Lynn Venhaus

Total Post: 1141

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.

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

One Of Year’s Best Ensembles Hits Hard in Timely ‘Sweat’ at Black Rep

By Lynn Venhaus
A domino chain of events have a devastating effect on a group of blue-collar steel workers in Lynn Nottage’s hard-hitting play, “Sweat,” which won the Pulitzer Prize for Drama in 2017 and retains its timeliness.

The Black Rep’s outstanding production, which kicked off its 45th season on Sept. 9 and continues through Sept. 26, features powerful performances in a lived-in atmosphere.

You know these characters, the ‘little guys’ who’ve worked the factory floor for years and thought their labor unions would protect them when the corporate owners moved operations to another country for a cheaper labor force.

Set in a local tavern where the Olstead mill workers hang out in Reading, Pennsylvania, this could have taken place in Granite City or Centralia, Ill., or near the shuttered car plants in St. Louis.

Director Ron Himes knows this and understands how today’s political and racial tensions are much the same as then, as well as immigration issues. Those are addressed in two story arcs — changing demographics and the territorial birthright felt by the longtime Caucasian residents.

Sadly, this tale is often not one of fiction in real lives — and has become familiar to anyone living anywhere in the Rust Belt, part of those Northeast and Midwestern regions where an industrial decline has been going on for decades, especially where coal and steel were economy mainstays.

The 2015 play starts and ends in 2008, but most of it takes place in flashback eight years earlier – in 2000, a pivotal time in America, after NAFTA is in place and corporations are going to Mexico. Transparency is not a word in these companies’ vocabulary, as they leave communities shattered and people broken.

The North American Free Trade Agreement was signed by Canada, Mexico, and the United States in 1994 and created a trilateral trade bloc.

The action veers from longtime friends celebrating birthdays, laughing, joking and talking about their lives to escalating tension as uncertainty about their jobs increases, along with harsh outlooks on their economic futures.

This ensemble is nimble and natural, conveying the complexities of their relationships with skill and emotional depth. The cast projects how longtime friends act and what their workplace is like with ease.

Nottage’s dialogue is shrewd and perceptive about race, class and identity. She understands the frustrations of these characters, and the lens in which they view the world.

Nottage, who is the only woman to win the Pulitzer Prize twice for Drama, first for “Ruined” in 2009, frequently writes about marginalized people.

For Cynthia and Tracey, is friendship or survival stronger? The actresses Amy Loui and Velma Austin expertly convey their conflicts and mood shifts, show how friendships sour when misunderstandings and envy erupt.

Their friend Jessie drinks too much and once had dreams of traveling the world but got a job at the factory and stayed. Kelly Howe gives what could be a stereotype some nuance – and superbly displays various levels of inebriation.

The cast is anchored by Stan, the bartender who was injured on the job at the mill and reflects on multiple labor issues as he is often the voice of reason – and at least history.

He attempts to put things in perspective and tells the young bucks who are chomping at the bit that they should be outraged by the bosses, not the little guys trying to get ahead like they are.

In his Black Rep debut, Black Anthony Edwards is impressive as the guy who’s good at listening, who speaks common sense, and has made lemonade out of the lemons he was given impairing his leg and being unable to work at what he did for years.

Physically, he looks like the character Stan. Praise to the costume designer Hali Liles for her spot-on outfits depicting the wardrobes of ordinary people living in the Rust Belt.

After they strike, and Cynthia and Tracey’s sons Chris and Jason are laid off, their lives are altered forever after tensions explode in violence. The fight choreography by Paul Steger is fluid and the cast well-rehearsed to make it seem natural.

Chris wanted to make something of himself, and Brian McKinley earnestly portrays his yearning to achieve, especially after watching his dad Brucie (frequent Black Rep performer A.C. Smith) fall on hard times after being shut out at a textile plant.

The boys serve prison sentences, as reflected in the opening scene with parole officer Evan, played with authority by Don McClendon. Franklin Killian is strong as the hothead redneck Jason, now tattoed on his face and a white supremist. He perfectly embodies the once fun-loving guy now a lost soul.

The subject of the boys’ rage is represented by Oscar, a Colombian American who works as the bar’s busboy but seizes an opportunity to make more money by replacing striking workers. The regular clientele are seething about this ‘scab.’

Oscar, well-played by Gregory Almanza, pours out his heart to Stan, telling him about how ignored he is, perceived to be an immigrant when he was born in the U.S. His dad swept floors at the mill, now he wants to achieve more. He is caught in the crossfire of misplaced fury.

The scenic design by Tim Jones aptly captures this world, with detailed property work by Meg Brinkley, all expertly lit by lighting designer John D. Alexander. The jukebox works well, thanks to the terrific sound design by Kareem Deanes.

Featuring one of the year’s best ensembles, a timely tale and expert production elements, “Sweat” is not to be missed.

Velma Austin as Cynthia. Photo by Phillip Hamer.

“Sweat” will continue through Sept. 26, with Thursday show at 7 p.m., Friday and Saturday at 8 p.m., and Sunday at 3 p.m.

$15 student rush tickets are available for all shows — 30 minutes before the show with a valid student I.D.

For more information: www.theblackrep.org

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis.

COVID-19 PROTOCOLS

Our top priority for reopening is the health and safety of our staff, artists and patrons. We have been working diligently to bring live theatre back. The Black Rep is part of the growing coalition of St Louis performing arts venues and producers that have agreed upon Covid-19 Vaccination/Testing and Mask Requirements for audiences, artists and staff through the end of 2021.

Everyone must be fully vaccinated or have received a negative covid test results no more than 72 hours prior to coming on campus. A Covid19 vaccination card or a negative test result must be presented upon entering the building.

Masks are required at all times while indoors on campus. Even if you are seated in pods and distanced, masks must remain in place.

Everyone will need to complete the visitorscreening.wustl.edu within 2 hours of your arrival to campus. You will receive a message indicating that you are cleared to come to campus and you will be asked to present the “cleared” message to ushers at the entrance of the building. For those without smart phones, there is a station in Mallinckrodt where you can complete the screener on an iPad. If you receive a message that you are “not cleared”, we ask that you not come to campus or leave campus if you are completing the screener on campus.

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

‘Sound of Music’ Drew Biggest Audience at The Muny This Summer

The Muny announced today attendance totals for its triumphant 103rd season. After a 714-day intermission, The Muny opened its gates on July 26, 2021, for a five-show season that included Smokey Joe’s Cafe, The Sound of Music, Seven Brides for Seven Brothers, On Your Feet! and Chicago. The highly anticipated lineup for the 2022 season will be announced later this fall and will include Sweeney Todd and Disney and Cameron Mackintosh’s Mary Poppins.

“After an extended intermission, Season 103 offered an incredible homecoming for many,” said Muny President and CEO Denny Reagan. “We are so proud to have gotten the chance to present five productions for our audience, and to have had the opportunity to put our dedicated teams back to work. We cannot thank St. Louis enough for coming out and showing their support — we are forever grateful.”

“This past season will live in our hearts forever,” said Muny Executive Producer and Artistic Director Mike Isaacson. “You could scoop the audiences’ joy at being back at The Muny. It was so powerful. And everyone backstage gave everything they have as people and professionals to create our five extraordinary productions. I am enormously grateful.”

“Our 2021 season will, hopefully, be remembered as the summer this community came together and showed what the heart and willpower of a city can do,” said Muny Managing Director Kwofe Coleman. “Watching thousands of patrons light up as they passed through our gates each night is the reason we exist. While challenging, Season 103 will forever stand out in our history as poignant and unforgettably necessary.”

Total attendance for the five-show summer season: 192,806. This number does not include the Aug. 12 rainout of Seven Brides for Seven Brothers, or the Aug. 31 rainout and final three cancelled performances of Chicago. Through The Muny’s free seat and Community Access programs, over 50,000 guests experienced a Muny production at no cost.

103rd season attendance by show:

SMOKEY JOE’S CAFE: 37,290
The Songs of Leiber and Stoller
July 26 – August 1
Words and Music by Jerry Leiber and Mike Stoller
Sponsored by Ameren

Muny Premiere
Ben E. King, The Coasters, Elvis Presley, Peggy Lee and The Drifters – what do they have in common? Besides being some of the most popular artists of the 50s and 60s, their hits, and over 35 others, were the bread and butter of Smokey Joe’s Cafe. Set in St. Louis’ historic Gaslight Square, Broadway’s longest-running musical revue included Grammy Award-winning favorites such as “Yakety Yak,” “Jailhouse Rock,” “On Broadway” and “Love Potion No. 9.” With this generation-defining Muny premiere, audiences were dancing in the aisles.

THE SOUND OF MUSIC: 55,409
August 3 – 9
Music by Richard Rodgers
Lyrics by Oscar Hammerstein II
Book by Howard Lindsay and Russel Crouse
Suggested by “The Trapp Family Singers” by Maria Augusta Trapp
Sponsored by Edward Jones
Considered by many to be the world’s most beloved musical, The Sound of Music reminds us that with high-spirited hope, heartfelt compassion and unwavering determination, life’s mountains can always be climbed. With its Tony, Grammy and Academy Award-winning score, including “Do-Re-Mi,” “My Favorite Things,” “Edelweiss” and the iconic title track “The Sound of Music,” the hills of Forest Park came alive once more!

Photo by Phillip Hamer

SEVEN BRIDES FOR SEVEN BROTHERS: 39,974
August 12 – 18
Book by Lawrence Kasha and David Landay
Lyrics by Johnny Mercer
Music by Gene de Paul
New Songs by Al Kasha and Joel Hirschhorn
Based on the MGM Film and
“The Sobbin’ Women” by Stephen Vincent Benet
Dance Music Arrangements by Sam Davis
Sponsored by U.S. Bank
Based on the Academy Award-winning 1954 film, Seven Brides for Seven Brothers is Americana at its finest. With an age-old tale of wooing and winning, the battle of the sexes and some barn-raising dancing, this western rollick featured whistle-worthy favorites, including “Bless Your Beautiful Hide” and “Goin’ Courtin’.” With two of the most eminent dance scenes in musical theatre history and seven times the fun, audiences saddled up for an unforgettable joyride through the Oregon frontier.

Note: The attendance total does not include the Aug. 12 rainout performance of Seven Brides for Seven Brothers.

Photo by Phillip Hamer

ON YOUR FEET!: 38,335
The Story of Emilio & Gloria Estefan
August 21 – 27
Featuring Music Produced and Recorded by Emilio & Gloria Estefan & Miami Sound Machine
Book by Alexander Dinelaris
Sponsored by BMO Harris Bank

Muny Premiere
Based on the inspiring true story of the queen of Latin pop, Gloria Estefan and her husband, Emilio, On Your Feet! is a universal sensation that shows what can happen when two people believe in their talent, music and one another. Their moving rags-to-riches story featured some of the most chart-topping songs of the past quarter-century, including “Rhythm is Gonna Get You,” “1-2-3,” “Coming Out of the Dark” and the title hit, “Get On Your Feet.” With this Muny premiere, audiences left ready to “Conga!”

Photo by Phillip Hamer

CHICAGO: 21,798
August 30 – September 5
Book by Fred Ebb and Bob Fosse
Music by John Kander
Lyrics by Fred Ebb
Based on the play by Maurine Dallas Watkins
Script Adaptation by David Thompson
Sponsored by Missouri Lottery
Start the car and head to a “whoopee spot” where crime and corruption are hot! Kander and Ebb’s internationally-acclaimed musical about fame, fortune and justice features a headline-worthy story of how two icon-victs become Jazz Age celebrities. Set during the Prohibition era, this six-time Tony Award-winner, the longest-running American musical in Broadway history, included showstopping standards such as “Cell Block Tango,” “Mister Cellophane” and the notorious “All That Jazz.”

Note: The attendance total does not include the Aug. 31 rainout or final three cancelled performances of Chicago.

Emerson is proud to be The Muny’s 2021 Season Sponsor.

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.

. Smokey Joe’s Cafe. Photo by Phillip Hamer.

Thriller ‘The Card Counter’ Explores the Dark Side After Iraq War Crimes

Thriller ‘The Card Counter’ Explores the Dark Side After Iraq War Crimes

By Lynn Venhaus
William Tell (a shortened surname) is a broken man, but he hides it well. With his well-groomed appearance, this sharp-dressed man looks every bit a winner when he walks through casinos across the country.

But cracks in his icy façade start showing in “The Card Counter,” once we view his austere existence, his penchant for staying at nondescript motels, his OCD-like tendencies, and the flashbacks to his grisly military service.

This revenge thriller shows how an ex-military interrogator turned gambler is haunted by the ghosts of his past.

Tell served in the Iraq War, and afterwards, spent 8.5 years in military prison for torturing the enemy at the Abu Ghraib prison, near Baghdad. The abhorrent behavior of the interrogators and the squalid living conditions are well-documented and glimpsed here.

Isaac is convincing as a man trying to come to terms with the lives he destroyed emotionally and physically. But the mental turmoil has clearly taken a toll, and he seeks redemption – despite not being able to forgive himself.

Wrestling with demons is a specialty of writer and director Paul Schrader, whose last film in 2017, “First Reformed,” was about a guilt-wracked pastor (Ethan Hawke, in his best work to date).

The quintessential outsider, Schrader finally received his first Oscar nomination for the “First Reformed” screenplay but has been part of such highly praised films as “Taxi Driver,” “Raging Bull” and “American Gigolo” for five decades.

He’s not afraid to explore the dark side, and neither is Isaac, who is most well-known as the heroic pilot Poe Dameron in the new “Star Wars” chapters. But he has impressed with edgy portraits in “A Most Violent Year,” “Ex Machina” and “Inside Llewyn Davis.”

This film is dark and disturbing, but also haunting and hypnotic. That is largely due to the cast’s interpretation of this material as well as first-rate production elements.

The fine young actor Tye Sheridan (“Mud,” “Joe”) plays Cirk, who is hell-bent on revenge. He hooks up with Tell at a law enforcement convention, where their mutual enemy, a retired major turned security consultant, Gordo (customary good work from Willem Dafoe), is the keynote speaker. Cirk blames Gordo for his father’s suicide, and he was Tell’s superior officer.

Tell decides to take Cirk under his wing on the casino trail, where he has met the intriguing La Linda, a keen observer who runs a gambling stable for corporations. She has her eye on Tell. He’s wary of this mysterious financier – Tiffany Haddish, playing against type – but he’s in. The trio’s goal is the World Series of Poker.

Like Rev. Toller in “First Reformed,” Tell writes his innermost thoughts in a diary. He has determined that Cirk is too undisciplined to control, and things will go from bad to worse – let’s leave it at that.

While the garish confines of casinos speak volumes about the people who flock there for refuge, entertainment and competition, it is a fitting backdrop for this drama. Alexander Dynan’s cinematography and Ashley Fenton’s production design add to the bleak atmosphere.

The throbbing music score composed by Robert Levon Been adds to a feeling of urgency and is a superb component to the escalating tension.

This is a tough watch. There is an inescapable sadness to it all, but if you are familiar with Schrader’s work, you would know what you are getting. His themes, as always, are his view of the country we live in, and the vulnerable way we all feel under duress.

“The Card Counter” is a revenge thriller directed by Paul Schrader and starring Oscar Isaac, Tiffany Haddish, Tye Sheridan and Willem Dafoe. It is rated R for some disturbing violence, graphic nudity, language and brief sexuality and the run time is 1 hour, 51 minutes. It opened in theaters on Sept. 10. Lynn’s Grade: B


‘Come From Away’ Filmed Musical Offers Kindness in Aftermath of 9-11

‘Come From Away’ Filmed Musical Offers Kindness in Aftermath of 9-11

By Lynn Venhaus

A tragic day that we will never forget in America inspired our Far North neighbors, the Canadian town of Gander in Newfoundland, to provide overwhelming needs over the course of five days for 7,000 world travelers, the “come from aways,” stranded on 38 international planes diverted to the airport there.

That raw reminder of our shared humanity has been turned into an unforgettable work of art, the award-winning, big-hearted, crowd-pleasing musical “Come From Away.”

If ever we needed to be uplifted and reminded of people’s capacity for empathy, it is now.

What an enduring and fitting tribute to 9-11 that a recording of the staged musical will be released on the eve of the 20th anniversary.

In the aftermath, the FAA had closed the airspace in the U.S. and those passengers had nowhere to go.

This Canadian musical with book, music and lyrics by Irene Sankoff and David Hein tells what transpired in the week that followed when the Gander residents sprung into action and provided clothing, food and housing for 7,000, which doubled the town’s population — and there were 19 animals in cargo too. This is the true story of some of the real people who were caregivers and passengers then.

It premiered on Broadway in March 2017 and this remarkable example of the kindness and generosity of strangers in the face of great adversity struck a chord. The musical is a celebration of how resourceful and resilient we can be when we all come together. A community stepped up when they were called upon to do so.

Even in the darkest of times, people experienced beacons of light. Some of them even formed lifelong friendships and would return 10 years later to Gander for a reunion.

Looking back, the mayor said: “Tonight we honour what was lost, but we also commemorate what we found.”

It was filmed, with multiple cameras, before a live audience – some were 9-11 survivors and frontline workers — in May at the Gerald Schoenfeld Theatre in New York City, where it had become the longest-running Canadian musical in Broadway history.

Originally planned as a feature film adaptation on location in Newfoundland, the coronavirus pandemic impact shifted it to a live recording in the theatre.

Full of memorable characters, a script brimming with humor, and a tuneful score using folk, country and pop to bring on lumps in the throat, the filmed recording retains the vitality of this one-act musical that had been playing to sold-out audiences until the pandemic forced its shutdown in March 2020.

The musical returns to Broadway on Sept. 21, and will resume its national tour in October, which began in the fall of 2018.

When it played at the Fox Theatre in St. Louis in May 2019, I was prepared for its emotional wallop, but I didn’t realize how much these characters would touch my soul.

The film reminded me of all the good the play had spotlighted. It truly is one of the best musicals of the past five years, destined to be a classic, and grabs one immediately with the rousing “Welcome to the Rock” opening number. I still get goosebumps every time I hear their big voices, and their passion and pride about their community.

The cast also brought out the bridging of various cultures, and the memories of how we all felt that day was put back into focus. The ensemble is a mix of the original and current Broadway casts.

The original cast starring in this work include Petrina Bromley as Bonnie Harris, Jenn Colella as pilot Beverley Bass, Joel Hatch as the mayor Claude Elliott, Caesar Samayoa as Kevin Jung and Ali, W. Smith as Hannah O’Rourke, Astrid Van Wieren as Beulah Davis and Sharon Wheatley as Diane Gray.

New are De’Lon Grant as Bob, Tony LePage as Garth and Kevin T., Emily Walton as Janice Mosher, Jim Walton as Nick Marson and Doug, and Paul Whitty as Oz Fudge. Everyone plays multiple roles. Dressed like ordinary people and displaying various personality types, the cast is relatable and familiar.

The execution of all the elements to make it a vibrant live theater experience is another reason it stands out. Besides a committed cast who honors every real person or composite character that they are asked to play, we have innovative, fluid staging by director Christopher Ashley and vivacious choreography by Kelly Devine.

The singers showcase exceptional harmonies in these emotionally wrought songs by Sankoff and Hein that provide context and advance the action.

A Celtic-influenced band stays on stage and entertains the crowd after the show has ended with an instrumental “Screech Out.” Their enthusiasm is contagious.

Ashley, who oversaw the filming, won the Tony Award for directing in 2017, when the seven-times nominated show had lost mostly to the juggernaut that is “Dear Evan Hansen.” including Best Musical. His staging is clever and conveys intimacy and connection – from the plane’s close quarters to the cozy town settings.

As we were transfixed to television sets watching the horror unfold that beautiful fall day in 2001, we did not think about the passengers that were stranded by the shutdown of flights, and the challenges they faced trying to get home. What a compelling story!

The composers met the people affected in Gander in 2011, at the 10-year reunion, and they shared their stories. We, in turn, get to know Claude the mayor, Oz the police constable, Beulah the teacher and Bonnie the SPCA worker.

The passengers were kept on the planes for hours – 14 becomes 28 – and in the dark about what happened in New York City, Washington D.C. and Shanksville, Penn. Once permitted to leave the planes, they watched the news – as stunned as we were. Frightened, they try to reach their families, including the mother of a New York firefighter who is unable to locate her son.

The fear and tensions ease somewhat as the townsfolk make them welcome and comfortable, and in the company of these quirky islanders, they bond. Some let their hair down at a local bar, and even participate in an initiation rite involving kissing a codfish.

The gravity of the situation is never far from people’s minds – and they eventually are allowed to leave, but the world is different, and so are they. One couple develops a romance while another breaks up under the stress. A Muslim chef faces growing prejudice and is forced to endure a humiliating search before boarding for home.

Jenn Colella, Tony-nominated for Best Featured Actress in a Musical, is impressive as the first woman pilot for American Airlines. She beautifully sings “Me and the Sky” about how her love of aviation drove her career aspirations, but now her workspace has been weaponized.

Ten years later, the crew and passengers reunited to celebrate these friendships forged during the worst of times, a forever band of brothers. We experience these people at their best. Their makeshift hospitality at an unspeakably grim, fearful and anxious time will make you cry, laugh and marvel at how kindness can be a tonic.

Cast from “Come from Away”

Like the documentary on Mister Rogers, “Won’t You Be My Neighbor?”, this heartwarming tale makes you want to become a better person.

“Come From Away” is a musical recorded as a live theatrical production on a Broadway stage, directed by Christopher Ashley. The cast includes original and current cast members. It is rated TV-MA and runs 1 hour, 46 minutes. It is streaming on Apple TV + beginning Sept. 10. Lynn’s Grade: A.

‘The Alpinist’ Documentary Has Soaring Highs and Sobering Lows

‘The Alpinist’ Documentary Has Soaring Highs and Sobering Lows

By Alex McPherson

A nerve-shredding documentary spotlighting a one-of-a-kind athlete, “The Alpinist” cements itself as an imperfect, yet consistently moving watch.

The film, brought to us from “The Dawn Wall” directors Peter Mortimer and Nick Rosen, follows a fairly goofy, unassuming 23-year-old named Marc André Leclerc, who quickly and quietly rose through the ranks of professional climbers to become one of the all-time greats. Leclerc relishes the solo climb, preferably without much safety equipment or anyone accompanying him on his escapades.

Since childhood, Leclerc found climbing to be a welcome escape from the cacophony of daily life and an opportunity to embrace living in the moment, dangling from scarily high places where a single misjudged movement could cause his demise. 

Leclerc’s also not fond of media attention, residing with his girlfriend, Brette Harrington, in a tent in southwestern British Columbia. While it’s surprising that Leclerc agrees to participate in the documentary, the filmmakers proceed to capture his insane feats traversing huge geographic landmarks in Canada, Patagonia, and beyond, as much as they can, while seeking to understand his mindset.

Featuring camerawork sure to render viewers scared of heights clenching their stomachs in nausea, but leave everyone else completely awe-inspired, “The Alpinist” is chock full of staggering sequences where we observe a master at work. Cinematographers Jonathan Griffith, Austin Siadak, and Brett Lowell display Leclerc’s Spider-Man-esque abilities conquering sheer mountain faces — sometimes requiring adaptations from rock to ice, snow, and back again on a single climb.

They zoom out the camera to render him a miniscule speck amidst beautifully imposing surroundings. The truly memorable images, though, come from Leclerc himself, who records on a GoPro — the background music fading away as we watch him navigate his largely unrehearsed climbing routes with a shockingly calm demeanor, completely absorbed in his craft. It’s frankly spellbinding to witness.

“The Alpinist” balances these terrifying moments with a relatively cerebral approach to storytelling throughout. Indeed, Leclerc is filmed with an almost spiritual aura, a man full of enthusiasm following his own, insatiably ambitious path. Containing interviews with Leclerc’s loved ones and fellow climbing peers, including a grizzled climbing guru named Hevy Duty, we get a portrait of a reclusive, amiable individual who’s not in it for the glory, but for inner satisfaction and happiness. His love for alpinism and his personable nature make him a more relatable subject than most other famous athletes. He seems like a laid-back dude, who just so happens to crave putting his life on the line alone on a regular basis — much to the frustration of the directors when he goes AWOL about halfway through the runtime.

“The Alpinist” can’t quite escape the sense that we’re only breaching the surface of Leclerc’s personality, however. The collection of interviewees are fun to watch as they discuss Leclerc’s grandiose achievements, but they often shy away from addressing the perilousness of his lifestyle, scared to consider the dark possibilities that might lie ahead. If viewers go into the film knowing what transpires, some might take issue with the way this film invades Leclerc’s privacy in its finale, and hides the timeline of certain interviews for suspenseful effect later on.

Similarly, the overarching message of pursuing your dreams to the fullest, no matter how infeasible they might seem, doesn’t ring hollow by any means, but feels slightly superficial for such a distinctive subject as Leclerc. Still, Leclerc’s dedication deserves to be recognized, and “The Alpinist” triumphs in this respect. While he remains mysterious, this is a heartfelt piece of filmmaking. It’s an earnest tribute to a courageous, adventurous human being.

“The Alpinist” is a 2021 documentary directed by Peter Mortimer and Nick Rosen, and starring Marc-Andre Leclerc. It runs 1 hour, 33 minutes and is rated PG-13 for some strong language and brief drug use. It opens in theaters on Sept. 10. Alex’s Grade:B+.

Strong Cast Shows How Friends Are Tested in ‘Small Engine Repair’

Strong Cast Shows How Friends Are Tested in ‘Small Engine Repair’

By Lynn Venhaus

Tough blue-collar guys hardened by harsh winters, bleak childhoods, dead-end adult lives, and rigid views on masculinity are the central figures in “Small Engine Repair,” an intense and powerful drama with crackling flashes of comedy that is set in Manchester, N.H.

The three rough-hewn childhood friends Frankie Romanoski (John Pollono), Terrance Swaino (Jon Bernthal) and Patrick “Packie” Hanrahan (Shea Whigham) needle each other with insults but have a deep love for each other. That bond of brotherhood is tested numerous times – as they drink too much, get into fights because of their hair-trigger tempers and cope with unfulfilled lives. Frank is clearly the leader, and is a recovering alcoholic.

They have one thing they can agree on, besides the Boston Red Sox — their tender concern for Frank’s daughter, Crystal, now 17. Fiercely protective, their loyalty comes into question during an out-of-control evening based on Pollono’s 2011 award-winning play.

At first glance, one may find John Pollono’s characters drawn in broad strokes, but reserve judgment because layers will be revealed, subtly and perceptively, as the bigger picture on societal roles, class struggle and modern technology emerges.

Ten years after his explosive 70-minute one-act play hit Los Angeles audiences hard with a sledgehammer, Pollono has adapted his edgy pitch-black piece for film, expanding the landscape and adding two female performers instead of just alluding to them in dialogue. The movie, with flashbacks, runs 1 hour and 43 minutes.

Ciara Bravo, a young actress known for TV shows who starred opposite Tom Holland in “Cherry,” excels as the feisty teenage daughter Crystal. She’s a senior in high school who yearns for bigger things, like going to college and becoming somebody. Raised basically by her single dad, mechanic Frank, she considers Swaino and Packie her family.

Jordana Spiro is in the brief but pivotal role as her mostly absent mom Karen Delgado. She became pregnant as a high school junior, and eventually left the area. Her troubled relationship with Frank is complicated and she pushes his buttons. Spiro nails this woman whose life didn’t turn out as she planned.

Ultimately, this brilliantly constructed work will show how substantive it is, but as this unsettling tale unfolds, it’s not that black-and-white. Pollono, who also directed and reprises his role as Frankie, grew up in New Hampshire, and knows this grimy world. He understands about shared histories and love-hate relationships with your coarse working-class guy pals.

Actor Jon Bernthal originated the role of ladies’ man Swaino on the L.A. stage and serves as a producer. He was unable to appear in the 2013 off-Broadway production because of his burgeoning acting career in film and television. He fits Swaino to a T, inhabiting this crude, vain and unrefined guy who is too quick to react and stuck in a warehouse job. But he is sincere in his love for Crystal.

He and Pollono carry their chemistry, first exhibited in the Los Angeles production that won every award possible, over to the screen. They easily convey a longtime friendship, along with the biggest surprise – character actor Shea Wigham’s Patrick “Packie” Hanrahan.

Wigham is a revelation as stuck-in-a-rut Packie, a smart man whose technical prowess and knowledge of social networking will come into play. But he’s a serious case of arrested development, living in his grandmother’s basement, inept with women, and invasive with personal questions.

The trio don’t seem to be aware of what boundaries are, let alone have filters when they are together. Their jabs at each other cut too deep sometimes and their locker room talk gets repetitive. Yet the actors keep up a frantic pace of macho sex talk and putting each other down at every opportunity.

After a tiff, the men reunite at Frank’s urging to hang out one evening at his small engine repair garage. Only he has an ulterior motive bringing them back together for top-shelf Scotch whiskey and steaks.

Frank has asked arrogant frat boy Chad Walker (Spencer House), his drug dealer, to stop by with “Molly,” which is another name for the synthetic stimulant and hallucinogen Ecstasy (MDMA).

As they knock back shots with the technically savvy Millennial, who reeks of privilege, are they really all that different? Chad has a callous disregard for women as sex objects and is casually dismissive of others ‘not in his league.’ House displays the entitlement of a kid whose big-deal attorney father has handed him everything in life accept the lesson that actions have consequences.

One can’t divulge too much of the plot, but it’s driven by family ties and the intangible bonds of lifelong friendships. If comparing to other works, think David Mamet – and even the characters satirized by Saturday Night Live in the ‘wicked-funny’ Boston sketches. For those who watched “Mare of Easttown,” it has an uncanny resemblance to that clannish Pennsylvania enclave depicted in the HBO mini-series.

Pollono wrote the screenplay to the 2017 movie “Stronger,” which tells of Jeff Bauman’s struggle to walk after the Boston Marathon bombing, another lived-in cadre of characters steeped in their New England environment.

He demonstrates a flair for crafting real-world characters and is a strong Frankie, who tries to take care of everybody but can’t manage his anger issues.

This is a fierce suspenseful production that is unapologetic in its politically incorrectness. It features bursts of ugly violence, a torrent of expletives, and with its vulgarities, earned every bit of its R rating. It is not an easy watch.

Jon Bernthal and Shea Wigham in “Small Engine Repair”

However, Pollono’s sharp observations on the narrow lanes still in place today in society – 10 years after its stage debut – gives one pause. Dynamic ensemble work makes this a drama whose impact will linger.

“Small Engine Repair” is a 2021 comedy-drama that is directed by John Pollono, who also stars, along with Jon Bernthal, Shea Wigham, Ciara Bravo, Spencer House and Jordan Spiro. It is rated R for pervasive language, crude sexual content, strong violence, a sexual assault, and drug use and runs 1 hour, 43 minutes. It opens in theaters on Sept. 10. Lynn’s Grade: B+.

The Black Rep Opens 45th Season with Lynn Nottage’s ‘Sweat’ Sept. 10

The St. Louis Black Repertory Company opens its 45thAnniversary Season September 10 with an in-person production of the Pulitzer Prize-winning “Sweat” by Lynn Nottage. Addressing the complexities of race, class and friendship at a pivotal moment in America,
the powerful work will be presented in person at the Edison Theatre at Washington University and directed by Founder and Producing Director Ron Himes. Previews begin on Wednesday, September 8.

A courageous and heartbreaking story explores the lives of a tight-knit group of factory workers who spend their days drinking, sharing secrets, and laughing. When layoffs and strikes create tension within the group the trust is broken. “Playwright Nottage tensely captures the root of our current political and racial tension in society today,” said Himes. “Are we only looking out for ourselves or are we
responsible for each other?”

The cast features Velma Austin (Joe Turner’s Come and Gone, The Screened in Porch), A.C. Smith (King Hedley II, The Trials of Brother Jero), Amy Loui (Canfield Drive, Three Ways Home), Don McClendon (Blues for Mr. Charlie), and Brian McKinley (Home, Spell #7). Franklin Killian, Blake Anthony Edwards, Gregory Almanza, and Kelly Howe will all be making their debut at The Black Rep

The production will feature Scenic Design by Tim Jones, Lighting Design by Jonathan Alexander, Costume Design by Hali Liles, Sound Design by Kareem Deanes, and Properties Designed by Meg Brinkley.

Fight Choreography will be done by Paul Steger who is certified by the Society of American Fight Directors and holds advanced certificates from the British Academy of Stage and Screen Combat & Fight Directors. Jim Anthony is the Stage Manager and Technical Fellow Tatiana Durant is the Assistant Stage Manager.

Season subscriptions and single tickets for “Sweat” are available at www.theblackrep.org or by calling the Box Office at 314-534-3807. Groups of 12 or more may also reserve tickets by phone. Seating will be at 50 percent capacity; for complete information on current health protocols please visit www.theblackrep.org.

The Black Rep’s 45th Anniversary Season sponsors include the Arts and Education Council, The Black Seed Initiative, Centene Charitable Trust, Missouri Arts Council, Regional Arts Commission, Rodgers-Townsend, The Shubert Foundation, the Steward Family Foundation, and Washington University in St. Louis

Marvel’s ‘Shang-Chi and the Legend of the Ten Rings’ Spotlights Asian Star

Marvel’s ‘Shang-Chi and the Legend of the Ten Rings’ Spotlights Asian Star

By Lynn Venhaus
Now in Phase 4, the Marvel Cinematic Universe has given their “Master of Kung Fu” comic book hero his own action movie, and this visual effects-martial arts extravaganza has its plusses and minuses.

Shang-Chi is the son of the immortal Wenwu (Tony Leung), who possess the Ten Rings with magical powers that offers immortality to its owner. After vanquishing his enemies, Wenwu searches for the hard-to-find kingdom of Ta Lo and gets more than he bargained for – meeting the love of his life, Li (Fala Chen), who is the fierce guardian.

Fast forward to modern times, and their son, Shang-Chi (Simu Liu), must confront the past he thought he left behind when a mysterious organization draws him into its web.

Let’s hear it for taking a leap into highlighting Asian performers, and the cast overall is a sturdy one. Likable Simu Liu makes for an appealing, yet typical, reluctant hero, while Awkwafina stands out in a slacker-sidekick role, as his best friend Katy.

However, the backstory is dense, for the ancient Chinese mythology goes back more than a thousand years. Besides, Ten Rings is also the name of a nefarious global crime organization that has been referenced in the movie that kicked off the MCU in 2008 –“Iron Man” and its third movie and “The Incredible Hulk.” In addition, other MCU movies “Doctor Strange” and “Avengers: Endgame” have included mentions of characters, too.

If you are familiar with all 24 MCU films and the four television shows now on Disney Plus, you will be at an advantage here, but it’s not a deal-buster. To learn more about how Shang-Chi fits into the bigger MCU picture, be sure to stay for the credits – like we’ve all been trained to do — and a few Avengers will pop into view.

Back to where we pick up the next generation of Asian actors. In present day, dear old dad Wenwu tracks down his two children– son Shang-Chi, now a parking valet in San Francisco who goes by the name Sean, and his sister, Xialing (musical theater actor Meng’er Zhang), who runs an underground fight club populated by hulking beasts and nefarious sorts.

In the first thrilling action set piece, Sean and Katy face off against Dad’s henchmen on a careening out-of-control city bus. Katy, also underemployed parking cars, tags along to Macao, which is on the southern coast of China.

For those of us not familiar with the comic book and unaware that the dad was originally Fu Manchu, we have a lot to wrap our heads around, and mixing the past with the present can get laborious.

As we find our way in an alternate reality and immerse ourselves in an elegant Eastern world, we enter some sort of parallel universe with strange creatures. And lo and behold, there is Ben Kingsley, who played “The Mandarin” but was really a dim British actor named Trevor Slattery in “Iron Man 3.”  

He seems to be poorly used and in the way. But the Oscar winner and esteemed British thespian is amusing. Perhaps he will jog your memory.

Another blast from the past is the appearance of Benedict Wong, the sorcerer in “Doctor Strange,” who makes a few cryptic remarks. Look for him to be back if there is a sequel. And “The Abomination” too.

Director Destin Daniel Cretton is an odd choice to helm a Marvel blockbuster, for he started out in indies, and after his breakthrough “Short Term 12,” with breakout star Brie Larson (now Captain Marvel), directed “The Glass Castle” and “Just Mercy.” However, he is of Asian descent, and was tapped to pull the MCU into the 21st Century of diversity and inclusion, so bravo for that.

The jury is still out on his acumen filming action scenes. He has chosen to bombard us with computer-generated images and very busy visual effects while we sort out who’s who and what’s at stake.

That said, there are some stunning scenes with water and an elegance projected that’s rare for superheroes trying to save the world.

Cretton co-wrote the script with Dave Callaham and Andrew Lanham, and MCU’s penchant for inserting comical interludes happens with wise-cracking Awkwafina – that really is her sole purpose. And she lightens the dark mood considerably.

This is a big film with big themes and a sprawling cast. At times, it feels too much like video game action – beasts fight in flight and these scenes go on way too long. The movie clocks in at 2 hours and 13 minutes.

The family dynamic is intriguing and could have been better served with more character interaction. After all, dad is still an evil terrorist. Sure, he might have veered off-course after his wife died, but what is the deal with him trying to steal the amulets she gave the kids? I sense that dad can’t be trusted.

Casual viewers may prefer to figure out the connections rather than be pummeled with incessant dragon action – and it would be a shame to derail a project that tries hard to move the genre forward leaving behind troublesome Asian stereotypes.

Hopefully, joining Team Shang-Chi will be a fruitful journey.

Tony Leung as Wenwu

“Shang-Chi and The Legend of The Ten Rings” is an action-adventure fantasy that is part of the Marvel Cinematic Universe. Directed b y Destin Daniel Cretton, it stars Simu Liu, Awkwafina, Tony Leung, Michelle Yeoh, Ben Kingsley, Benedict Wong, Meng’er Zhang and
Rated: PG-13 for sequences of violence and action, and language, it has a run time of 2 hours and 13 minutes. It was released in theaters only on Sept. 3. Lynn’s Grade: C+

‘The Gateway’ Is Trashy Excuse for Crime Thriller Set in St. Louis

‘The Gateway’ Is Trashy Excuse for Crime Thriller Set in St. Louis

By Lynn Venhaus
This trashy excuse for a crime-thriller wants us to believe it is set in St. Louis, but there is a total absence of any markers that could identify our fair city. One character does arrange a meeting in Forest Park, but they mention a “K-Town”?

OK, the cars did have Missouri license plates, so kudos for that. Otherwise, it’s a generic framing of a seedy “inner-city” area that has seen better days. There isn’t even a ubiquitous shot of the Gateway Arch just to pretend where we are. Instead, we get depictions of mean streets and government housing.

The tourism bureau won’t be getting a boost from visitors because this unrelenting grim and cliché-driven film is unappealing and not worth 91 minutes of your time. It was filmed in Norfolk, Va., and the dim and harsh lighting does the atmosphere no favors – even if it is going for true grit to emphasize our city’s chaotic crime numbers.

Social worker Parker Jode (Shea Wigham), assigned to the care of Ashley (Taegan Burns), the daughter of single mother Dahlia (Olivia Munn), intervenes when the dad, Mike (Zach Avery) returns from prison. Because dad is involved in drug dealing and a robbery, he is putting his family in danger.

As for the St. Louis location, Italian-born director Michele Civetta is quoted as saying: “Setting the film in a locale like St. Louis was a metaphor for the crossroads of America today. A gilded age town that has fallen on harder times, outgrown its original destiny as the Gateway city to the west, now a playground for drug trafficking and interstate contraband resulting in gang violence. The city conjures the ethos of a lawless environment presided over by a dysfunctional corrupt government administration that has really forgotten the everyday person.”

OK, then. Let the outrage ensue.

Three men are credited with this macho tough-guy screenplay: Alex Felix Bendaña and Andrew Levitas, and the director, Michele Civetta.

The director aspires to be a throwback to those hard-boiled B-movies from the 1970s, like John Cassavetes’ “Killing of a Chinese Bookie” and John Huston’s “Fat City” – the lead character is even a failed boxer! — but he does not achieve any sort of emotional truth with such stereotypical characters.

Civetta’s experience includes many commercials and music videos and was nominated for an Emmy for his NBC commercial “Halloween Today” in 2016. His last film was “Agony” released in 2020, and this film wrapped up right before the pandemic lockdown happened.

Civetta is trying to make a statement about how children are affected by the bad behavior of their parents, and that their actions have consequences, which of course is noble because there are so many young victims, and the human toll is enormous. While it’s obvious here, a better vehicle might have elevated the cause.

The protagonist is a social worker whose job is checking on the welfare of kids in less-than-ideal home lives. Shea Wigham, a character actor who is familiar to audiences after being in a long list of movies and TV shows for the past 20 years, rises to the occasion as a world-weary flawed guy who is driven by his checkered past, including growing up in foster homes. You’ve seen him as a detective in “Joker” and this summer in “F9.”

Parker is an anti-hero who champions his own sense of justice while spending lonely nights drinking too much at a dive bar. This guy has a lot of issues but the script only scratches at the surface.

He cares too much about keeping the kids safe that he meets on the job, and is drawn into a dangerous web when he’s checking on Ashley, the daughter of night casino worker Dahlia. Her husband, Mike, is in prison, and comes back in their lives when he’s paroled. He is as mean as a junkyard dog, signaling trouble ahead.

He rejoins his group of drug-dealing thugs, led by Frank Grillo as “Duke,” in yet another swaggering tough-guy role and wearing a ludicrous pimp hat. Antagonizing a Mexican drug cartel,  they botch a robbery – and the heat is on, from both the cops and the nefarious cartel goons.

As villain Mike, Zach Avery has nowhere to go, for his character is one-note and has zero redeeming qualities.

Olivia Munn doesn’t embarrass herself in the concerned mom role trapped in an abusive relationship, and a bright spot is young actress Taegan Burns as daughter Ashley.

Dear old dad puts a stash in his daughter’s backpack – in effect making her a drug mule, which starts a chain of mayhem. Parker takes the women to his estranged father’s house to hide.

Two-time Oscar nominee Bruce Dern plays the elder Jode, Marcus, a Vietnam veteran and former jazz musician, as a grizzled survivor. He knows he messed up but isn’t all that apologetic about putting his son in the foster care system as a youth. It’s a showy part, with the requisite whisky-fueled late-night talk between father and son before the criminals come calling.

As the plot becomes more contrived, full of bad ideas, one hopes for some character redemption, but there is no deliverance from evil. These are all hardened people – and perhaps we could have understood motivations, but it wasn’t going to happen with this being so heavy-handed. The final scene, meant to be somber yet hopeful, is almost laughable.

A Charles Dickens quote condemning bad parenting begins the film and statistics about foster children ends it.

Dark and depressing, this movie has little to recommend it. Not even a shot of the Arch gleaming in sunlight could have saved it.

Shea Wigham and Taryn Manning

“The Gateway” is a 2021 crime thriller directed by Michele Civetta and starring Shea Wigham, Olivia Munn, Zach Avery, Bruce Dern, Frank Grillo, Taryn Manning, Mark Boone Junior and Taegan Burns. Rated: R for strong violence, pervasive language, drug use, some sexual content and nudity and its run time is 1 hour and 31 minutes. In theaters, digital and Video on Demand on Sept. 3; on DVD/Blu-Ray Sept. 7. Lynn’s Grade: D

New Line Theatre Opens with St. Louis Premiere of ‘The Story of My Life’

New Line Theatre Opens with St. Louis Premiere of ‘The Story of My Life’

New Line Theatre is proud to present a Very Special Event to open the company’s 30th Anniversary Season, with just two New Line actors, Chris Kernan and Jeffrey M. Wright, along with artistic director Scott Miller on keyboard, in one of the most intimate evenings of musical theatre in the company’s 30 year history, telling a story all about stories, and the effect we have on other lives, usually without realizing it.

Neil Bartram and Brian Hill’s THE STORY OF MY LIFE follows the friendship of Alvin and Thomas, two lifelong friends from a small town who are reunited after Alvin’s mysterious death. Thomas struggles to write Alvin’s eulogy, so Alvin shows up to help the two of them take an amazing journey back through the story of their friendship, as Alvin searches through the manuscripts and stories in Thomas’ mind. And though Thomas is trying to write about his best friend, he ends up finding his own story in the process and coming to terms with the past.

The show opened on Broadway in 2009, after productions in Toronto and the Goodspeed Opera House, and it was nominated for four 2009 Drama Desk Awards, including Outstanding Musical. Since its Broadway run, the show has had regional productions throughout the U.S., and in South Korea, Belgium, Austria, and Denmark.

New Line’s THE STORY OF MY LIFE will be directed by Scott Miller, with scenic design by Rob Lippert and lighting design by Kenneth Zinkl.

All patrons will be required to wear masks in the lobby and theatre. The stage area will be safely distanced from the audience. In addition, the Kranzberg Arts Foundation now requires all patrons 12 years or older to show proof of their full COVID-19 vaccination or negative COVID-19 test upon entry for all ticketed events at all KAF indoor performance venues, including the Marcelle Theater.

THE STORY OF MY LIFE runs Sept. 30-Oct. 23, 2021, Thursdays, Fridays, and Saturdays, all at 8:00 p.m., at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. Sept. 30 is a preview.

Tickets are $25 for adults and $20 for students/seniors on Thursdays; and $30 for adults and $25 for students/seniors on Fridays and Saturdays. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

DISCOUNTS: HIGH SCHOOL DISCOUNT: Any high school student with a valid school ID can get a $10 ticket for any performance, with the code word, posted only on New Line’s Facebook page. COLLEGE FREE SEATS: Ten free seats for every performance, open to any college student with a valid student ID. EDUCATORS DISCOUNT: New Line offers all currently employed educators half price tickets on any Thursday night, with work ID or other proof of employment. MILITARY DISCOUNT: New Line offers all active duty military personnel half price tickets on any Thursday night, with ID or other proof of active duty status. All offers not valid in connection with other discounts or offers, available only at the door, and subject to availability.

All programs subject to change. New Line Theatre receives funding from the Regional Arts Commission and the Missouri Arts Council.

Coming Up in New Line’s 30th Season

HEAD OVER HEELS
Marcelle Theater
Mar. 3-26, 2022
Click Here for Tickets!
Head Over Heels may be the weirdest mashup Broadway has ever seen, a crazy, joyful celebration of the full variety of human experience, a bold, sexy new comedy from the stage visionaries that rocked Broadway with American Idiot, Hedwig and the Angry Inch, Avenue Q, and Spring Awakening. This wild, subversive love story follows a royal family on a journey to save their kingdom from extinction, only to discover the key to their survival lies in their own willingness to change with the times. New Line opened this show in 2020 to rave reviews, but it was shut down halfway through the run due to the pandemic. So we’ll be back to finish what we started.

URINETOWN
Marcelle Theater,3310 Samuel Shepherd Drive, St. Louis, 63103
June 2-25, 2022
Click Here for Tickets!
Mark Hollmann and Greg Kotis’ Urinetown is an outrageous musical fable of greed, corruption, love, revolution, and urination, set in a time when water is worth its weight in gold and there’s no such thing as a free pee. In this near-future dystopian Gotham, a severe 20-year drought has led to a government-enforced ban on private toilets. Citizens are forced to use public “amenities” now, regulated by a single malevolent corporation that profits from one of humanity’s most basic needs. But from the ruins of Democracy and courtesy flushes, an unlikely hero floats to the top, who decides he’s held it long enough, and he launches a People’s Revolution to lead them all to urinary freedom! New Line produced the show in 2007 to rave reviews.