fixers: Country Vets (National Geographic)
Eden: Untamed Planet (BBC America)
Growing Up Animal (Disney+)
Penguin Town (Netflix)
The Wizard of Paws (BYUtv)

BEST CRIME/JUSTICE SHOW

911 Crisis Center (Oxygen)
Cold Justice (Oxygen)
Heist (Netflix)
Rich & Shameless (TNT)
Secrets of Playboy (A&E)
Trafficked with Mariana van Zeller (National Geographic)

BEST SPORTS SHOW

30 for 30 (ESPN)
Bad Sport (Netflix)
Cheer (Netflix)
Dallas Cowboys Cheerleaders: Making the Team (CMT)
Real Sports with Bryant Gumbel (HBO)
Top Class: The Life and Times of the Sierra Canyon Trailblazers (Prime Video)

Fixer Upper: Welcome Home

BEST RELATIONSHIP SHOW

90 Day Fiancé (TLC)
La Máscara del Amor (Estrella TV)
Love Is Blind (Netflix)
Love on the Spectrum (Netflix)
My Mom, Your Dad (HBO Max)
The Ultimatum: Marry or Move On (Netflix)

BEST LIFESTYLE: HOME/GARDEN SHOW

Celebrity IOU (HGTV)
Fixer Upper: Welcome Home (Magnolia)
Houses with History (HGTV)
Married to Real Estate (HGTV)
Million Dollar Listing Los Angeles (Bravo)
Rock the Block (HGTV)

BEST LIFESTYLE: FASHION/BEAUTY SHOW

Glow Up (Netflix)
Love, Kam (SurvivorNetTV)
Making the Cut (Prime Video)
My Unorthodox Life (Netflix)
Project Runway (Bravo)
The Hype (HBO Max)

BEST LIMITED SERIES

Abraham Lincoln (History)
Conversations with a Killer: The John Wayne Gacy Tapes (Netflix)
Crime Scene: The Times Square Killer (Netflix)
Sparking Joy with Marie Kondo (Netflix)
Theodore Roosevelt (History)
We Need to Talk About Cosby (Showtime)

BEST ENSEMBLE CAST IN AN UNSCRIPTED SERIES

Dancing with the Stars (ABC)
RuPaul’s Drag Race (VH1)
The Real Housewives of Beverly Hills (Bravo)
The Real World Homecoming: New Orleans (Paramount+)
The Voice (NBC)
Top Chef (Bravo)

Trevor Noah

BEST SHOW HOST

Mayim Bialik – Jeopardy! (Syndicated)
Daniel “Desus Nice” Baker and Joel “The Kid Mero” Martinez – Desus & Mero (Showtime)
Padma Lakshmi – Taste the Nation with Padma Lakshmi (Hulu); Top Chef (Bravo)
Trevor Noah – The Daily Show with Trevor Noah (Comedy Central)
John Oliver – Last Week Tonight with John Oliver (HBO)
RuPaul – RuPaul’s Drag Race (VH1)

MALE STAR OF THE YEAR

Jeff Goldblum – The World According to Jeff Goldblum (Disney+)
Robert Irvine – Restaurant: Impossible (Food Network)
Trevor Noah – The Daily Show with Trevor Noah (Comedy Central
Phil Rosenthal – Somebody Feed Phil (Netflix)
RuPaul – RuPaul’s Drag Race (VH1)
Stanley Tucci – Stanley Tucci: Searching for Italy (CNN)

FEMALE STAR OF THE YEAR

Samantha Bee – Full Frontal with Samantha Bee (TBS)
Kelly Clarkson – The Kelly Clarkson Show (Syndicated); The Voice (NBC); American Song Contest (NBC)
Joanna Gaines – Fixer Upper: Welcome Home (Magnolia); Magnolia Table with Joanna Gaines (Magnolia)
Selena Gomez – Selena + Chef (HBO Max)
Padma Lakshmi – Taste the Nation with Padma Lakshmi (Hulu); Top Chef (Bravo)
Sandra Lee – Dr. Pimple Popper (TLC)

OUTSTANDING ACHIEVEMENT IN NONFICTION PROGRAMMING BY A NETWORK OR STREAMING PLATFORM

Discovery+
HBO Max
Hulu
Netflix
TLC

OUTSTANDING ACHIEVEMENT IN NONFICTION PRODUCTION

Bunim/Murray Productions
The Intellectual Property Corporation (IPC)
Kinetic Content
Raw TV
Sharp Entertainment
World of Wonder

Jeff Goldblum

The MTV Movie & TV Awards returned, with Vanessa Hudgens as host of the live ceremony and Tayshia Adams hosting the second part – Unscripted.

Jack Black was honored with the Comedic Genius Award, while Jennifer Lopez accepted the Generation Award. She delivered an emotional speech, in which she thanked her kids, the people who gave her joy and her manager Benny Medina, as well as “all the people who told me to my face or when I wasn’t in the room that I couldn’t do this.”

Tom Holland and Zendaya won separate awards and for their projects. Here’s the list of winners:

SCRIPTED CATEGORIES

BEST MOVIE
Spider-Man: No Way Home — WINNER!
Scream
The Batman
The Adam Project
Shang-Chi and the Legend of the Ten Rings
Dune

BEST SHOW
Euphoria — WINNER!
Inventing Anna
Loki
Squid Game
Ted Lasso
Yellowstone

BEST PERFORMANCE IN A MOVIE
Lady Gaga, House of Gucci
Robert Pattinson, The Batman
Sandra Bullock, The Lost City
Timothée Chalamet, Dune
Tom Holland, Spider-Man: No Way Home — WINNER!

BEST PERFORMANCE IN A SHOW
Amanda Seyfried, The Dropout
Kelly Reilly, Yellowstone
Lily James, Pam & Tommy
Sydney Sweeney, Euphoria
Zendaya, Euphoria — WINNER!

Ryan Reynolds as Guy in 20th Century Studios??? FREE GUY. Photo by Alan Markfield. ?? 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

BEST COMEDIC PERFORMANCE
Brett Goldstein, Ted Lasso
John Cena, Peacemaker
Johnny Knoxville, Jackass Forever
Megan Stalter, Hacks
Ryan Reynolds, Free Guy — WINNER!

BEST HERO
Daniel Craig, No Time to Die
Oscar Isaac, Moon Knight
Scarlett Johansson, Black Widow — WINNER!
Simu Liu, Shang-Chi and the Legend of the Ten Rings
Tom Holland, Spider-Man: No Way Home

BEST VILLAIN
Colin Farrell, The Batman
Daniel Radcliffe, The Lost City — WINNER!
James Jude Courtney, Halloween Kills
Victoria Pedretti, You
Willem Dafoe, Spider-Man: No Way Home

BEST KISS
Hunter Schafer and Dominic Fike, Euphoria
Lily Collins and Lucien Laviscount, Emily in Paris
Poopies and the snake, Jackass Forever — WINNER!
Robert Pattinson and Zoë Kravitz, The Batman
Tom Holland and Zendaya, Spider-Man: No Way Home

Ghostface and Jenna Ortega in Paramount Pictures and Spyglass Media Group’s “Scream.”

MOST FRIGHTENED PERFORMANCE
Jenna Ortega, Scream — WINNER!
Kyle Richards, Halloween Kills
Mia Goth, X
Millicent Simmonds, A Quiet Place Part II
Sadie Sink, Fear Street: Part Two 1978

BEST FIGHT
Black Widow vs. Widows, Black Widow
Cassie vs. Maddy, Euphoria — WINNER!
Guy vs. Dude, Free Guy
Shang-Chi bus fight, Shang-Chi and the Legend of the Ten Rings
Spider-Men end battle, Spider-Man: No Way Home

BEST BREAKTHROUGH PERFORMANCE
Alana Haim, Licorice Pizza
Ariana DeBose, West Side Story
Hannah Einbinder, Hacks
Jung Ho-yeon, Squid Game
Sophia Di Martino, Loki — WINNER!

BEST TEAM
Tom Hiddleston, Sophia Di Martino and Owen Wilson, Loki — WINNER!
Selena Gomez, Steve Martin and Martin Short, Only Murders in the Building
Tom Holland, Andrew Garfield and Tobey Maguire, Spider-Man: No Way Home
Ryan Reynolds and Walker Scobell, The Adam Project
Sandra Bullock, Channing Tatum and Brad Pitt, The Lost City

Best Kiss in “Jackass Forever”

By Lynn Venhaus
An uneasy feeling of dread grows and intensifies during the creepy “Watcher,” a competent thriller whose elements, while not exactly original, come together as a believable modern-day psychological horror show.

When her husband Francis (Karl Glusman) gets a job promotion that requires a move to Romania, Julia (Maika Monroe) accompanies him on the adventure – and plans to be supportive. A former actress, she walks around the streets of Bucharest, a stranger in a strange land, and attempts to keep busy to relieve her crushing boredom.

Only she has this uneasy feeling that she is being watched. There’s a guy (Burn Gorman) peeking outside nightly from an adjacent building. Is she imaging things or is she being stalked?

Shades of Hitchcock’s “Rear Window” and the proverbial female protagonist doubting herself – while men wonder if it’s her imagination or other stress triggers causing the hysteria.

Those condescending, patronizing looks that women know all too well.

Watcher with Maika Monroe

But we wouldn’t have 95 tension-filled minutes if everyone believed her, right? Maika Monroe, who effortlessly slips into the horror-genre as the pretty and smart blonde, toggles the fine line of sanity. We feel her nagging ‘What is wrong with me?’ just as we experience the unsettling surroundings from her point of view.

As an odd, lonely janitor named Weber, the versatile character actor Burn Gorman is able to project both sadness and strangeness at the same time. He does more with the thinly drawn part than likely was on paper.

In a stereotypical preoccupied husband role, Karl Glusman is nondescript as Francis, going through the motions of becoming increasingly perplexed, and alarmed, by Julia’s behavior.

It doesn’t help that the nightly news features a grisly neighborhood murder that may be the work of a serial killer. Nor that Julia doesn’t understand the language – she is taking lessons but feels even more lost when she’s surrounded by natives blithely chatting away. It all adds up to a few heebie-jeebies moments.

An interesting turn by Madalina Anea as the alluring, sophisticated neighbor Irina is a terrific addition to the claustrophobic setting.

Director Chloe Okuno, who wrote the story for the screen based on Zack Ford’s screenplay, gives a stylish, contemporary female spin on a classic old-school thriller, and it gets under your skin with her methodical approach.

Okuno employs a steady, deliberate pace and wisely chooses to play up the shadows and vary the lighting to make Julia’s solitary moments even more unsettling. Along with cinematographer Benjamin Kirk Nielsen, they frame the angular hallways, windows, staircases, and doors to build an eerie tone.

Shrewd editing by Michael Block provides well-earned jump scares and some jolting surprises just in case you were lulled into a ‘nothing’s wrong here’ feeling. Composer Nathan Halpern capitalizes and effectively adds to the spooky vibe with his memorable score.

Costume designer Claudia Bunea has made smart choices, especially for Julia, whom we can see change through her fashion choices as her misery grows. The walls seem to close in on her, and production designer Nora Dumitrescu’s selections help that with a drab Old-World setting.

But it all rests on Monroe’s shoulders to convince us of her out-of-kilter life, trying to adapt to a foreign country but feeling more isolated and alone than ever, and she splendidly comes through.

A nominee for the Grand Jury Prize at the 2022 Sundance Film Festival, “Watcher” takes a story with familiar beats and with fresh eyes, collaborators made it their own. Above all, it delivers what it promises – and is frightening in the process.

Maika Monroe

“Watcher” is a 2022 horror-thriller directed by Chloe Okuno and starring Maika Monroe, Karl Glusman, Burn Gorman, Madalina Anea. It is rated R for some bloody violence, language and some sexual material/nudity, and runs 1 hour, 31 minutes. It is in local theaters on June 3 and available for rental on June 21. Lynn’s Grade: B+

By Lynn Venhaus

Bright before me the signs implore me
To help the needy and show them the way
Human kindness is overflowing
And I think it’s going to rain today

  • Randy Newman, “I Think It’s Going to Rain Today,” 1968

As the gap between the haves and the have-nots keeps widening in America, August Wilson’s “Jitney,” the first play of his 10-play cycle in 10 decades of history, couldn’t be timelier.

The play, which is set in the 1970s in Pittsburgh’s Hill District, has lost none of its bite, and in the loving hands of The Black Rep, it is spellbinding. A richly textured tale of economic struggles, racial tensions, fathers, sons, hope, dreams, loss, strength, and the need for and meaning of community.

A jitney refers to an independently owned unlicensed car for hire. Because regular cab drivers did not service the Hill District, Wilson presented this urban renewal scenario for a makeshift gypsy cab service.

The city has decided to condemn the building, which threatens to eliminate Becker’s Car Service, and the owner frets about finances as the other characters have worries of their own. This lyrical production is powerful storytelling at its finest.

Wilson introduces us to the men who make a living driving these cabs as they sit around a dingy office waiting for the phone to ring – as well as the relatives and passengers who stop by.

The era vibrantly portrayed is after the Civil Rights Amendment, but segregation still exists, and the characters deal with those issues. Could home ownership even be possible? The soldiers who fought in Vietnam returned home (or not) with their own stories to tell.

These passionate souls have bonded – or avoided it – through their lives’ triumphs and travails. No one’s had it easy, and the world-weariness shows. But the hope for second chances is palpable.

Featuring a superb ensemble of actors who bring out distinctive characteristics that you won’t soon forget, “Jitney” is a powder-keg of emotions and the evergreen need for connection and kindness in a cold, cruel world.

As the former mill worker who has his share of problems, Kevin Brown gives a powerhouse performance, equal parts fire and compassion.

Becker is grappling with his shame over his son’s prison time for murder. Clarence “Booster” Becker was convicted for killing a white college girlfriend, who had accused him of rape after her father found out about their relationship. As the wayward son, Phillip Dixon offers a complex performance as he seeks to patch up his rift with his dad and a fresh start.

Another standout young actor, Olajuwon Davis, plays Vietnam veteran Darnell Williams, aka Youngblood, and you can feel his desire to realize the American Dream for his family as he works two jobs.

Alex Jay is memorable as Rena, his spunky pregnant girlfriend, and brings out the yearning to be part of middle-class society as they’re starting out, their lives in front of them, dreaming of bright futures.

The cast is enlivened by the dynamic of ace performers J. Samuel Davis, who plays Fielding, and Ron Himes, the director who was called to fill in as Turnbo a few days before the show began its run. Both titans in the local theater community, they are multiple winners and nominees of the St. Louis Theater Circle Awards, and their ease slipping into these roles is one of the joys of seeing them at work.

Fielding is a driver whose life has been marred by alcoholism and Turnbo, a cranky guy who knows it all, likes to stir up trouble.

Another bright spot is Edward Hill as Doub, a Korean War veteran who keeps it all together at the service.

Rounding out the cast is Robert A. Mitchell as Shealy, a local bookie who does not drive but spends his time there using the pay phone to run his numbers game, and Richard Harris as Philmore, as a hotel doorman who gets rides from the guys.

Director Himes capitalizes on Wilson’s ability to draw us into his world that is so vivid. The production is enhanced by spot-on music choices reflecting that era, an impeccably designed set by Harlan D. Penn, the always exquisite lighting design of Joseph W. Clapper and sharp sound design from Justin Schmitz. Jamie Bullins’ costume design shrewdly reflects the characters.

As Wilson chronicled African American life during the 20th century, we learned about specific journeys in a way that resonated universally. Call them ordinary people, but on stage, they create a stunning portrait of America – and they make a beautiful noise. All but one of his 10 plays are set in his hometown.

Because of the Black Rep’s unwavering commitment to Wilson’s plays, we St. Louisans have been fortunate to experience his Pittsburgh plays, or Century Cycle, in the highest quality possible.

These productions, now in the company’s second go-round, have enriched not only my theater-going but also my understanding of humanity. I look forward to the rest I have not seen.

Whether you have seen any or none, engage a ride with “Jitney” May 4-May 29.

The Black Repertory Theatre of St. Louis presents August Wilson’s “Jitney” May through May 29 at the Edison Theatre on the campus of Washington University in St. Louis. For tickets, visit
For more information, visit
www.theblackrep.org

By Lynn Venhaus
No parent should have to bury a child.

The anguish of these Uvalde parents is heartbreaking and we must do whatever we can to support them. We can’t let it be other people’s problems.

Columbine, Buffalo, Sandy Hook, Parkland, Virginia Tech, Las Vegas, the church in southern California and Texas and Charleston and Jewish synagogues, the high school kid in Michigan whose parents did nothing, and on and on…where is the next “it couldn’t happen here”?

The pain of the Uvalde parents and community at large is palpable. We can feel it? What parent hasn’t had a chill go down their spine? How many parents slept with their youngsters last night? Holding them close, however, does not protect them from evil.

The 21 victims’ parents are now in the same club I am in – and no one wants to be in this club.

The day you bury your son or daughter is the saddest day of your life. Everything is before and after. Nothing is the same Nor will it ever be. The depth of sorrow is unfathomable. The only thing that helps get you through it is the outpouring of kindness and comfort from others.

We can only imagine what it is like to drop your kids off at school and then they don’t come home.

Waiting…and waiting for word if they are safe. A community is shattered and a nation mourns. Why aren’t our kids or our loved ones safe? We should use this anger and grief to unite for change.

I have seen during the past couple weeks joyous photos on Facebook of parents celebrating their school children’s achievements and graduations. Happy, smiling families. Can you imagine if a gunman intruded on your special day? Something so innocent marred forever by tragedy.

Malls, grocery stores, concerts, movie theatres, schools, churches — why are we not safe?

Those who think firearms are not an issue? I would like to see the amount of money lawmakers receive from NRA and gun lobbyists.

Arm teachers? Make harsher laws on crimes involving guns AFTER people are dead while doing nothing to tighten how people get these weapons?

And you bear no responsibility? What about preventative measures.

Action. Stand up. No time to sit back and shrug our shoulders. Sure, I feel helpless and hopeless because NOTHING changes by legislators who let the gun lobby rule their conscience. No 18 year old needs an assault rifle.

Guns are now the number one cause of children’s deaths, surpassing car accidents.

Most of America is outraged and agree on assault weapons, background checks, etc. but we need to hold feet to the fire — to those speaking hollow condolences without any kind of reform. Ruled by partisan gridlock, when will we see change in Washington DC? You do not need an AR-15 to hunt deer.

You can’t deflect to mental health – you hold some responsibility by your cowardice to not do what is right regarding reform.

The second amendment was written in 1791 and wasn’t meant to be blanket permission for citizens to own weapons of war. What kind of sport is that exactly? Why does an 18 need nearly $4,000 worth of gums and ammunition.

We must demand change. Vote. Keep the conversation going. Do not let it fade away…and then the next time.

I thought things would change after kids were killed in the high profile cases. Apparently not.

What will it take? What is the tipping point? Why are we letting these things go on?

How many more parents have to suffer until something is done?

Aren’t we tired of these repeated scenarios?

Do more, America.

And PS Texas Deputy Governor Dan Patrick is a horrible human being.

Where to Help?

Uvalde Strong Relief Fund

The Community Foundation of Texas Hill Country, a nonprofit just northwest of San Antonio, started a relief fund for Uvalde victims and their families, as well as others affected by the shooting.

Crowdfunding platform GoFundMe set up a page with verified fundraisers put together by family members of shooting victims and nonprofit organizations.

The Uvalde Consolidated Independent School District created a bank account at First State Bank of Uvalde where people can send funds directly to shooting victims and their families. Funds can be sent electronically through Zelle using the email robbschoolmemorialfund@gmail.com or through the mail at the address 200 East Nopal St., Uvalde, Texas 78801. Make checks payable to the “Robb School Memorial Fund.”


By Lynn Venhau

The truth is out there, “The X Files” told us during 11 seasons on television. For believers of any paranormal or extra-terrestrial phenomena, some sort of proof helps build a convincing case. “Anomalous Experience” earnestly scratches the surface but is only a piece of an ever-evolving puzzle for truth-seekers.

Inspired by true events, Joe Hanrahan’s original play is a serious-minded drama taking a clinical approach as a public lecture by a psychiatrist who has endured ridicule about his studies into alien abductions and features two patients sharing their experiences.

The Midnight Company’s world premiere production opens its 25th season and runs at the .Zack May 5 – 21.

A key component of science fiction during the last half of the 20th century – the so-called ‘Atomic Age’ — has been stories centered on aliens, whether Unidentified Flying Objects, abductions, or exploratory visits from extra-terrestrials.

But now, with the government acknowledging UFOs and recent sightings of unknown aircraft by military pilots, which are being investigated (even if Area 51 folklore remains shrouded in mystery), tales this century are more accepted and not viewed as merely the rantings of kooks.

However, a heavy dose of skepticism exists about alien abductions. That’s the focus of actor-playwright Hanrahan, who based his character on a real professor who forged ahead in his research despite the nay-sayers.

Joe Hanrahan. Photo by Joey Rumpell

Hanrahan won a St. Louis Theater Circle Award in March for his original play “Tinsel Town,” which is three showbiz vignettes taking place over a 24-hour period in Los Angeles, presented in 2021, and was nominated for his nostalgic one-man show “Now Playing Third Base for the St. Louis Cardinals…Bond…James Bond.”  This is a different direction, and he has meticulously researched the subject to present it in a matter of fact, not preachy or fearful, way.

The sobering material touches on such familiar cases as Roswell, N.M., and goes back to ancient times (Chariots of the Gods) through production designer Kevin Bowman’s impressive slide show.

Given Midnight’s penchant for small character studies, the show is simply yet effectively staged, with Kevin Bowman’s minimal set.

Director Morgan Maul-Smith strips it down to maintain an air of gravitas through the actors – Hanrahan as James Collins and Joseph Garner and Payton Gillam as the two patients Scott and Virginia who believe they were abducted by aliens.

Anxious and apprehensive about their reception, but steadfast in their beliefs that something profound happened to them, Virginia and Scott share their harrowing experiences and re-enact hypnotic regression in a natural progression. 

Photo by Joey Rumpell

Both performers are engaging in conversations with Hanrahan, and Garner looks directly at the audience with his compelling experience. He is particularly haunting in his graphic descriptions of a breeding incident, and his struggles to cope with what has taken place. Gillam is effective in her recount of how her life changed, including her marriage.

That eerie uncertainty is carried through Ellie Schwetye’s masterful sound design and Tony Anselmo’s lighting design.

After their recount, it’s anti-climactic when the 80-minute play ends, because we don’t go farther in their lives. It would be interesting to see how their lives changed in the years since their encounters, if they felt they were being observed or studied.

This uncommon tale benefits from the strong actors, but the play is more sensible than sensational – just in case you were looking for escalating melodrama and shifting behaviors. As we’ve become accustomed to in fictional narratives on aliens, this is just the beginning.

“Anomalous Experience” is a thought-provoking look into unexplained abnormal events that make for a modern ghost story, although light on thrills and chills.

Photo by Joey Rumpell

The Midnight Company presents “Anomalous Experience” May 5 – 21, with performances Thursday through Saturday at 8 p.m. and Sunday matinees at 2 p.m., although the final show is Saturday, May 21 at 8 p.m., at the .Zack, 3224 Locust in the Grand Center Arts District of St. Louis. For tickets, visit www.metrotix.com. For more information, visit www.midnightcompany.com

The .Zack is a Kranzberg Arts Foundation space. Follow the COVID-19 guidelines currently in place. Masks are currently optional for patrons.

New Line Theatre, “the bad boy of musical theatre,” has announced its 31st season of adult, alternative musical theatre, including the wild musical comedy SOMETHING ROTTEN, running Sept. 22-Oct. 15, 2022; followed by the electrifying concept musical, NINE, based on Federico Fellini’s iconic film 8 1/2, running March 2-25, 2023; and the season closes with one of the great Stephen Sondheim’s earliest works, the hilarious farce, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, based on the Roman comedies of Plautus, running June 1-24, 2023.

BUT WAIT, THERE’S MORE… New Line will present a free, public reading of the new musical A REEFER MADNESS CHRISTMAS for one night only in January 2023 (exact date TBA), at the Marcelle Theater. The new musical has book, music, and lyrics by New Line artistic director Scott Miller. The reading is not part of the season subscription.

SEASON TICKETS

Season tickets are on sale now, and single tickets will go on sale in September. New Line’s mainstage shows will be in the company’s home, the Marcelle Theater, in Grand Center, St. Louis’ arts district.

To order season tickets for the three mainstage shows, Something Rotten, Nine, and A Funny Thing Happened on the Way to the Forum, go to http://www.newlinetheatre.com/purchase/index.php.

There are three kinds of subscriptions. The First Look Subscription contains tickets for only the Thursday preview for each show. These tickets cannot be exchanged for other dates. Each Regular Subscription includes one ticket for each show in the season. You can use each ticket for any performance date during the run of that show. Each Flex Subscription includes three Flex tickets that you can use at any time for any show during the entire season — use all three tickets for one show or spread them out over the season, however you want! The deadline for ordering season tickets is August 31, 2022.

THE 2022-2023 SEASON

SOMETHING ROTTEN
Sept. 22-Oct. 15, 2022

It’s Shakespeare’s London. Or it’s Steven Spielberg’s Hollywood.
Or is it BOTH?

This smart, subversive musical comedy mashes up the crass commercialism of today’s Hollywood with the people and plays of Shakespeare’s London, to ask fascinating, funny questions about commercial success, popular success, artistic success, and personal success. And beneath the rapid-fire Shakespeare jokes, the show comically deconstructs itself and musical theatre as an art form, exploring what makes musicals tick and why we love them. The show was nominated for ten Tonys, nine Drama Desk Awards, and twelve Outer Critics Circle Awards.

Set in the 1590s, brothers Nick and Nigel Bottom are desperate to write a hit play but they’re stuck in the shadow of the Renaissance rock star Will Shakespeare. When a local soothsayer foretells that the future of theatre involves singing, dancing and acting, all at the same time, Nick and Nigel set out to write the world’s very first musical.

The New Line production will be directed by Scott Miller, with costume design by Sarah Porter, scenic design by Rob Lippert, and sound design by Ryan Day.

Produced by arrangement with Music Theatre International, New York.

A REEFER MADNESS CHRISTMAS
A Free Public Reading
January 2023
 (TBA)

What happens when a family’s secrets are all revealed on one outrageous, pot-fueled Christmas Eve in 1959?

Poor Harry Goodson is about to find out, as he’s visited overnight by his dead brother, Jesus Christ, Sandra Dee, and Johnny Appleweed, and he finally learns what his family already knows, that the answer to all his problems is marijuana!

Not really a sequel to the unintentionally hilarious 1936 “scare film,” this new musical is more like a wacky companion piece, a tongue-in-cheek response, a comic look at what a little pot and a little truth can do to a normal, average, Midwestern, American family at mid-century, just as America plunges into the 1960s.

The New Line reading will be directed by Scott Miller, featuring Zachary Allen Farmer as Harry, Nellie Mitchell as Bess, Isabel Garcia as Tammy, Chris Moore as Uncle Hugh, along with Colin Dowd, Sarah Gene Dowling, Brittany Hester, and Chris Kernan as the carolers.

New Line will present a full production of A Reefer Madness Christmas in fall 2023. More details to come….

NINE
March 2-25, 2023

Genius filmmaker Guido Contini is having a very messy nervous breakdown. And you’re invited!

Based on filmmaking legend Federico Fellini’s legendary (semi-)autobiographical film 8 1/2, this is a psychoanalytical roller coaster ride through the brain of a troubled, self-doubting genius. Underneath, it’s a story about creation and creators, the sacrifices and compromises and demons, and the mysterious, delicate process of making great art.

Nine follows Fellini avatar Guido Contini who suffers a monumental breakdown, just as he turns forty and cameras are ready to roll on his next film, which Guido hasn’t even written yet. The entire show unfolds inside Guido’s frantic, chaotic mind as the many women in his life begin to rebel against his casual use and abuse of them, and as he examines the many relationships in his life. Finally, Guido has to learn the hardest lesson of all for an artist – he has to grow up.

In fact, Fellini gave his film its title as a joke: his lead character was so blocked artistically that his story didn’t even get a real title (its original title was La Bella Confusione), just a number. Fellini had already directed six full-length films and one short film, and he had co-directed two films, so this was film number eight-and-a-half. But beacuse the stage musical was no longer artistic autobiography, the new title Nine refers to the age that Guido wishes he could return to, a simpler time free of responsibility.

Frank Rich wrote in The New York Times, “In Nine, his most ambitious show, director Tommy Tune provides the strongest evidence yet that he is one of or theater’s most inventive directors – a man who could create rainbows in a desert. Songwriter Maury Yeston, a newcomer to Broadway, has an imagination that, at its best, is almost Mr. Tune’s match. His score, giddily orchestrated by Jonathan Tunick, is a literate mixture of showbiz and operatic musical genres that contains some of the season’s most novel and beautiful songs. Together, Mr. Yeston and Mr. Tune give Nine more than a few sequences that are at once hallucinatory and entertaining – dreams that play like showstoppers.” Rich went on to say, “There’s so much rich icing on Nine that anyone who cares about the progress of the Broadway musical will have to see it.”

The New Line production will be directed by Scott Miller, with choreography by Chris Kernan, costume design by Sarah Porter, scenic design by Rob Lippert, and sound design by Ryan Day.

Open auditions will be held in June.

Produced by arrangement with Concord Theatricals, New York.

A FUNNY THINGS HAPPENED ON THE WAY TO THE FORUM
June 1-24, 2023

You think we’re confused by sex, gender, and love today?
Get a load of the Romans!

Master songwriter Stephen Sondheim and comic playwright and screenwriter Burt Shevelove took the classical Roman comedies of Plautus, mashed them together with American vaudeville, and came up with one of the great musical farces of all time, every bit as smart and subversive as Sondheim’s later shows. In 1962, this show satirized America’s hang-ups about sex; today, the show asks lots of complicated questions we’ve all been asking lately, about sex, gender, and more.

Sondheim was an honorary member of the New Line board for almost thirty years, and he was a regular New Line donor before his recent death. New Line has produced seven other Sondheim shows over the years.

The music critic for The New York Times, Anthony Tommasini, wrote about the show, “For all the talk of Forum harking back to the days of good, clean farce, theatrically it is an experimental work. It completely subverts the heritage of what is called the book show, handed down by Rodgers and Hammerstein, where the songs emerge from the plot. In Forum, the songs purposely interrupt the farcical plot, giving the audience a needed break from the madcap hysterics.” The show was nominated for eight Tony Awards and won six, including Best Musical, Best Producer, Best Book, and Best Director. There have been multiple Broadway revivals, in 1972 with Phil Silvers, and 1996 with Nathan Lane, and later in the run, Whoopi Goldberg. All three actors who have opened in the role of Pseudolus on Broadway have won Best Actor Tony Awards. On top of that, Jason Alexander played the role in Jerome Robbins’ Broadway, and he also won a Tony for Best Actor in a Musical.

The New Line production will be directed by Scott Miller and Chris Kernan, with choreography by Kernan, costume design by Sarah Porter, scenic design by Rob Lippert, and sound design by Ryan Day.

Produced by arrangement with Music Theatre International, New York.

THE 2022-2023 NEW LINE SEASON AT A GLANCE

Sept. 22-Oct. 15, 2022 – Something Rotten

January 2023 (TBA) – Free Public Reading of Reefer Madness Christmas

Mar. 2-25, 2023 – Nine

June 1-24, 2023 – A Funny Thing Happened on the Way to the Forum

June 12, 2023 – Auditions for 32nd Season

June 19, 2023 – Auditions for 32nd Season

ABOUT NEW LINE THEATRE

New Line Theatre is a professional company dedicated to involving the people of the St. Louis region in the exploration and creation of daring, provocative, socially and politically relevant works of musical theatre. New Line was created back in 1991 at the vanguard of a new wave of nonprofit musical theatre just starting to take hold across the country. New Line has given birth to several world premiere musicals over the years and has brought back to life several shows that were not well served by their original New York productions. Altogether, New Line has produced 92 musicals since 1991, and the company has been given its own entry in the Cambridge Guide to American Theatre and the annual Theater World. New Line receives support from the Regional Arts Commission, the Missouri Arts Council, a state agency, the Kranzberg Arts Foundation, and the Grand Center Arts District.

New Line also continues its partnership with the Webster University Department of Music and their Bachelor of Music in Music Direction for Musical Theatre degree program.

New Line’s current season closes with the outrageous musical comedy URINETOWN, running June 2-25, 2022. For more information, visit www.newlinetheatre.com.

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By Lynn Venhaus
This beautifully filmed sequel is as welcome as seeing old friends again now that we’ve been through a global pandemic. And as a merry follow-up film, “Downton Abbey – A New Era” couldn’t be more charming and delightful – and provide satisfactory story arcs for all major and minor characters.

Half the Crawley clan heads to the south of France to investigate the Dowager Countess’ (Maggie Smith) newest inheritance while the family’s new matriarch, Lady Mary (Michelle Dockery) stays home to oversee a movie being shot there (they need a new roof).

Only, it’s impossible to divulge plot points because of the big reveals throughout its two-hour runtime. The entire historical period drama, tinged with warm humor and trademark zingers from creator and writer Julian Fellowes, is one big spoiler alert.

That said, the two overlapping plots are deliciously engaging – a sojourn to the south of France to stay at a grand villa that has its own jaw-dropping backstory, and a glamorous Hollywood film crew taking over the august estate. It’s 1929, and they will roar headfirst into a new decade.

For fans, this is as enjoyable as opening presents on Christmas morning. And dare I say, even better than the first film, which continued where the series left off, updating the lives of the downstairs servants and the heirs of the Earl of Grantham.

Three years after the first film dealt with a royal visit from King George V and Queen Mary in 1927, and seven years after the hit TV drama ended its sixth season (2011-2015), award-winning run, the family and the servants are still in a flutter – only this time have a gift horse to speculate about, and stars in their eyes from the intrusion of movie people.

The melodrama gives the characters plenty to fret about and deal with, making them relatable to us commoners as power shifts and romances begin and deepen. Director Simon Curtis, who made the captivating “My Week with Marilyn,” nimbly weaves both plots together for a satisfactory narrative.

The addition of the film crew, who starts off producing a silent picture but must accommodate the growing popularity of ‘talkies,’ provides comical encounters and an engaging subplot for Lady Mary, with Michelle Dockery in classy form.

Hugh Dancy is earnest as smitten film director Jack Barber and a jaunty Dominic West is dashing as movie star Guy Dexter, while Laura Haddock does her best Jean Hagen as the Tinsel Town beauty Myrna Dalgleish whose crass voice needs an overhaul as does her uppity attitude. Shades of “Singin’ in the Rain”!

Maggie Smith, the two-time Oscar winner, owns the film as quipmeister Violet Crawley, effortlessly delivering her customary putdowns.

Just as the first film, “A New Era” is opulently crafted, with exquisite costume design by Anna Robbins and Maja Meschede and production design again by Donal Woods befitting a regal world of aristocratic wealth and position.

Andrew Dunn’s sumptuous cinematography keys in on the scenic splendor of the Mediterranean coast as well as effective shadows and light in the indoor movie making scenes. Composer John Lunn returns to accentuate every mood with swelling strings.

The real Highclere Castle in north Hampshire stands in for the Downton Abbey homestead, and still makes one swoon.

I’m ready for a third chapter, but if this is the end, what a fine swan song it is.

“Downtown Abbey: A New Era” is a 2022 historical drama directed by Simon Curtis and starring Maggie Smith, Hugh Bonneville, Michelle Dockery, Elizabeth McGovern, Hugh Dancy, Dominic West, Laura Haddock, Penelope Wilton and Imelda Stanton. It’s rated PG for some suggestive references, language,  and thematic elements and its runtime is 2 hours, 4 minutes. It is in theatres May 20. Lynn’s Grade A.

St. Louis Shakespeare Festival has partnered with Cinema St. Louis to bring a three-night film festival May 19, 20 and 21 to Shakespeare Glen. Completely free to attend, no reservations are required. 

Bring your own chairs and blankets and set up on the grass in the beautiful Shakespeare Glen just a few short weeks before we open Much Ado About Nothing. The screen will be set up on the stage platform. Movies begin at 8:15 PM. and Shakespeare Glen opens at 6:30 p.m.

STL Barkeep will be onsite with beer, wine and cocktails for purchase. Food vendors include The Popcorn Bar, Super Smokers BBQ and others.  Pack a picnic, outside food and drink are welcome.

Heather Ledger, Julia Styles in “10 Things I Hate About You”

Here’s the line-up:

Thursday, May 19 – 10 Things I Hate About You
Heath Ledger and Julia Stiles star in this 90’s favorite and Taming of the Shrew adaptation. Enough said.

Friday, May 20 – The Lion King
Hakuna Matata! It’s Disney’s 1994 animated version of Hamlet.

Saturday, May 21 – Theatre of Blood
A 1973 camp horror-comedy from Britain starring St. Louis-born Vincent Price as a slighted Shakespearean actor who seeks poetic and murderous revenge on his critics – killing them in the same ways made infamous by Shakespeare. Content warning: R Rated for mature content and violence.

Follow the Festival’s social media accounts @stlshakesfest or call the box office at 314-287-3348 in the event of inclement weather. No rain dates are scheduled.

The Lion King