Lynn Venhaus

Total Post: 1140

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.

Stylized ‘Gunpowder Milkshake’ Stumbles with Thin Characters

Stylized ‘Gunpowder Milkshake’ Stumbles with Thin Characters

By Lynn Venhaus
The pleasure of seeing actresses have a blast going gangster is one of the joys of the interestingly titled “Gunpowder Milkshake.”

However, that big plus can’t overcome the minuses. With a graphic novel-comic book-video game feel, the look is cool — but the characters are as thin as the by-the-numbers story.

As a professional assassin, Scarlet (Lena Headey), was forced to abandon her daughter Sam and go on the run. Cut to years later, and a grown-up Sam (Karen Gillan) is a cold-blooded hitwoman. Like mother, like daughter.

After a high-stake mission gone-wrong has unleashed a gang war, Sam has gone rogue, with an innocent 8-year-old Emily (Chloe Coleman) in tow. Sam reconnects with her mother and her former sidekicks, also lethal hitwomen with specific skill sets. An avenging war ensues.

This over-the-top action movie is heavy on fantasy. Seriously, how many females, dealing with numerous infirmities and adversity, can be relentless one-woman wrecking crews, even if they are professional assassins?

There is an excessive body count, featuring a plethora of bad guys’ heads rolling, squished, shot, stabbed and maimed in multiple bloodbaths. Some are in slow-motion, other fights are martial arts focused, and editor Nicolas De Toth makes sure blood spurts often.

Israeli director Navot Papushado, who also co-wrote the script with Ehud Lavski, must idolize kitschy maestro Quentin Tarantino, for he tries to emulate his blood-drenched films, in particular “Kill Bill, Vol. 1 and 2,” through a stylized – and farcical – approach.

Cinematographer Michael Seresin alternates between grit and an unreal quality to film the scenes, and David Scheunemann, the production designer, follows suit. The color palette is striking, using neon colors and artificial set pieces that resemble music videos, such as a diner, bowling alley, abandoned mall and an old-school library/museum.

But those diner milkshakes look fake, which is annoying.

Music is an incessant component in the movie, with Janis Joplin’s “Piece of My Heart” effective to punctuate a brutal shoot-out. Composer Haim Frank Ilfman has propulsive music to escalate the combat and a keen ear for a hipster soundtrack.    

Lithe Karen Gillan, who made a name for herself as Amy Pond in “Doctor Who” and broke through as Nebula in “The Guardian of the Galaxy” films, demonstrates spunk and agility as she mows down the male goons.

An 8-year-old girl, who becomes Sam’s “apprentice,” is played with savvy and poise by veteran child actress Chloe Coleman, who was in last year’s “My Spy” and the HBO mini-series “Big Little Lies.”

The angle here is that three generations of women are empowered to fight for survival in this escalating gang war. But it is uneven in attention.

For instance, Sam’s mother, Scarlet, is played by “Game of Thrones” Lena Headey, but she is only seen in the beginning and then re-appears before two climactic showdowns. Yes, not one, but two.

Mom’s fierce sisterhood of Carla Gugino as Madeleine, Michelle Yeoh as Florence and Angela Bassett as Anna May are not used nearly enough, which is a shame, because they mow down guys with inventive implements of destruction once their ‘house’ is breached.

It is a lot, and wait, there’s more. Don’t try to make sense of it all because it is not going to add up.

The generic, formulaic script doesn’t help itself with the antagonists having such a bland name as The Firm ( the shady suits who direct the mayhem). Usually reliable Paul Giamatti, as their facilitator, doesn’t fare much better.

The director displays some panache, so it’s not all misguided. It needed a better, more substantive script to connect with the stylish format.

Nevertheless, fans of such genre films may not mind the lack of originality. At first glance, the film seemed to have potential as a female-heavy “Baby Driver,” but wound up a very lukewarm “John Wick” wannabe, a disappointment.

“Gunpowder Milkshake” is a 2021 action-thriller directed by Navot Papushado and stars Karen Gillan, Lena Headey, Carla Gugino, Paul Giamatti, Angela Bassett, Michelle Yeoh and Chloe Coleman. Rated R for strong bloody violence throughout and language, the runtime is 1 hour, 55 minutes. The film began streaming on Netflix July 14. Lynn’s Grade: C-.

Sightlines: Remembering Steve Woolf

Sightlines: Remembering Steve Woolf

By Lynn Venhaus
We have been enriched by Steve Woolf as a titan in regional theater, and his loss will be deeply felt.

For 33 years, he guided The Repertory Theatre of St. Louis, until his retirement in 2019. He died Monday at age 75.

I had the opportunity to interview and talk with him on several occasions, and I am very grateful to have been in his orbit for a bit. It was an honor. His immense love of theater was obvious from the moment you encountered him – his eyes lit up like a kid at Christmas.

I have been reviewing plays at The Repertory Theatre since 2005. Their “Take Me Out” I consider to be the gold standard for plays in St. Louis. As a founding member of the St. Louis Theater Circle in 2012, I have presented him with a lion’s share of awards. Every year, from 2013-2019, he was always gracious and sincere, no matter how many trips he took to the stage.

During the past decade, The Rep has earned more than 100 awards. They have led the way in innovation and excellence – in acting, direction, set design, lighting design, sound and much more.

As an Arts For Life board member, I helped facilitate his Lifetime Achievement Award in 2018, for his “vision, passion and excellence,” and he was so genuine about the honor. But that’s what he did — lived an authentic life. He never forgot that he was a kid from Milwaukee living out his dream.

And so, he could inspire — he talked about the magic of live theater, being in a dark room, sharing a special experience with other people that changes us and connects us.

His work spoke for itself: He directed “Red,” one of my favorites, and he brought the complex “Oslo” to the stage as one of his final — and most intense — works. He committed to making it relatable, no easy task with a large sprawling cast.

During rehearsals for the stellar “All the Way” in 2015 (I was there to interview Brian Dykstra, playing LBJ, and Woolf, who was directing — https://www.bnd.com/living/magazine/article34672659.html), he told me about his experience seeing “The Curious Incident of the Dog in the Night-time” in London.

The Curious Incident of the Dog in the Night-Time at The Rep

He had been gobsmacked. He didn’t think The Rep could do it — very technical show, intricate — but the wheels were turning. He was so excited about trying to bring it to The Rep. “I think I’ve found a way we can do it,” he said to me later. (And it would win the Theatre Circle’s Outstanding Production, which opened the 2017-2018 season, and Best Director, Marcia Milgrom Dodge, in 2018.)

The enthusiasm he had for the process and the collaboration of “putting it all together” were so obvious. I cherish a brief interchange I had with him — in a stairwell at The Rep — about “The Humans,” which was a thought-provoker, had many layers. I had made an observation, and he wanted to hear more of my thoughts. It had received a mixed reaction — but he was firm in his fervor. He was just so darn insightful.

During an interview before the 50th season, which opened with “Follies,” he recalled the first time he saw the show as a young man studying theater. We geeked out about our mutual love of Stephen Sondheim. “Follies” was brilliant, but his other major production at The Rep, in 2012, the magnificent “Sunday in the Park with George,” was breathtaking. Truly memorable.

Every year, he would go to New York to soak up multiple theater productions. And hearing about his experiences was always a treat. During intermission of yet another “Mamma Mia!” at the Fox, I went over to chat with Joe Pollack, and Steve Woolf also came over to talk to Joe, and he regaled us with tales from his recent Broadway adventures. How fortunate to hear his vision and just how he radiated joy about theater (I mean, he was at “Mamma Mia!”).

One of my favorite Steve Woolf remembrances was, in fact, at Joe Pollack’s memorial service on March 17, 2012, at The Rep, of course. His widow, Ann Lemons Pollack, had arranged for five main speakers — all from a different facet of Joe’s life/illustrious career. Steve was the representative for theater, only fitting. He said as a critic, Joe just wanted the theater groups to “get it right.” Oh, yes, what a perfect summation.

And yes, Steve, you “got it right” more often than not. You will be missed, for your wit, your wisdom, your humanity, your desire for theater to spark conversations — and how you appreciated St. Louis audiences.

May God rest your soul. Your memory is already a blessing to me. And I hope you and Joe can continue to have some great conversations.

Mark Bernstein, retired managing director at The Rep, summed it up perfectly in a statement: “Steve always had his finger on the pulse of the St. Louis community, programming plays that resonated in the here and now, and showcasing the work of outstanding directors, designers and actors. St. Louis audiences responded by filling the seats, night after night, week after week, year after year.”

Standing O, Steve!

”Here is an article I wrote for the Webster-Kirkwood Times when he was getting multiple awards before retiring:

https://www.timesnewspapers.com/webster-kirkwoodtimes/curtain-call/article_ee301692-61dc-11e9-bcf0-1b566b2e37e4.html?fbclid=IwAR3drHmQpZXanye8Tvo9OH-cdSItTeegAOBC9WfeJ0CSmlemUlWlUpSPJ9U

Follies

My review of “All the Way,” in the Belleville News-Democrat on Sept. 17, 2015: https://www.bnd.com/entertainment/article35666526.html

My review of “Follies,” in the Belleville News-Democrat on Sept. 21, 2016: https://www.bnd.com/entertainment/article103265847.html

Photos provided by The Rep

‘Fear Street Part 2: 1978’ Is An Underwhelming Summer Bloodbath

‘Fear Street Part 2: 1978’ Is An Underwhelming Summer Bloodbath

By Alex McPherson

Director Leigh Janiak’s “Fear Street Part 2: 1978,” based on R.L. Stine’s novels, lacks the spark of the first installment, but still delivers a moderately engaging slasher throwback with bucketloads of gore.

After the ridiculous events of “Fear Street Part 1: 1994,” Deena (Kiana Madeira) and Josh (Benjamin Flores Jr.) meet up with C. Berman (Gillian Jacobs), a survivor of the 1978 Camp Nightwing massacre, hoping to learn how to end Sarah Fier’s witchy curse.

As the traumatized woman recounts her experiences, viewers are transported back to Camp Nightwing to witness what transpired. The protagonist is Cindy Berman (Emily Rudd), an uptight, goodie two-shoes camp counselor who becomes aggravated when other supervisors prioritize drugs and sex over doing their jobs. Her sister, the trouble-making Ziggy (Sadie Sink), holds a nihilistic view towards life — remaining an outcast among fellow campers, but a friend of counselor and future Shadyside sheriff Nick Goode (Ted Sutherland), as well as being a victim to nonstop bullying from mean girl Sheila (Chiara Aurelia), who insists that Ziggy’s an actual witch. 

Just in time for the camp’s annual “Color War,” a capture-the-flag-esque event in which the vicious rivalry between Shadysiders and their stuck-up Sunnyvale neighbors rears its head in full force, things start to get creepy. After Nurse Lane (Jordana Spiro) violently confronts Cindy’s innocent boyfriend, Tommy Slater (McCabe Slye), suspicions arise as to whether Fier’s curse has returned. Cindy, accompanied by a few others including her ex-best friend, an irritating mumbler named Alice (Ryan Simpkins), attempt to find out what’s going on themselves. You guessed it, dear readers, all hell breaks loose, and the body count grows scene by scene. Can Cindy, Ziggy, and company make it out alive, or are they doomed to perish in a seemingly never-ending murder spree by an axe-wielding attacker?

Lacking the craftsmanship of “1994” regarding character depth and creativity, “1978” ends up being a fairly straightforward genre film that’s above average, but represents a downgrade from the trilogy’s opener. The second entry loses much of the adventurous fun of “1994,” coming across as rather dour, bleak, and unforgiving in comparison — full of cliches, yet promising better things to come in “Part 3.”

It’s clear that Janiak is attempting to tackle a different tone than “1994,” more akin to “Friday the 13th” than “Stranger Things.” In keeping with the change, “1978” begins rather generically once Berman begins her story, setting up the atmosphere of Camp Nightwing in a way that mostly doesn’t break from formula.

“1978” is a definite slow-burn compared to its predecessor, taking time to get underway, but effectively conveying a sun-drenched retreat with a dark heart and sickening future. Combined with a soundtrack of 70s era songs, Janiak once again captures the time period with a fitting attention to detail. In terms of camerawork, though, “1978” doesn’t feel as precise, featuring impressive tracking shots and spooky set design — enhanced by a sinister original score — but containing some dimly lit sequences and shaky cam that break immersion.

The batch of characters are decidedly inconsistent, but a few are explored meaningfully. Among them are Cindy and Ziggy, whose tensions are grounded in reality and easy to sympathize with. Living with a single parent and barely able to keep their house, the rift between them — with Cindy trying to support their family and Ziggy being increasingly pessimistic — is huge, but just like in “1994,” Janiak shows how frayed bonds can strengthen under shared threats. Rudd and Sink both give poignant performances and have solid chemistry with one another. Their dialogue is largely convincing, but interactions overall are missing the playful dynamic present in “1994.” 

The “Shadyside Curse” rests at the heart of characters’ conflicts in “1978,” creating a sense of existential dread in their fates seeming out of their control — accentuated by Alice’s character, a young woman who uses drugs to compensate for her mental struggles. Nick Goode’s character is also cleared up a bit from “1994,” as he gradually falls for Ziggy and considers what the supernatural events entail for his career in Shadyside.

The remainder of the characters adopt boringly plain archetypes — the attention-seeking leader, promiscuous hippie, etc. — and viewers don’t spend much time with them before they’re graphically murdered (younger campers are often slain off-screen). They certainly have a lot of blood to spill, on the other hand. Indeed, “1978” almost goes overboard here, rendering many saps expendable fodder for the big baddie.

Speaking of, Janiak’s film feels limited by only having a single main threat for the characters to face, relegated to using a single weapon. “1994” was far more unpredictable in its kills, and while “1978” never ceases to shock, the violence starts to feel repetitive by the end credits. At least the sequences surrounding the destruction are more suspenseful this time around, feeling more frantic and distressing than before, as the leads scramble to save their friends and loved ones while trying to figure out what’s really going on. 

With nearly as many flaws as strengths, “1978” fails to reach the heights of the original, but still offers its own gruesome, albeit unimaginative, pleasures. If nothing else, the film successfully builds hype for “Part 3,” which takes place in 1666 and details the background of Fier’s execution. There’s plenty more questions to answer and scares to be had, and I’m ready for the trilogy to surprise me once again.

“Fear Street Part 2: 1978” is part of a movie trilogy on Netflix, the first set in 1994 and the next one in 1666. Directed by Leigh Janiak, it stars Emily Rudd, Sadie Sink and Gillian Jacobs. Rated R for bloody horror violence, sexual content, nudity, drug use, and language throughout, its run time is 1 hour, 49 minutes. The movie began streaming on Netflix July 9. Alex’s Grade: B-

Nicolas Cage Delivers One of His Best Performances in Atmospheric ‘Pig’

Nicolas Cage Delivers One of His Best Performances in Atmospheric ‘Pig’

By Lynn Venhaus

No matter what perception you might have about this film beforehand, “Pig” takes you on an unexpected journey.

Like a shabby hole-in-the-wall joint that surprises you with its elevated cuisine and depth of flavor, this unorthodox drama is a richly textured experience that comes together with tender loving care.

I will be talking about this earthy delight for the rest of the year, for as a debut narrative feature, writer-director Michael Sarnoski has crafted an absorbing original tale with impeccable detail.

Nicolas Cage plays a truffle hunter who lives alone in the Oregon wilderness, and after his beloved pig is poached, returns to his past life in Portland to track down his beloved animal.

On the surface, it seems simple, but oh no – uncommon riches await, and Sarnoski ladles revelations out in due time. He doesn’t dot all the i’s and cross all the t’s, expecting his audience to be smart enough to fill in the blanks.

With a minimalist approach, Sarnoski immerses us in pretense and profundity. A hard-to-get lunch reservation is an astute example of both, and a pivotal scene that you won’t soon forget.

Cage’s protagonist is a disheveled hermit known to truffle purveyor Amir (Alex Wolff) as strange anti-social Rob. But out of desperation, he gets the impatient lad to drive him around the cutthroat fine-dining brotherhood of Portland, that northwest hipster mecca. They are in search of the pig but come upon much more.

Amir will get the ride of his life, for he discovers the mysterious grizzly guy is a legendary chef, THE Robin Feld, whose very name invokes great reverence – and curiosity as to what happened to him. Feld knows people, that’s why he figures out where to look and who to talk to underground.

Fifteen years earlier, Feld left his celebrated career behind to live off the grid, his chef knives and cast-iron skillet in tow. We get morsels of information as to the why, and as we get in Robin’s head, we find out he has a philosopher’s intellect and a poet’s heart.

This is a rare and meaty role for Academy Award winner Cage, whose restraint here is admirable. He speaks in hushed tones instead of grander histrionics. No matter how you view his career detours, he subtly pulls off this reflective loner with definitive artistry. It is his best performance in years.

Cage has made so many off-the-wall action films during the past 20 years, a long way from his last Oscar nomination (“Adaptation” in 2002), that he is easy to dismiss, but do not count him out.

The principal cast is playing characters that seem easy to figure out, but again, nope. These well-drawn roles not only gave Cage an opportunity to convey layers of emotional consequences, but also Wolff and Arkin.

Wolff, notable in the 2018 horror film “Hereditary” as the son who unravels, makes the most of his character’s jodyssey. Next up is M. Night Shyamalan’s “Old,” so he is having quite a summer.

Wolff’s sharply dressed brat comes across as this slick materialistic poser who is only looking out for himself, but he becomes as fascinated as we are by Robin’s backstory and sticks around.

Then, we find out about his unhappy upbringing with squabbling parents, a dad he is always trying to please but never quite measures up to, even though he emulated his career path – and a tragic mom story.

Amir is more than meets the eye, as is his self-important father, Darius, portrayed with the right amount of hubris by Arkin.

With a lush forest as backdrop, cinematographer Patrick Scola captures Feld’s tranquil existence, his pig his only companion. Sarnoski beautifully sets up their special relationship, not unlike the subjects and their dogs in the 2020 documentary “The Truffle Hunters.”

When the paid tweakers kidnap the pig, the well-choreographed attack is horrific, and leaves Robin in a bloody pool on his cabin floor.

One of the goofier aspects of the film is that Cage’s character, already unkempt, goes through nearly the entire film with his face pummeled into a swollen pulp, thanks to a “Fight Club” like scene in addition to the assault, blood streaked on his face and matted in his beard and hair. He couldn’t have taken a few minutes to clean up? However, he does wash his hands before he cooks.

The atmospheric story, by producer Vanessa Block and Sarnoski, touches on loss, love, passion, memory, and the quest for the meaning of life. Is it more important to be “somebody” or to achieve inner peace, and why should we crave approval?

Robin is a man of few words, but when he talks, people listen, and his wisdom is a special component of this moving story.

Robin tells someone: “We don’t get a lot of things to really care about in life.” And that resonates.

Sandwiched between the releases of two documentaries on renowned chefs, Wolfgang Puck and Anthony Bourdain (“Roadrunner”), this film should also appeal to foodies – as well as anyone who has spent time meditating during the pandemic.

At only 92 minutes, extra time could have provided more aspects, because I wanted to stay with these characters – but then again, it would likely be another movie, not this hypnotic trek.

“Pig” is a quiet little film with a big impact. The wrap-up may not be as satisfying as the pursuit of the truth, but overall, all the elements are impressive.

“Pig” is a 2021 drama, rated R for language and some violence. It is written and directed by Michael Sarnoski and stars Nicolas Cage, Alex Wolff and Adam Arkin. Its run time is 1 hour, 32 minutes. It starts in theaters July 16. Lynn’s Grade: A-

Nicolas Cage in “Pig”

Single Tickets for Muny’s 103rd Season Now on Sale

Single Tickets for Muny’s 103rd Season Now on Sale

The Muny announced today that single tickets for its 103rd season in Forest Park will be available beginning at 9 a.m. Tickets can be purchased online at muny.org, by phone at (314) 531-1111, or in person at The Muny box office, open 9 a.m. – 9 p.m., seven days a week.

The long-awaited 2021 season includes two Muny premieres and the return of three beloved classics. The five shows are: Smokey Joe’s Cafe (July 26 – Aug. 1), The Sound of Music (Aug. 3 – 9), Seven Brides for Seven Brothers (Aug. 12 – 18), On Your Feet! (Aug. 21 – 27) and Chicago (Aug. 30 – Sept. 5).

SMOKEY JOE’S CAFE
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, are the bread and butter of Smokey Joe’s Cafe. Set in St. Louis’ historic Gaslight Square, Broadway’s longest-running musical revue includes Grammy Award-winning favorites such as “Yakety Yak,” “Jailhouse Rock,” “On Broadway” and “Love Potion No. 9.” With this generation-defining Muny premiere, audiences will be dancing in the aisles. 

THE SOUND OF MUSIC
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

FIRST MUNY PRODUCTION IN A DECADE!

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 come alive once more!


SEVEN BRIDES FOR SEVEN BROTHERS
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

A DANCE-FILLED CLASSIC

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 features 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, saddle up for an unforgettable joyride through the Oregon frontier. 

ON YOUR FEET!
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 features 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 will leave ready to “Conga!” 

CHICAGO
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

FIRST PRODUCTION SINCE 2012

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, includes showstopping standards such as “Cell Block Tango,” “Mister Cellophane” and the notorious “All That Jazz.”

New season subscriptions for the 2021 five-show season are still currently available through July 23, with single tickets available now. Tickets can be purchased online at muny.org or by phone by calling (314) 361-1900 ext. 1550.

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

Emerson is proud to be The Muny’s 2021 Season Sponsor.
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The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce world-class musicals each year and welcome over 350,000 theatregoers over our summer season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

For more information about The Muny, visit muny.org

The Repertory Theatre of St. Louis Announces 2021-2022 Season

The Repertory Theatre of St. Louis Announces 2021-2022 Season

New season includes world premieres of ‘Dreaming Zenzile’ and ‘The Gradient,’ plus ‘The Trinity River Plays,’ an original work by Rep playwright-in-residence Regina Taylor 

 The Repertory Theatre of St. Louis (The Rep) is pleased to announce its 2021-2022 Season, featuring two world premieres. The season kicks off September 10 with the world premiere production of ‘Dreaming Zenzile,’ a musical about the South African songstress Miriam Makeba, written and performed by Grammy-nominated international music sensation Somi Kakoma.

‘Dreaming Zenzile’ will be followed by the world premiere of Steph Del Rosso’s ‘The Gradient,’ a satire set in the not-so-distant future in which a new facility promises to take men accused of sexual misconduct and rehabilitate them into responsible citizens. The Charles Dickens’ classic ‘A Christmas Carol’ will become a new holiday tradition under the direction of Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis. The second half of the season will feature ‘The 39 Steps,’ a farce written by Patrick Barlow adapted from the novel by John Buchan and the Alfred Hitchcock film; ‘The Trinity River Plays,’ a trilogy exploring one woman’s life journey by The Rep’s playwright-in-residence, Regina Taylor; and ‘House of Joy,’ an action-adventure romance by Madhuri Shekar.

The full schedule for the 2021-2022 Season is as follows:

  • Dreaming Zenzile: September 10 – October 3, Loretto-Hilton Center for the Performing Arts
  • The Gradient: October 1 – October 24, Catherine B. Berges Theatre at COCA
  • A Christmas Carol: December 3 – 23, Loretto-Hilton Center for the Performing Arts
  • The 39 Steps: January 21 – February 13, Loretto-Hilton Center for the Performing Arts
  • The Trinity River Plays: February 11 – March 6, Catherine B. Berges Theatre at COCA 
  • House of Joy: March 18 – April 10, Loretto-Hilton Center for the Performing Arts

“We are excited to be returning to the stage for a new season of live theatre featuring the work of thought-leading playwrights including our own playwright-in-residence, Regina Taylor,” said Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis. “We know our audiences have been eager to return to the theatre and we’re delighted this compelling season offers something for everyone to enjoy.”

Subscriptions for The Rep’s 2021-2022 season are available now, and single tickets go on sale August 2. For more information and to purchase, visit repstl.org. 

Hana S. Sharif

About The Repertory Theatre of St. Louis

The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.

R-S Theatrics Returns Live with ‘Breadcrumbs’ in October

R-S Theatrics Returns Live with ‘Breadcrumbs’ in October

R-S Theatrics is thrilled to announce their return to live theatre with the St. Louis premiere of Breadcrumbs by Jennifer Haley, running October 8-24, 2021, at The .ZACK (3224 Locust St.).

In Breadcrumbs, a reclusive fiction writer diagnosed with dementia must depend upon a troubled young caretaker to complete her autobiography.  In a symbiotic battle of wills, they delve into the dark woods of the past, unearthing a tragedy that shatters their notions of language, loneliness, and essential self.  Dallas Morning News calls Breadcrumbs “timely and touching,” while DC Theatre Scene says, “It is an act of boldness, to be done only by a playwright in absolute command of her gifts…”  

This production will be directed by R-S Artistic Director Sarah Lynne Holt.  Auditions for the parts of Alida and Beth will be announced in coming days via R-S Theatrics website and social media. Those interested in other production positions can send resumes, portfolios and letters of interest to rstheatrics@gmail.com.

Breadcrumbs will perform Fridays and Saturdays at 8:00pm and Sundays at 7:00pm. Tickets will be $20, available through MetroTix or at the door.  Appropriate COVID safety precautions will be taken for artists and audience members, guided by current CDC and St. Louis Department of Health guidelines. This production is funded in part by the Arts and Education Council.  Breadcrumbs is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.

R-S Theatrics is a small professional theatre company in residence at Kranzberg Arts Foundation in St. Louis, Missouri. Our mission is to present St. Louis-area professional premieres of work that introduces new voices to important conversations in our community.  Since launching in May of 2011, R-S has produced acclaimed productions of Parade, In the Heights, Every Brilliant Thing, and The Motherf**ker with the Hat, among many others.  

Jennifer Haley is a playwright whose work delves into ethics in virtual reality and the impact of technology on our human relationships, identity, and desire. She won the 2012 Susan Smith Blackburn Prize, a Los Angeles Ovation Award and the Francesca Primus Prize for her play, The Nether, which premiered at Center Theatre Group and was subsequently produced at The Royal Court Theatre with Headlong in London. Other plays include Neighborhood 3: Requisition of Doom, which premiered at the Actors Theatre of Louisville 2008 Humana Festival, and Froggy, in development with Center Theatre Group and American Conservatory Theater. Jennifer’s work has been developed at The Banff Centre, the Sundance Theatre Lab, O’Neill National Playwrights Conference, Lark Play Development Center, PlayPenn, Page 73, and the MacDowell Colony. She is a member of New Dramatists in New York City and lives in Los Angeles, where she founded the Playwrights Union. 

Director Sarah Lynne Holt (she/her) has been a theatre artist in St. Louis since 2001. She holds a directing degree from Millikin University and has helmed shows at The Midnight Company, Solid Lines Productions, The Q Collective, Kirkwood Theatre Guild, That Uppity Theatre Company, PRIME, The Non-Prophet Theater Company, and The Tin Ceiling.  At R-S Theatrics, she has directed boom, A Perfect Arrangement, and numerous other projects, including four years of shows in partnership with The Repertory Theatre of St. Louis’s WiseWrite Young Playwrights’ Festival.  She began working with R-S in 2014, served on the Board of Directors from 2015-2018, and has been Artistic Director since January 2020.  Sarah previously held staff positions with Arcon Radio Players, The Non-Prophet Theatre Company, Last Chance Theatre, and Blue Lemon Theatre Group. For more information, contact Sarah Lynne Holt at rstheatrics@gmail.com or visit R-S’s website at r-stheatrics.org.

Photo: Playwright Jennifer Haley

‘Fear Street Part 1: 1994’ Is Brutally Excellent Slasher Film for 2021

‘Fear Street Part 1: 1994’ Is Brutally Excellent Slasher Film for 2021

By Alex McPherson

“Fear Street Part 1: 1994” is an immensely enjoyable slasher flick with real heart beneath its ultraviolent set pieces.

Based on the “Fear Street” books by R.L. Stine, “1994” unfolds in the rural town of Shadyside, Ohio. Shadyside has a history of heinous murders stretching back hundreds of years, which some denizens believe involve possessions by a witch, named Sarah Fier, who was executed in 1666. Shadyside residents harbor an intense rivalry with the considerably wealthier neighboring city of Sunnyvale. Our protagonist is Deena (Kiana Madeira), an angsty, rebellious high schooler reeling from a breakup with her ex-girlfriend, Sam (Olivia Scott Welch), who recently moved to Sunnyvale.

Sarah’s curse potentially rears its head again when a skeleton-mask-donning psycho goes on a rampage at a local mall. After a confrontation with Sunnyvalers along a roadway, Sam disturbs the witch’s burial ground and unleashes an evil that resurrects killers from Shadyside’s past to exact revenge. Together, Deena and Sam — joined by Deena’s brother, Josh (Benjamin Flores Jr.), and friends Simon (Fred Hechinger) and Kate (Julia Rehwald) — must band together to lift the curse and live another day. 

With charming characters, palpable stakes, and high production value, director Leigh Janiak’s “Fear Street Part 1: 1994” is a finely crafted horror film that represents a strong start for her “Fear Street” trilogy.

With hints of “Stranger Things” from the get-go, amplified by a brief appearance from Maya Hawke herself, Janiak’s first entry strikes an effective balance between self-aware fun and nerve-wracking suspense, with a couple of genuinely shocking moments. Indeed, this isn’t a sanitized, family-friendly romp, even though the high school melodrama is sometimes humorous. Blood flows freely, and while the film isn’t exactly “scary,” due in large part to exceedingly predictable jump scares, there are several moments where the carnage hits viciously hard.  

“1994” depicts its youthful characters without condescension, treating them as three-dimensional people with their own flaws, desires, and colorful personalities, portrayed with youthful verve by a pitch perfect cast. All these characters are familiar archetypes, but there are a few wrinkles that add texture, emphasizing their vulnerability in ways that are often amusing, but also build emotional attachment. Deena, skillfully portrayed by Madeira in a standout performance, has a troubled home life and is sent spiraling from her breakup with Sam, resenting her while also being unable to let go.

Sam is similarly layered, being forced to make difficult decisions later on. Josh, a nerdy, inquisitive chap with detailed knowledge of Shadyside’s history, is an instantly likable character who winds up essential for the group’s survival. The squirrely, immature Simon works hard to support his family, while Kate — a high-achieving student — hustles drugs to help pay for her future.

Less noteworthy are the killers themselves — referencing classic horror films such as “Scream” and “The Shining.” They’re over-the-top and not grounded enough to instill genuine fear, but they deliver in the film’s harrowing second half. Combined with fast-paced editing, atmospheric lighting, and a solid score by Marco Beltrami, however, the threats faced by the central characters work well enough to create an edgy, stressful feel to numerous sequences, where plot armour is certainly not guaranteed. 

Sure, the dialogue is a tad uneven and the story doesn’t exactly beg to be closely analyzed, but “1994” knows exactly what kind of film it is and leans into tropes while standing out on its own merits. This is a thrilling, nostalgic watch for fans of the genre and newcomers alike. Hopefully the next installments, releasing on Netflix July 9 and July 16, are equally as successful.

“Fear Street Part 1: 1994” is the first of a movie trilogy on Netflix, based on the with the others — 1978, to be released July 9, and 1666, to be released July 16. The first one, directed by Leigh Janiak, stars Kiana Madeira, Olivia Scott Welch, Fred Hechinger, Benjamin Flores Jr. and Julia Rehwald. It is rated R for strong bloody violence, drug content, language and some sexual content and runs 1 hour, 47 minutes. It started streaming on Netflix July 2. Alex’s Grade: B+   

The Black Rep’s In-Person Season To Explore Identity and Self-Worth

The Black Rep’s In-Person Season To Explore Identity and Self-Worth
  • Set to emerge from the pandemic for live audiences, the compelling new season of work features both well-established and new Black voices, the Black Rep has announced. The St. Louis Black Repertory Company will begin its 45th anniversary with in-person performances beginning in September at the Edison Theatre on the campus of Washington University in St. Louis.

    The season opens with “Sweat,” a Pulitzer-Prize winning drama fitting for the current times, followed by “Dontrell,
    Who Kissed the Sea,” exploring one young man’s present-day heroic quest. The season continues with “Fireflies,” a
    telling of the complexities of love and color, and “Behind the Sheet,” the untold story behind the sacrifices made for
    a significant medical breakthrough. The season closes with “Jitney,” August Wilson’s powerful look at one
    community’s unwavering determination and connection. Each production will include post-show talk backs and
    intergenerational matinees.

    “As we all pick up the pieces of our life in our community, we wanted to include a range of plays that explore how
    people define their self-worth and cope with society’s view,” said Ron Himes, Founder and Producing Director of
    The Black Rep. “With each of our five productions this season we’ll ask our audience to join us to explore their own
    identity and place. And, I personally can’t wait to see everyone.”

    Sweat by Lynn Nottage September 8-26, 2021 at the Edison Theatre, Washington University

    Addressing the complexities of race, class and friendship at a pivotal moment in America, this heartfelt drama tells
    the story of a group of co-workers who find friendship working on a factory floor. With layoffs and picket lines
    entering the picture, these friends must decide if they should look out for each other – or prioritize themselves.

    Dontrell, Who Kissed the Sea by Nathan Alan Davis January 12-30, 2022 at the Edison Theatre, Washington
    University

    When 18-year-old Dontrell Jones decides to voyage into the Atlantic Ocean in search of an ancestor lost during the
    Middle Passage, his family struggles with the thought of losing their prized son. Blending poetry, humor, wordplay
    and ritual, this rhythmic journey is a present-day hero’s quest to explore the lengths and depths we must go to
    rewrite history’s wrongs.

    Fireflies by Donja R. Love February 9-27 at the Hotchner Studio Theatre, Washington University

    Set in the Jim Crow South, “Fireflies” tells the story of Olivia, the inspiring speechwriter and force behind her
    charismatic husband Charles and his freedom movement. When four little girls are bombed in a church, the
    couple’s relationship is thrown into jeopardy.

    Behind the Sheet by Charly Evon Simpson March 16-April 3 at The Berges Theatre, COCA
    This compelling work challenges what history remembers and reframes the very origin story of a great medical
    breakthrough. This production is made possible in part by the Ensemble Studio Theatre/Alfred P. Sloan
    Foundation Science and Technology Project along with additional support from Caleres and The Black Rep’s
    Sophisticated Ladies.

    Jitney by August Wilson May 11-29 at the Edison Theatre, Washington University

    Set in the late 1970’s, August Wilson’s first in his 10-play cycle of 10 decades of history in Pittsburgh takes place
    in the midst of urban renewal and follows a group of men who make a living driving gypsy cabs, as they navigate
    love as fathers and sons, loss and hope, and ultimately, community.

    Subscriptions are available for purchase now by calling the box office at (314) 534-3807 or online
    at www.theblackrep.org. Groups of 12 or more may also reserve tickets by phone. Opening Night packages as
    well as a New Flex Pass are available, along with an early purchase Post Pandemic discount.

    Season and individual production support has been provided by: The Arts & Education Council, Black Seed
    Initiative, Caleres, Centene Charitable Foundation, Ensemble Studio Theatre, Missouri Arts Council, Regional
    Arts Commission, Rodgers-Townsend, Shubert Foundation, Steward Family Foundation, and Washington
    University in St. Louis, with additional support from the Black Communities Investment Initiative of the St. Louis
    Community Foundation.

    About The Black Rep
    The Black Rep, a 45-year-old legacy Black arts organization, is committed to producing, re-imagining, and
    commissioning work written by Black playwrights and creating opportunities for new voices and youth. Founded
    by Producing Director Ron Himes, the vision for The Black Rep continues: a more equitable distribution of
    opportunities and resources for Black professionals and students in the theatre; improved representation on and
    back-stage in the theatre industry; and a fostered community culture of support and mentorship for those who will
    follow.

    For more information: www.theblackrep.org

Unusual ‘Zola’ Looks at Sleazy Underworld of Strip Clubs And Sex Industry

Unusual ‘Zola’ Looks at Sleazy Underworld of Strip Clubs And Sex Industry

By Lynn Venhaus
A road trip from hell, as documented on a viral Twitter thread six years ago, is the starting point for this unusual film.

The genesis of “Zola” is a 148-count tweetstorm by A’ziah King in 2015. Known as Zola, she was working as a Hooters waitress in Detroit, when a customer, an exotic dancer named Stefani (Riley Keough), convinces her to dance for some quick cash – then invites her for a weekend in Florida, also to strip, with the promise of easy money.

But the trip becomes a nightmarish 48-hour odyssey with Stefani prostituting herself while Zola is expected to be an “escort” too. Along for the ride is Stefani’s idiot boyfriend (Nicholas Braun) and her dangerous pimp X (Colman Domingo).

After 86 minutes, I felt like my I.Q. had dropped 50 points and I wanted to take a shower. But like a bad car wreck on the highway, you can’t quit staring at it in disbelief.

The film deals with increasingly dangerous and desperate situations, and when it involves the sex industry, that is to be expected. The film’s subject matter is sleazy, yes, but director Janicza Bravo doesn’t treat it in an overly erotic way, but rather realistically. The transactions are about survival — a way of life in a scuzzy underworld of sex and violence.

However, you are warned –  the graphic sexual content includes close-ups of male genitalia – although less female nudity than one might expect.

While the cast excels at creating these outrageous characters, they really are a sad lot – and if you have seen “The Florida Project” and “Hustlers,” folks without life’s advantages. There’s also similarities to “Spring Breakers,” but really a singular situation.

Riley Keough plays Stefani, a character like the one she played in “American Honey,” only with less of a conscience and a soul. She lives out loud, on stage, and doesn’t give it a second thought. She affects a ‘street’ accent that she might think is cool or tough, but it instead pathetic.

Her doofus of a boyfriend, Derrek, hilariously played by Nicholas Braun (brilliant as Cousin Greg in “Succession,” watches YouTube.com videos and aspires to monetize such videos one day. He is clueless.

While Stefani and Derrek appear to be sorry specimens of the public school system, Zola has street smarts and learned through the school of hard knocks. She refuses to partake in X’s plan and holds her ground. But even she can’t prevent this walk on the wild side.

Just a withering look from Taylour Paige’s Zola, and you know exactly how she feels. Paige, a trained dancer, is a revelation here. Most known for a TV show, “Hit the Floor,” as Zola, she does more in one look than most people do in a string of sentences – and her side-eye is genius. You feel what she’s feeling just on body language alone.

X, as played by the sublime Colman Domingo, is a low-level con artist and morally bankrupt guy shrouded in mystery. Domingo plays him as a man used to living on the edge – but prefers to control the circus. If you saw Morgan Freeman in “Street Smart,” then you know the territory X covers.

Domingo, one of our finest actors, was memorable in “Ma Rainey’s Black Bottom,” “Selma” and “If Beale Street Could Talk” as Regina King’s husband. You see his name in the credits, and you know he’ll deliver. He is explosive in a long-simmering threatening way.

What parts are embellished and what areas stick to the truth aren’t clear – unless you read the 148 tweets, which are no longer on Twitter, but available on different sites.

Zola had something to say, and she let it out. This is the first film, as I recall, based on short unfiltered bursts of exasperation, frustration and just ‘let me tell you what happened to me.’

With social media so extensive in everyone’s lives, of course, we’re here now. But the film is also based on David Kushner’s article in Rolling Stone. Bravo and Jeremy O. Harris, who wrote “Slave Play,” adapted it all for the screen.

The filmmaker has made some interesting choices, most of it fresh and different, which signals that an innovative artist is just getting started. She helmed another unusual indie, “Lemon,” which also opened at Sundance.

“Zola” premiered at the 2020 Sundance Film Festival – not this year – and the distributors held it for a big-screen experience. A crowd viewing is the definite way to go.

Nicholas Braun, Riley Keogh, Taylour Paige and Colman Domingo

Not wanting to come across as a snob or prude, this is my reaction to a seamy underbelly of society that we rarely glimpse of in such a revealing way, which is both frightening and troubling at the same time.

In the film business, we haven’t seen the last of any of the principals or the director. “Zola” is one of those zeitgeist movies people will buzz about, because, after all, those tweets went viral.

“Zola” is a 2020 drama-comedy directed by Janicza Bravo and Taylour Paige, Riley Keough, Colman Domingo and Nicholas Braun.
Rated R for strong sexual content and language throughout, graphic nudity, and violence, including a sexual assault, it runs 1 hour, 36 minutes. It is only in theaters beginning June 30. Lynn’s Grade: B-