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.
While it has all the makings of an old-fashioned feel-good sports drama, perhaps we’ve seen too many rousing underdog team stories so that “The Boys in the Boat” pales in comparison to other revered crowd-pleasers (“Rudy,” “Hoosiers,” “Remember the Titans”).
This latest example of scrappy athletes overcoming obstacles is based on a bestselling nonfiction book by Daniel James Brown, “The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics,” which was published in 2013.
At the height of the Great Depression, an underdog team of rowers at the University of Washington struggle and sacrifice, eventually competing in the ”world is watching’ Hitler Summer Olympics.
Their true story is remarkable – eight guys from lower-middle-class families overcome obstacles, endure the uncertainty of the Great Depression, and find glory at the Nazi Olympics, triumphing while Hitler’s Third-Reich propaganda was in full force.
But the script by Mark L. Smith, adapting Brown’s book, hits the predictable beats in such an uninspired way that it feels generic. Smith must be a streaky writer, for he crafted the wilderness epic “The Revenant” but also the confusing and clumsy storytelling in “The Midnight Sky” and the forgettable “The Marsh King’s Daughter” earlier this fall.
This is the second time Smith has worked with Clooney as a director, first with the aforementioned “The Midnight Sky” in 2020.
This is Clooney’s ninth film in the director’s chair, and while I’m sure the movie has enough components to move some people, it seems too familiar and flat. There is little that is special about it.
His last, in 2021, “The Tender Bar,” was a heartfelt coming-of-age story also based on a book. He showed such great promise with “Good Night, and Good Luck” in 2005 and “The Ides of March” in 2011, that you’d think a story tailor-made for Hollywood treatment would be a perfect fit.
He does work well with young actors, but the script lets them down because their characters are largely underdeveloped. The eight-man rowing shell doesn’t have any star power either, and I’m sure that was intentional, to make them a team in every sense of the word.
Callum Turner, as poor boy Joe Rantz, has the most compelling story arc, although predictable. He’s on his own, sleeping in a car, and can’t pay his tuition, so when he finds out rowers are given places to stay and a job, he’s in.
Rantz becomes the de facto leader of the motley crew, and you just know they will beat the odds (besides, you already know the outcome of what happened 87 years ago). The handsome Turner (Theseus Scamander in the “Fantastic Beasts” movie franchise) is likable as Joe, but a subplot with girlfriend Joyce (Hadley Robinson) seems perfunctory.
Joel Edgerton is their coach Al Ulbrickson, a no-nonsense guy who believes in his team but has a gruff manner. He wants them to achieve “swing,” when teammates are in perfect union so that the symmetry feels like poetry.
By the time they are on their improbable trajectory, the film builds up some energy and it’s stirring when they beat Ivy Leaguers for the Olympic spot, and of course, the whole USA vs. Hitler match-up in Germany goes for the obvious.
While often clunky in storytelling, the conventional sports saga has a beautiful look – the sun on the rippling water, young muscular lads exerting themselves in competition, and the imposing Olympic-size landscape. Cinematographer Martin Ruhe, who has worked with Clooney several times (including those Nespresso commercials), captures the action well. And Alexander Desplat’s score swells with emotion at the right times.
A documentary “The Boys of ’36,” is currently streaming on PBS, and was first broadcast on “American Experience” in 2016. It may flesh out some of the story that the fictional account fails to deliver.
A beat-all-the-odds real-life story deserved a better movie than filmmakers put together. They needed more than a rah-rah message of “we’re all in the same boat.” (OK, groan).
“The Boys in the Boat” is a 2023 Biography, Drama, Sports film directed by George Clooney and starring Joel Edgerton, Callum Turner, and Hadley Robinson. It is rated: PG-13 for language and smoking and runtime is 2 hours, 4 minutes. Opens in theaters Dec. 25, and will eventually stream on Amazon Prime. Lynn’s Grade: C
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.
Overflowing with cheer and kindness, “It’s a Wonderful Life: A Live Radio Play” is as comforting as a mug of hot cocoa and as heartwarming as the cherished 1946 film.
Festively decorated inside and out for the holidays, The Repertory Theatre of St. Louis is the bearer of glad tidings with this crisp and polished production, an announced substitution for the previously scheduled “A Christmas Carol,” which had been presented in 2021 and 2022.
But this was more than a performance – it was a change in direction and a celebration of community. The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million by year’s end to continue the 57-year-old regional professional theater in the new year.
A Dec. 17 benefit, an online auction, and other fundraising efforts are being promoted, and this production is the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke.
They have added some ‘zhuzh’ to the welcoming atmosphere. Company Manager Michael D. Ward donated for the decoration, design and setup of the interior and exterior, and collaborated with the front of house staff to set those charming scenes.
Besides the merry mood, opening night also was a statement. You could feel the goodwill from the audience, and in the lobby afterwards, where trays of chocolate chip cookies were placed, and people snapped photos near the John Goodman cardboard cut-out. Goodman, the world-renowned actor who is a hometown treasure, will headline the Dec. 17 benefit.
Photo by Jon Gitchoff
Everything about this show gleamed – the company of all local performers’ glee was palpable and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play is a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
This version was first produced last year by the Alabama Shakespeare Festival, whose artistic director Rick Dildine was previously affiliated with the St. Louis Shakespeare Festival. And The Rep is producing this show in association with ASF and is made possible in part by the support of The Berges Family Foundation.
Kate Bergstrom has directed both, displaying a deft touch for staging the action for optimum viewing and maximum ‘feels.’ Stage Managers Emilee Buchheit and Anna Baranski energetically stage-managed the show to keep the 2-hour show running smooth.
The ensemble shines – in individual roles and as a collective in the workplace. Anchoring the show is Michael James Reed, playing actor Jake Laurents, who is also a military officer serving in World War II. He’s a terrific George Bailey, conveying the distress of a man whose faith and hope has been eroded, but also a caring neighbor and friend in his daily interactions.
Melissa Harlow, Michael James Reed. Photo by Jon Gitchoff
Laurents/Reed plays a family man and banker whose life in Bedford Falls is not what he had imagined for himself, but circumstances led to him to bloom where he was planted.
As problems mount up, and he wishes he had never been born, it’s up to his guardian angel, Clarence, to show him what the town would have been like without him — and the many good deeds he has accomplished.
Upon closer observation, the source material is quite dark — a man is desperate, ready to throw in the towel, feeling as if he’s failed. But looking back at the impact his life has made is a beautiful observation about connection. And we can all relate.
For the screenplay, movie director Frank Capra, three-time Oscar winner (“It Happened One Night,” “Mr. Deeds Goes to Town,” and “You Can’t Take It with You”) collaborated with married screenwriting duo Frances Goodrich and Albert Hackett, Oscar-nominated for “The Thin Man” and “Father of the Bride,” among their filmographies.
Their source was a 1943 short story, “The Greatest Gift,” written by Philip Van Doren Stern, which was inspired by Dickens’ “A Christmas Carol.”
Daisy Held as a Sound Engineer. Photo by Jon Gitchoff
The movie, while earning five Oscar nominations in 1947, including Best Picture (lost to “The Best Years of Our Lives”) and another for Capra and James Stewart, was a box office flop and critics were lukewarm. It wasn’t until 1977, when its copyright lapsed and broadcasters were able to show it royalty-free, that it gained a following. Now it’s a perennial.
Today, no matter how many Christmas movies Hallmark churns out, “It’s a Wonderful Life” continues to top lists of favorite holiday movies. The Rep’s production reinforces why everyone loves it. Besides, who doesn’t want to believe in guardian angels?
The talent-rich 10-person ensemble is dialed in, seamlessly working together as radio employees and actors conveying the Bedford Falls denizens. Three are St. Louis Theater Circle winners (Michael James Reed, Eric Dean White and double-winner J Samuel Davis).
It’s fun to experience that part of America’s past, when a physical radio was an essential part of everyday life and the dominant home entertainment during the 1930s and 1940s. You’ve seen these settings in old-time movies and TV, and scenic designer An-Lin Dauber has recreated a vibrant studio where you can see — and hear — the sound engineers make the magic.
Eric Dean White, J Samuel Davis. Photo by Jon Gitchoff
With his mellifluous voice, Eric Dean White strikes a pleasant tone as a seasoned radio announcer. He’s amusing when he delivers commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and others – delighting the audience.
DeAnte Bryant is a charmer as Harry Heywood, who is humorous, caring and concerned as the lovable Clarence, who has waited 200 years to get his wings. The brilliant local actor J. Samuel Davis is Dr. Richard Ross, doubling roles — compassionate as St. Joseph and conniving as greedy Mr. Potter, the corrupt power-hungry kingpin often stopped in his chicanery by George.
Melissa Harlow is actress Sally Applewhite who plays good-natured Mary, who eventually marries George and raises a family. Carmen Garcia is the sweet Rosa Ramos, who is playing both George’s kind mother and Mary’s busybody mom. Their fashionable frocks are part of Dauber’s vintage costume design, with Jordan Fell associate costume designer.
Smartly dressed in tailored attire as ‘career girls’ are Aria Maholchic who plays spirited actress Lana Sherwood, Jailyn Genese as the efficient Stage Manager and Daisy Held as the Sound Engineer.
The biggest crowd-pleaser was winsome TJ Staten Jr., stealing scenes as Lead Songbird and Sound Engineer. Making his debut at The Rep, the McCluer High School graduate, as Troy Staten, won the 2021 St. Louis Teen Talent Competition sponsored by the Fox Performing Arts Charitable Foundation.
TJ Staten Jr. Photo by Jon Gitchoff
Lighting designer Christina Watanabe bathed the production in a poignant glow that enhanced the emotional depth, particularly when snowflakes fell. Moving from the cozy studio to the wintry town setting was an impressive transition.
The sound work was particularly noteworthy, because creating the sound effects to go across the airwaves isn’t as easy as it sounds. Special mention to Michael Costagliola as sound/foley designer and Andrew Ronver, the associate sound designer.
Another artisan helping establish the period was wig designer Dennis Milam Bensie.
It wouldn’t be a holiday radio show without singing, and music director Ron McGowan helped make the season bright, leading the ensemble in snappy seasonal favorites. When it was time for “Auld Lang Syne,” the audience joyfully chimed in with the ensemble. (Was anyone else misty-eyed?)
A sincere effort to inspire, touch, and engage, “It’s a Wonderful Life: A Live Radio Play” was a dandy celebration of what should be important this time of year.
Storytelling is vital to bringing us together, and this opportunity to remind us to believe in our purpose, be mindful of what’s around us, and never lose faith in humanity is evergreen.
It is a wonderful life – and I hope you leave this show with the promise of better days ahead, even if a happy holiday is elusive.
The Repertory Theatre of St. Louis presents “It’s a Wonderful Life: A Live Radio Play” Dec. 1-23 at the Loretto-Hilton Center, Webster University, 130 Edgar Road, Webster Groves. For tickets or more information, visit www.repstl.org or call the box office at 314-968-4925. For more information about Phase One of the fundraising campaign, visit www.rallyfortherep.org
Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. Audio-Described Performance: Thursday, December 21 at 7pm – the show will be described for patrons who are blind or have low vision. ASL Performance: Saturday, December 23 at 2pm – the show will be signed for the deaf or hard of hearing. Open-Captioned Performance: Sunday, December 17 at 2pm – an electronic text ticker displays words being spoke or sung onstage
(And if you are hankering to watch the movie, NBC will show it Christmas Eve, the E! Entertainment Channel will show it at 4 p.m. and 7 p.m. on Dec. 20. Bravo will show it at 6:30 p.m. and 9:30 p.m. on Dec. 15. It is also streaming on Amazon Prime with a subscription.)
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.
“Christmas with C.S. Lewis” starring St. Louis native Gregory Williams Welsch has been selling out the Westport Playhouse, such is its popularity. A 5 p.m. show on Sunday, Dec. 17, has been added to the run.
Wearing a red sweater and sipping tea, Welsch plays the British author, born as Clive Staples Lewis but known as Jack to his family and friends. Lewis wrote more than 30 books, including “The Screwtape Letters,” “The Narnia Chronicles,” “Surprised by Joy,” and “Prince Caspian.”
Welsch taps into Lewis’ sharp wit and spontaneous humor that made him a revered raconteur and one of the literary giants of the 20th Century.
“It can be very funny, but also sad, too. He talks about the death of his wife,” Welsch said.
This holiday-themed show has its roots in Lewis’ Christianity writings and “An Evening with C.S. Lewis,” which was also written by director-writer-performer David Payne, who originated the role many years ago. Welsch and Payne first got to know each other performing Payne’s show “Lewis and Tolkien.”
As a young adult, Lewis believed the story of Christ’s birth was nothing more than a feel-good myth. That all changed after a particular encounter with his great friend and fellow authors, JRR Tolkien.
Although both men loved mythology in general, Tolkien was convinced that the Jesus myth was the one true one. That was the start of Lewis’ journey from Atheism to Christianity. From that point on, Christmas took on an entirely different meaning.
In this one-man show, we find Lewis at his home near Oxford on Christmas Eve 1962, hosting a group of American writers who are in England for the holiday. They are about to experience an unforgettable assortment of Yuletide recollections that stimulate a whole range of emotions – curiosity, laughter, gladness and even some tears.
Above all, they will discover how that encounter with Tolkien forever changed Lewis’ Christmas celebrations. But also learn about the people and events that shaped his life – including how he came to embrace Christianity and the woman, Joy Davidman, who turned his life upside down. (They were married from 1956 until her death in 1960).
Lewis, born on Nov. 29, 1898, died on Nov. 22, 1963.
In the engaging conversation, you’ll find out why he nearly abandoned the Narnia Chronicles too.
Welsch has also been performing another one-man show, “Churchill” at venues all over the country. He currently resides in Nashville but grew up in Rock Hill. He has fond memories of flipping burgers at Carl’s Drive-In, attending St. Mary Magdalene Grade School in Brentwood, discovering theater at St. Louis University High School. He is grateful to have been taught by Joe Schulte, who directed the shows, and credits the work ethic at a Jesuit institution for helping him prepare for a life in the theater.
He has enjoyed playing Lewis but is willing to switch gears again to reprise the role of Tolkien opposite his friend Payne, who is known for performing Lewis. Stay tuned…
Take Ten Q&A with Gregory Williams Welsch
1. Why did you choose your profession/pursue the arts?
I believe that I was drawn to the arts on a spiritual level, though I might not have known that as a youngster. I have always felt that to create was ‘of the soul’ and that what our capitalistic/materialistic society asks of us and promotes as desirable and laudable is the antithesis of that and is, in the end, empty.
2. How would your friends describe you?
As a true “listener” who cares. And whose advice is worth seeking.
3. How do you like to spend your spare time?
Spending time with friends or simply kicking back and watching a good documentary or playing the guitar and recording.
4. What is your current obsession?
Whatever show I am preparing.
5. What would people be surprised to find out about you?
That I lived for 2½ years in Europe (Vienna) and speak several languages.
6. Can you share one of your most defining moments in life?
Being called to travel to Peru and study with a Shipibo and an Amarya shaman to participate in the Ceremony of the Ayahuasca 8 years ago — long before it became a pop culture trope.
7. Who do you admire most?
Artists, like Bob Dylan, Taylor Swift, Keanu Reeves and others, whose values are steadfast and remain intact even as they deal with the wealth and fame that comes with their success.
8. What is at the top of your bucket list?
To visit the sacred lands that are the Black Hills and other lands here in my own country. I find I know Europe better than the US! Though Barcelona is a city I have missed and visiting Vienna again to reconnect with old friends and see them for what might be the last time is up there too.
9. What is your favorite thing to do in St. Louis?
Hanging with family and old school friends.
10. What’s next?
Continue to grow as an actor/artist. Recently did my first run of a one-man show, “Churchill” and want continue to grow in that role as well as reprise the role of JRR Tolkien working with British actor and friend, David Payne as CS Lewis in the show about their last meeting, “Lewis and Tolkien.”
More on Gregory Williams Welsch
Age: Old enough to know better
Birthplace: St. Louis
Current location: Nashville, Tenn.
Family: 7th of 9…Sometimes I feel like a Borg!
Education: SLUH, Mizzou, and the streets of any number of cities of the world.
Day job: Actor, Writer, Director
First job: Paper Route in Brentwood
First role: Joseph, in the first grade Christmas play. I killed it, BTW…
Favorite roles/plays: JRR Tolkien, Didi in “Waiting for Godot,” Ben Hubbard in “Little Foxes.”
Dream role/play: Shelly Levine in “Glengarry Glen Ross,” Stage Manager in “Our Town”
Awards/Honors/Achievements: Founding member of Radio Free Nashville, a low-power, non-profit community radio station closing in on its 20th year giving an independent voice to the community.
Favorite quote/words to live by: “In the very end, civilizations perish because they listen to their politicians and not to their poets.” – Jonas Mekas
A song that makes you happy: “Carey” Joni Mitchell with the LA Express.
Emery Entertainment presents Christmas with C.S. Lewis starring Gregory Williams Welsch through Dec. 17. Performances take place at the Westport Playhouse in Westport Plaza. For more information: www.aneveningwithcslewis.com.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A social satire is not fulfilling its goal if it doesn’t outrage somebody, and “Sister Mary Ignatius Explains It All for You” is certainly provocative.
Stray Dog Theatre’s production pushes buttons, even though the show is now 43 years old. Wickedly funny, bold and acrimonious, the company wisely played it straight.
But you won’t find protesters outside Tower Grove Abbey. This time at least. Stray Dog Theatre isn’t a group that shies away from controversial subject matter and has presented bold and unconventional fare before. (For instance, this year alone, Charles Busch’s campy satire “Vampire Lesbians of Sodom” was the June show).
Christopher Durang’s watershed 1979 play takes aim at Roman Catholic dogma, and specifically, a rigid teaching nun for her over-reaching and unchecked abuse of power.
For his absurdist comedy, he mocked the nuns as authority figures. Apparently, he had a lot of anger from being raised Catholic. With identity and sexual disorientation being among his frequent themes, of course he channeled it all in this script.
As a graduate of Our Lady of Peace School in Providence, New Jersey, Durang no doubt stored material as he matriculated there, and went on to Harvard and Yale School of Drama. He also won the Obie Award for Best Playwright in 1980, at age 32, for this work. (Much later, he won a Tony for “Vanya and Sonia and Masha and Spike” in 2012).
“Sister Mary Ignatius” brought him to national prominence and raised the ire of St. Louis Catholics. If you think Billy Joel’s song “Only the Good Die Young” caused a ruckus in the St. Louis Archdiocese in 1977, well they went ballistic when the Theatre Project Company announced they would be presenting the black comedy in 1983. Thirty years ago, the archbishop condemned it, and protests ensued.
But these days, after years of clergy being unfavorably in the spotlight, and nuns as characters in both comedies and dramas, “Sister Mary Ignatius” isn’t the lightning rod it once was. And Catholics have other things more pressing to worry about – although being traumatized by a religious order should remain high on the list.
The one-act starts out with a conventional structure but then meltdowns begin. Sister Mary Ignatius, played with utmost conviction by Sarajane Clark, is still teaching children about the perils of sin and hellfire when several alumni – mostly hot messes — come for a visit. When she finds out how far these members of her flock have strayed from the path of righteousness, well let’s just say there are some shocking consequences.
Tables turn, and it isn’t pretty. Director Gary F. Bell stages it as an absurdist horror film.
Rachel Bailey is the emotionally wounded Diane Symonds, who threatens Sister’s life. Eileen Engel is Philomena, an unwed mother, Stephen Henley is Gary, polite and gay, with Sean Seifert as Aloysius, a troubled alcoholic. They’re all genuine on stage, veterans that they are.
Sister’s obedient little Thomas is played with poise by youngster Tommy Pepper, who misses the violence on stage.
Anyone who went to a parochial school will be reminded of catechism teachings and how rigid certain nuns were.
Sister Mary Ignatius is an extreme example, but there are nuggets of truth in this mischievous manifesto. The sharp satire makes for some uncomfortable and awkward moments, so folks are warned in case there would be triggers.
Stray Dog Theatre presents “Sister Mary Ignatius Explains It All for You” for mature audiences Thursday through Saturday at 8 p.m. Nov. 30 – Dec. 16. For tickets or for more information, visit www.straydogtheatre.org.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Rebekah Scallet was eager for new horizons when she moved to St. Louis in 2020. However, a public health emergency upended her plans, and while she waited out a global pandemic in her new home, thinking about a future with no live theatre was terrifying. However, turns out that forced time off was a partial silver lining.
“I had left my former full-time position as Artistic Director for the Arkansas Shakespeare Theatre and moved to St. Louis with my family and without a new job to go to. But in a way, this was the best thing possible for me. I was forced to slow down and admit to myself that I was burned out. I needed a reset and time with my family. And my family needed me for all the virtual school,” she said.
“So, I am grateful for the forced time off, and when the opportunity arose to get back into full time theatre work, I was ready and able to come back with a better perspective on work life balance,” she said.
When named the Artistic Director at the New Jewish Theatre in 2022, she hit the ground running and is now eager to start working on New Jewish Theatre’s 26th year.
Prior to taking over at the J, she worked as a freelance director and teacher, including at the Sargent Conservatory at Webster University where she directed “The Learned Ladies.”
But now, back into full-time theatre work, she is grateful for a fresh perspective. She’s very proud of the efforts that made the 2023 memorable, her first full season, and is gearing up for the 2024 season.
For NJT in 2022, she produced “The Bee Play” after taking the reins previously held by Eddie Coffield. This October, she made her directorial debut at NJT, helming a triumphant “The Immigrant” in October, which had been previously done in 1999 and 2011. Timely, with new insights, the production introduced the story to a new generation.
The final production of 2023, “Into the Woods” has been a passion project, and finally achieving the vision she and director Robert Quinlan had has been a satisfying end to this season.
The show is running from Nov. 30 to Dec. 17, with performances Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Dec. 17 is sold-out. Link for tickets: https://www.showpass.com/into-the-woods-njt/
Scallet brought years of theater experience to NJT through her previous work as the Producing Artistic Director at the Arkansas Shakespeare Theatre, which is a professional equity summer theatre festival part of the University of Central Arkansas. During that time, she produced 32 plays and musicals and directed eight productions.
Scallet worked as the Producing Artistic Director at the University of Central Arkansas, where she also taught two to four courses per year and directed the theatre program every other year for the Department of Film, Theatre and Creative Writing.
She also spent 10 years in Chicago working as a director, dramaturg, artistic administrator and teaching artist.
As a child, she remembers visiting St. Louis and her grandparents many years ago, and saw her grandmother perform in a Yiddish play at the J.
“The J itself has also meant a lot to my family. Though I only moved to the area a couple of years ago, my family has deep St. Louis roots, and I have fond childhood memories of seeing my grandmother perform on stage here. The building and the theatre itself have changed a lot since then, but this is truly a full-circle moment for me, and I am excited to walk in my grandmother’s footsteps as I create and share stories with this community,” she said in the press release announcing her new position.
In St. Louis, Rebekah has become involved in Jewish organizations. She served on the L’Chaim Gala Planning Committee, which is the Women’s Philanthropy Division of the Jewish Federation of St. Louis, and is a member of the National Council for Jewish Women St. Louis. In Arkansas, she was involved with the Jewish Federation of Arkansas where she served as a Board of Trustee from 2012-2018 and served as Chair of the Events Division, including overseeing the 2019 Jewish Food and Cultural Festival.
She and her husband, Joe Stafford, have two sons, ages 8 and 11, and live in Brentwood, Mo.
Scallet, center, directing.
Take Ten Questions and Answers with Rebekah Scallet
1. What is special about your latest project?
“Into the Woods” is a musical that I’ve always loved, and one that I’ve been dying to produce for several years now. It was in the line-up for my cancelled summer 2020 season with Arkansas Shakespeare Theatre, and I’m so thrilled I get to finally produce now with New Jewish Theatre. And I’m even more thrilled that Robert Quinlan is directing, who had been originally slated to direct my 2020 version.
2. Why did you choose your profession/pursue the arts?
Is it too cliched to say it chose me? I have been involved in the theatre since I was little, and a director since before I knew there was such a job.
My mom likes to tell the story of watching me perform in my 4th Grade Thanksgiving play (that I also wrote). In addition to doing my own part, I was also moving the other kids around and making sure they were all standing in the right spot and doing the right thing at the right time.
As I got older and had the opportunity to work on more professional productions, I realized how powerful a tool the arts can be. In addition to just loving the work, I love the way theatre can unite a community, create empathy, encourage conversation, and open new ideas.
3. How would your friends describe you?
Warm and outgoing. A good listener. Diplomatic. And they’d probably mention my distinctive laugh. My actors always tell me they know when I’m in the audience because of my laugh.
4. How do you like to spend your spare time?
What is that, exactly? I am the mother of two boys aged 8 and 11, so my spare time is mostly spent at soccer games, piano lessons, and PTO meetings. But I also enjoy cooking, reading, and spending time walking outdoors.
5. What is your current obsession?
I’ve been working my way through reading Tana French’s “Dublin Murder Squad” book series. They are all so good and so well written, plus I love the Irish dialect. It’s even more fun in audio book form.
6. What would people be surprised to find out about you?
I grew up in Little Rock, Arkansas, and Chelsea Clinton played on my softball team.
7. Can you share one of your most defining moments in life?
Putting my hand on the Western Wall in Jerusalem when I was 16 years old. Knowing that I was touching stones that had stood in that spot for thousands of years, and that countless other Jews before me had touched those same stones and prayed as I prayed was so visceral and spiritual. I felt connected to my Jewish heritage in a way I never had before.
8. Who do you admire most?
My father, of blessed memory. He died young from cancer, when I was only 28, but he absolutely made the most of the years he had. He was a scientist with a very sharp and curious mind, and he also loved the arts and exposed me and my siblings to every artistic and literary experience possible when we were growing up. He was always true to himself and invested just as much time into his role as father as in his career. I strive to do the same with my family.
9. What is at the top of your bucket list?
I want to travel to South America – Argentina, Chile, Peru, Ecuador. There is so much rich history and culture in all of these places. I’d love to have the opportunity to explore there.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?
As a theatre artist it was wretched – having to cancel a season of work that so much effort and creative energy had already been put into was awful. And then to stare into a future with no live theatre until who knows when was terrifying.
As it happened, at the same time, I also left my former full-time position as Artistic Director for the Arkansas Shakespeare Theatre and moved to St. Louis with my family and without a new job to go to. But in a way, this was the best thing possible for me. I was forced to slow down and admit to myself that I was burned out. I needed a reset and time with my family. And my family needed me for all the virtual school!
So, I am grateful for the forced time off, and when the opportunity arose to get back into full time theatre work, I was ready and able to come back with a better perspective on work life balance.
But I am also dismayed by the way the pandemic has decimated theatre in the U.S. Every day you hear about more theatres being forced to close and audience members not returning. It’s disheartening, but it’s also an opportunity to look at our art and see how we can maintain our roles as meaningful and vital parts of our communities. The numbers are telling us that we can’t just do what we’ve always done, which means there’s a tremendous opportunity for ingenuity in the industry.
11. What is your favorite thing to do in St. Louis?
I love to go for walks in Forest Park and wander around through the trails. Especially in summer when there are so many wildflowers in bloom everywhere – it’s magical.
12. What’s next?
For New Jewish Theatre, we finish our 2023 season with “Into the Woods,” and start 2024 with Arthur Miller’s “All My Sons.” For me personally, I’m directing “We All Fall Down,” a regional premiere by Lila Rose Kaplan for NJT. It will open at the end of May.
Scallet, teaching.
More About Rebekah Faye Scallet
Age: 45
Birthplace: Madison, Wisconsin
Current location: Brentwood, Missouri
Family: Married to Joe Stafford with 2 sons, ages 8 and 11
Education: I have a B.A. in English and American Literature from Brandeis University, and an M.F.A. in Directing from Illinois State University
Day job: Artistic Director for New Jewish Theatre
First job: Babysitting
First play you were involved in or made: But the first play was “The Hobbit” at the Arkansas Children’s Theatre – I was 12 and I ran the sound board.
Favorite jobs/roles/plays or work in your medium? I have directed Shakespeare’s “Twelfth Night” three times and worked on six different productions in various capacities. I have loved each one and would direct it again in a heartbeat. It’s an incredible play.
Dream job/opportunity: I’d love to direct Tom Stoppard’s new play “Leopoldstadt”– it’s epic and powerful
Awards/Honors/Achievements: Received the Arkansas Arts Council’s Individual Artist Fellowship for Directing
Favorite quote/words to live by: “All the world’s a stage, And all the men and women merely players; They have their exits and their entrances; And one man in his time plays many parts”
A song that makes you happy: “The 59th Street Bridge Song (Feelin’ Groovy)” by Simon & Garfunkel
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.
In an extraordinary, reimagined interpretation of Stephen Sondheim’s classic “Into the Woods,” New Jewish Theatre immerses us into a vibrant in-the-round setting, where a vocal-rich ensemble of 11 takes on iconic fairy tale characters.
The harmonies stand out under the seamless music direction of Larry D. Pry, who also serves as the Narrator and expertly plays the piano while Christopher Bachmann is on cello and Helen Bednara is on bassoon. While only three, the virtuosos are a superb combination that elevates this show’s rich melodies.
To say they understand Sondheim is no small feat. The greatest theater artist of the past 75 years is demanding, but everyone connected with this production is up for that daunting challenge. To be able to master his complex harmonies is like winning a gold medal in the Olympic Decathlon.
This 1986 masterpiece was Sondheim’s second collaboration with book writer James Lapine after “Sunday in the Park with George” two years earlier. They both won 1988 Tony Awards for score and book, even though “The Phantom of the Opera” took home the Best Musical prize. (But it later won 2002 Tony for Best Revival, 2011 Laurence Olivier Award for Best Revival and last year’s cast won a Grammy Award for Best Musical Theater Album.)
Photo by Jon Gitchoff
When done right, “Into the Woods” can be magical, transformative in many ways (as I experienced in the 2022 Broadway revival and a whimsical, inventive interpretation at Stray Dog Theatre last spring).
The fact that this musical continues to speak to new generations and evolves with new insights nearly three decades later is a testament to its relatable themes reflecting on humanity.
The concept is deceptively simple – a storybook world but with real-people problems, and how these characters’ lives are uprooted, teaching them valuable lessons about life, love, and listening. How they need to really be present when together – meaning it, not just saying so.
This poignant New Jewish Theatre effort focused on the emotional layers of each character, who are desperate for happily ever after but not making the effort to change their ways until confronted with reality.
Every time I see this show, I am struck by new observations and how the tale has deepened over time, but it is reinforced that I am not alone when people leave me halfway through the wood.
And this much is true — I always will be misty-eyed during a few numbers, “No One Is Alone” and “Children Will Listen” specifically, and in this show, “No More” especially resonated.
Here, the biggest takeaway is what comes after the “happily ever after” when you want so badly to have your wishes come true but realize you can’t do it alone.
Photo by Jon Gitchoff
The characters are based on Brothers Grimm and Charles Perrault’s literary works, but they are molded by the performers to convey consequences from their less-than-ideal actions and impulsive decisions. No Disney aberrations here. Director Robert Quinlan focused on the storytelling, and he doesn’t waste a moment – no dilly-dallying whatsoever.
The format: the narrator exclaims “Once upon a time,” and we’re off on an adventure with four groups of characters – Cinderella wishes to go to the king’s festival, Jack wishes his cow Milky White would give milk, a baker and his wife wish to have a child, and Little Red Ridinghood wishes for bread to bring to her grandmother.
Be careful what you wish for – and soon we’ll know about curses. A witch convinces the childless couple that if they bring her four ingredients: “the cow as white as milk, the cape as red as blood, the hair as yellow as corn, and the slipper as pure as gold” – in three days’ time, she will reverse the infertility curse.
Thus commences a long and winding path through the woods.
It’s the largest musical ever staged in the intimate Wool Studio Theatre, but only 11 actors are playing the 20-plus characters, with a few puppets too. And with scenes taking place in and around the audience, characters are right in the mix.
Photo by Jon Gitchoff
The cast truly gets a workout, setting the scenes and popping in and out, often relying on quick costume changes. They are marvels in motion.
Phil Leveling is outstanding, and one of the MVPs – he smoothly switches into the Wolf, Mysterious Man and Cinderella’s Stepmother without missing a beat. Cinderella’s Prince Matt Billings is also puppeteer for Milky White, another fluid transition. He works well with Kevin Corpuz as Rapunzel’s Prince, and their full-bodied “Agony” duet is a highlight. The nimble Corpuz doubles as Lucinda, one of the stepsisters too.
Molly Wennstrom soars as the Baker’s Wife, a role she’s well-suited for, and “Moments in the Woods” is terrific. She and her scene partner, Kevin O’Brien as the Baker, are splendid together, especially in “It Takes Two.” O’Brien is a versatile musical theater performer, and not only are they both strong in song, but also have the emotional heft to depict their rocky relationship.
O’Brien and Leveling are also dynamic in “No More,” bringing considerable depth to their version.
Kristen Joy Lintvedt makes an impressive debut as Cinderella, delivering lush vocals and putting some oomph and a little edge into the role.
Aliyah Jacobs opts for a trusting Little Red and sweet-voiced Sarah Wilkinson exemplifies a girl trapped in a gilded cage as Rapunzel, and also has fun as Florinda. Matthew Cox is both an innocent, naïve Jack, and the more obnoxious Steward.
Matthew Cox as Jack. Photo by Jon Gitchoff
Sarah Gene Dowling plays the Witch robustly as cruel and condescending, unforgiving of anyone’s flaws – except her own. As bitter as she is, when she is rejected, and crestfallen, her “I was just trying to be a good mother” is said with transparent desperation.
Victoria Pines is cranky and intolerant as Jack’s Mother, not giving any hints of humor, which always helps the passive-aggressive dialogue be more palatable.
Nisi Sturgis lends her considerable talents as the booming voice of the Giant (well, Giantess).
The group vocals stand out. The grown-up tale needs performers to bring out the complexities confronting each character, for everyone changes. No one is left unscathed.
Quinlan has done a masterful job of keeping things briskly paced. He aims for the sweet spot in tone – hopeful in the first act and rueful in the second. Perhaps a bit more whimsy with the necessary dark undercurrent, but I think they were so focused on crisp movements and infusing sincere emotion into each song, that no one let up for a second. Choreographer Ellen Isom kept the moves playful.
NJT’s in-house costume designer, Michele Friedman Siler, adroitly outfitted every character to support both the storytelling and the fast changes that the in-the-round setting demanded.
C. Otis Sweeney’s scenic design is exceptional – and enhanced by Jayson Lawshee’s lighting design, and not just the trees were awe-inspiring, but that full moon too. Amanda Werre’s skilled sound design was effective in the atmospheric woodland sounds and also by indicating danger in giant footsteps — and punctuating dashed hopes and dreams, and broken hearts.
Since its Broadway opening in 1987, there have been productions in London’s West End, national tours, Hollywood Bowl, The Muny, three revivals and a 2014 film adaptation. This fresh New Jewish staging can stand as one of the most heartfelt in the region. The melodies linger, the performers enchant, and the themes are re-awakened, stored for safe-keeping in my memories.
New Jewish Theatre presents “Into the Woods” from Nov. 30 to Dec. 17 at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Performances are Thursdays at 7:30 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. (Closing show on Dec. 17 has sold out).
Individual tickets are $27- $58 with special rates available for groups. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org
Sarah Gene Dowling as The Witch. Photo by Jon GitchoffPhoto by Jon Gitchoff
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus At first glance, the daffy “Jesus & Johnny Appleweed’s Holy Rollin’ Family Christmas” takes us back to the fuddy duddy ‘50s, with the on-stage stylings of TV sitcom land when dads ruled the roost and moms vacuumed wearing pearls.
But it’s far more subversive than that, and with the book, music and lyrics crafted by New Line Theatre’s Artistic Director and provocateur Scott Miller, would you expect anything different in an original stoner musical comedy with that ripe-for-parody title?
For New Line fans, this is rooted in previous shows — the world premiere of “Johnny Appleweed” in 2006, so it is a 17-years-in-the-making sequel, and the regional premiere of “Reefer Madness the Musical” in 2004.
Only now cannabis is legal in Missouri, and there are dispensaries on many corners of our fair city. Yet, we can recall a time when it wasn’t mainstream – and Cheech Marin and Tommy Chong made a fortune. So, this show is more impish than shocking.
(Although we do live in Missouri, and ‘family values’ legislators have significant agendas, so that leads to a forever “Twilight Zone” feeling. But back to our jolly neighborhood cul-de-sac with shiny, happy people).
Photo by Jill Ritter Lindberg
As a tongue-in-cheek response to the War on Drugs and the Culture Wars, Miller uses clever cultural references to make it clear how the bygone era, complete with hearty laugh-track type guffaws, was a white-bread wonderland where a middle-class suburban family has blinders on regarding diversity, inclusion, and sexual orientation.
For laughs, he’s mashed together the 1936 film “Reefer Madness” that was intended to scare straight those who may be tempted by the evil weed, Charles Dickens’ “A Christmas Carol,” and 1950s musical comedies (with intentional references).
This flip side of “The Donna Reed Show,” “Father Knows Best” and “Leave It to Beaver” has a cardigan-wearing curmudgeon of a dad named Harry Goodson whose family secrets revealed on Christmas Eve 1959 will rock his world – and he’ll be visited by ghosts overnight in the second act.
The family establishes how “Heteronormative” they are in their opening number, setting up the spoof of what passed for a normal, average family 60 years ago.
Terrell Thompson plays Harry as a cross between Archie Bunker, George Jefferson, and Ebeneezer Scrooge. He finds fault with everything, and his dialogue is a series of rants. It’s a hefty, albeit one-note, role for Thompson, a veteran of local musical theater. Musically, he is well-suited for ensemble work, but as the anchor, line delivery wasn’t as polished on opening night. (However, after more performances, I am hoping the cast is just zipping along by now).
Presumably, the brazen material demands an improv troupe feel to the ensemble, with nimble performers who have an affinity for Kids in the Hall and Second City-type sketches necessary to puncture holiday traditions and ramp up the laughs. Daughter Tammy discloses she is pregnant by her black boyfriend Miles, son Chip’s secret is that he’s gay and has a boyfriend named Dick, and brother, Uncle Hugh, is a cross-dresser with an infinity for a blow-up doll.
Kay Love. Photo by Jill Ritter Lindberg
Whew! A National Enquirer panoply of scandalous behavior that could be a laugh riot if everyone’s all-in on an over-the-top satire — but not as effective if the tone is lopsided depending on performer’s slickness. Because the lyrics and lines have enough zingers to elicit plenty of snickers.
It could be that the actor who played Chip was replaced on opening night by Tony L. Marr Jr., the assistant director and choreographer. Marr assumed the role with noteworthy aplomb.
Because this resembles the audacious dark comedy material that John Waters and Charles Busch specialize in, it should not be startling that longtime theatrical sweetheart Kay Love plays typical housewife Bess Goodson as more naughty than nice. She’s infused the Christmas cookies with pot, and lets loose in a defiant, liberating solo.
You know you’re in a bizarro world when you hear Love sing “Hoo-Hoo of Steel” without flinching or blushing. She can shimmy better than your aunt’s Jell-O salad slipping out of a decorative mold.
Love’s poise and classically trained voice, and vivacious Marlee Wenski’s silky, sultry vocals stand out in their numbers. Wenski doubles as teen movie icon Sandra Dee (the original “Gidget”), having a bawdy time in the number “Don’t Look at Me, I’m Sandra Dee,” and parodies a rebellious version of a good saddle-shoe-wearing daughter in “Miles and Miles.”
An unfazed Tawaine Noah leans in as Uncle Hugh, who leads a not-so-secret life, singing “Mary Jane and Mary Jane,” and as unborn twin Jerry, who returns as a ghost.
Can they live in comfort and joy or will their variations from the norm tear apart the family? I was reminded of the classic 1990 “Saturday Night Live” sketch called “Dysfunctional Family Christmas” about a compilation album of songs mocking less than ideal family gatherings.
Cheeky song titles include “Love Doesn’t Suck with My D**k,” “Daddy’s Talking S**t,” and “That Stick Up Your Ass.”
Here, dear old dad might need a comeuppance – his deceased twin brother, Jesus Christ, Sandra Dee and explorer and pot enthusiast Johnny Appleweed are the ghosts who visit. They force him to come to terms with recreational drug use: “Have Another Toke and Have a Merry Christmas.”
The family drama is offset by a quartet of cheery carolers who deliver “The Elves Get Stoned,” “Better Living Through Chemistry” and “Man in the Gray Flannel Life.” Stephanie Merritt, Robert Doyle, Matt Hill, and Lauren Tenenbaum merrily roll along with setting the mid-century tableau.
Mallory Golden’s music direction is breezy, with a fine-tuned machine of John Gerdes on bass, Joseph Hendricks and Alex Macke on reeds, Brad Martin on percussion, and Adam Rugo on guitar (and she’s on keyboard).
Lauren Smith Beardon has outfitted the carolers in festive attire, and the Goodsons in typical suburban family looks, complete with housewife aprons for Love. Lighting designer (and technical director) Matt Stuckel has fun inserting cannabis plant imagery in shadows – I haven’t revisited “Reefer Madness” since my college days, but I believe there was a lot of shadows to signify danger – so touché.
Photo by Jill Ritter Lindberg
As is customary, Rob Lippert’s scenic design is appropriate to the Mid-Century Modern décor of the period – and the height of sophistication with a retro artificial aluminum silver Christmas tree and the reflective color wheel, so tres chic back in the day. He has captured the tone and tenor of the show.
The vintage vibe is one of the most attractive qualities of the production. Miller has managed to include an impressive litany of every pop culture reference significant to the era – and even obscure little nuggets to prod recognition. Commendable wordplay, indeed.
Since founding New Line Theatre in 1991, he has written 11 musicals and two plays, including a rollicking “The Zombies of Penzance” in 2018. His penchant for irreverent theater and socially relevant material has served him well.
This show is basically a fun romp with some jabs on social mores, featuring stand-out performances by several spirited women. In days of yore, when Ladies’ Home Journal arrived in the mail, “The Ed Sullivan Show” was tuned in to every Sunday, and you might have had to make do with a TV dinner if mom was hosting her Bridge Club, everyone would have made a fuss over the “sassy lassies.”
A few nips and tucks, and more collaborative run-throughs, and “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” may be just the antidote to Hallmark movie marathons and wholesome holiday setlists on repeat. With Bess’s special-recipe brownies, it could be one of the hap-hap-happiest Christmas’ since Bing Crosby tap-danced with Danny Kaye.
New Line Theatre presents the world premiere musical “Jesus and Johnny Appleweed’s Holy Rollin’ Family Christmas” from Dec. 1 to Dec. 16, with performances Thursday, Friday, and Saturday at 8 p.m. at The Grandel Theatre, 3610 Grandel Square. For other information, visit New Line Theatre’s full-service website at www.newlinetheatre.com.
Tickets are $35 for adults and $30 for students/seniors/To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.
Discounts are available. 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.
Ten free seats for every performance, open to any college student with a valid student ID.
New Line offers all currently employed educators half-price tickets on any Thursday night, with work ID or other proof of employment.
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.
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.
“Oppenheimer” leads with nominations 14, followed by “Killers of the Flower Moon” with 12, “Barbie” 11 and “The Holdovers” with 9
The year’s top film phenomenon “Barbenheimer” dominated the nominations announced Dec. 10 by the St. Louis Film Critics Association, with Christopher Nolan’s scientific biopic leading the way, earning 14 nods for best film, director, actor Cillian Murphy, supporting actor Robert Downey Jr., supporting actress Emily Blunt, ensemble, adapted screenplay, cinematography, editing, production design, costume design, music score, visual effects, and best scene.
Awards will be announced Dec. 17.
In addition to determining nominations in 24 categories, the regional critics’ group recognized two groups for special merits involving the industry’s labor strikes this year.
Special Merit: The Screen Actors Guild and Writer’s Guild of America for fighting for artists’ equity and protecting the future of filmmaking by striking against practices that minimize or eliminate protection and living wages for artists.
Special Merit: A24 for showing solidarity with the actors and writers by securing approval from SAG-AFTRA and WGA to continue filmmaking and publicity.
The epic western crime drama “Killers of the Flower Moon” received 12 nominations, including best film, director Martin Scorsese, actor Leonardo DiCaprio, actress Lily Gladstone, ensemble, adapted screenplay, cinematography, editing, production design, costume design, music score and scene.
Killers of the Flower Moon
Greta Gerwig’s blockbuster comedy “Barbie” about the Mattel doll’s existential crisis in BarbieLand, KenEnergy and toxic masculinity in the real world, earned 11 nods for film, director, actress Margot Robbie, supporting actor Ryan Gosling, ensemble, original screenplay, production design, costume design, music soundtrack, comedy and best scene.
Alexander Payne’s comedy-drama “The Holdovers” about a cranky teacher supervising students left on a prep school campus and the bonds formed during Christmas break in 1970 earned recognition for its three principal characters among its nine nominations for film, actor Paul Giamatti, supporting actress Da’Vine Joy Randolph, supporting actor Dominic Sessa, ensemble, original screenplay, editing, music soundtrack, and comedy.
“Maestro,” “May December” and “The Zone of Interest” each earned six nominations.
Todd Hayne’s discomforting drama “May December” tally included nods for its three principal actors Natalie Portman, Julianne Moore and Charles Melton, director, music score, and film.
Natalie Portman, Julianne Moore in “May December”
Jonathan Glazer’s chilling wartime drama set next to Auschwitz “The Zone of Interest,” a film produced in the United Kingdom, earned its accolades for film, international feature, adapted screenplay, cinematography, editing and music score.
Bradley Cooper’s biopic on Leonard Bernstein, “Maestro,” received nods for film, actor Bradley Cooper, cinematography, editing, music soundtrack, and scene.
“American Fiction” earned five nominations for film, actor Jeffrey Wright, adapted screenplay, comedy and supporting actor Sterling K. Brown, who happens to be a St. Louis native.
“Past Lives” and “The Killer” had four nominees each, with Celine Song’s semi-autobiographical American-made film nominated for film, director, original screenplay, and actress Greta Lee.
David Fincher’s “The Killer” was heralded for its technical skills, with nominations for editing, stunts, soundtrack, and best action movie.
John Wick Chapter 4
Other films with three nominations apiece: “Air,” “Are You There God? It’s Me, Margaret,” “Asteroid City,” “John Wick: Chapter 4,” “Mission: Impossible – Dead Reckoning Part One,” “Poor Things,” and “Spider-Man: Across the Spider-Verse.”
Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films.
Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region.
For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2023 calendar year – including those film that were given awards-qualifying runs in 2022 but were not available to all SLFCA members until 2023. Films slated for release in early 2024 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.
For more information, visit the site: www.stlfilmcritics.com
Full List of Nominations:
The Zone of Interest
BEST FILM
American Fiction Anatomy of a Fall Barbie The Holdovers Killers of the Flower Moon Maestro May December Oppenheimer Past Lives The Zone of Interest
BEST DIRECTOR
Greta Gerwig “Barbie” Todd Haynes “May December” Christopher Nolan “Oppenheimer” Martin Scorsese “Killers of the Flower Moon” Celine Song “Past Lives”
Jeffrey Wright in “American Fiction”
BEST ACTOR
Bradley Cooper “Maestro” Leonardo DiCaprio “Killers of the Flower Moon” Paul Giamatti “The Holdovers” Cillian Murphy “Oppenheimer” Jeffrey Wright “American Fiction”
Teo Yoo, Greta Lee, John Magaro in “Past Lives”
BEST ACTRESS
Lily Gladstone “Killers of the Flower Moon” Greta Lee “Past Lives” Natalie Portman “May December” Margot Robbie “Barbie” Emma Stone “Poor Things”
BEST SUPPORTING ACTOR
Sterling K. Brown “American Fiction” Robert Downey Jr. “Oppenheimer” Ryan Gosling “Barbie” Charles Melton “May December” Dominic Sessa “The Holdovers”
Viola Davis in “Air”
BEST SUPPORTING ACTRESS
Emily Blunt “Oppenheimer” Viola Davis “Air” Rachel McAdams “Are You There God? It’s Me Margaret” Julianne Moore “May December” Da’Vine Joy Randolph “The Holdovers”
The Holdovers
BEST ENSEMBLE
Asteroid City Barbie The Holdovers Killers of the Flower Moon Oppenheimer
BEST ADAPTED SCREENPLAY
Are You There God? It’s Me, Margaret
American Fiction – Cord Jefferson; based on the novel Erasure by Percival Everett
Are You There, God? It’s Me, Margaret – Kelly Fremon Craig; based on the novel by Judy Blume
Killers of the Flower Moon – Eric Roth and Martin Scorsese; based on the book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann
Oppenheimer – Christopher Nolan; based on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin Sherwin
The Zone of Interest – Jonathan Glazer; based on the novel by Martin Amis
BEST ORIGINAL SCREENPLAY
Alex Convery “Air” Justine Triet and Arthur Harari “Anatomy of a Fall” Greta Gerwig & Noah Baumbach “Barbie” David Hemingson “The Holdovers” Celine Song “Past Lives”
(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features
BEST CINEMATOGRAPHY
Robert D. Yeoman “Asteroid City” Rodrigo Prieto “Killers of the Flower Moon” Matthew Libatique “Maestro” Hoyte van Hoytema “Oppenheimer” Lukasz Zal “The Zone of Interest”
BEST EDITING
Kevin Tent “The Holdovers” Kirk Baxter “The Killer” Thelma Schoonmaker “Killers of the Flower Moon” Michelle Tesoro “Maestro” Jennifer Lame “Oppenheimer” Paul Watts “The Zone of Interest”
BarbieLand
BEST PRODUCTION DESIGN
Adam Stockhausen “Asteroid City” Sarah Greenwood (Production Designer), Katie Spencer (Set Decorator)“Barbie” Jack Fisk “Killers of the Flower Moon” Ruth De Jong “Oppenheimer” James Price (Production Designer), Shona Heath (Production Designer), Szusza Mihalek (Set Decorator)“Poor Things”
BEST COSTUME DESIGN
Jacqueline Durran “Barbie” Jacqueline West (Costume Design), Julie O’Keefe (Head Osage Wardrobe Consultant) “Killers of the Flower Moon” Ellen Mirojnick “Oppenheimer” Holly Waddington “Poor Things” Stacey Battat “Priscilla”
Priscilla
BEST MUSIC SCORE
Robbie Robertson “Killers of the Flower Moon” Marcelo Zavros “May December” Ludwig Göransson “Oppenheimer” Daniel Pemberton “Spider-Man: Across the Spider-Verse” Mica Levi “The Zone of Interest”
BEST MUSIC SOUNDTRACK
Air Barbie The Holdovers The Killer Maestro
Maestro
BEST VISUAL EFFECTS
The Creator – Jay Cooper, Ian Comley (ILM Visual Effects Supervisors); Andrew Roberts (On Set Visual Effects Supervisor); Neil Corbould (Supervising Special Effects Supervisor)
Godzilla Minus One – Takashi Yamazaki (Visual Effects Supervisor)
Guardians of the Galaxy Vol. 3 – Stephane Ceretti (Visual Effects Supervisor), Alexis Wajsbrot (Visual Effects Supervisor), Guy Williams (Visual Effects Supervisor), Teho Bialek (Visual Effects Supervisor)
Mission: Impossible – Dead Reckoning Part One – Alex Wuttke (Visual Effects Supervisor), Simone Coco (Visual Effects Supervisor), Jeff Sutherland (Visual Effects Supervisor), Neil Corbould (Special Effects Supervisor)
Oppenheimer – Andrew Jackson (Production Visual Effects Supervisor), Giacomo Mineo (Visual Effects Supervisor), Scott Fisher (Special Effects Supervisor), Dave Drzewiecki (Visual Effects Director of Photography)
BEST STUNTS
Mission Impossible Dead Reckoning Part One
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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.
“Beau Is Afraid” is an unwatchable exercise in excess.
This absurdist black comedy-drama-horror about an anxiety-riddled man-child going through personal crises makes a mockery of the real psychological issues on display, Why is any of this funny when it should be a tragedy?
Writer-director Ari Aster has created a self-indulgent, meandering narrative that straddles reality and fantasy in a very bizarre way, designed to shock like his other works – “Midsommar” and “Hereditary.” These two polarizing films were disturbing with extreme horrific violence.
The rambling story follows the sudden death of Beau’s mother, which sets off a chain of events, as he embarks on a Kafkaesque odyssey back home that manifests his darkest fears. It appears to be a sequence of nightmares strung together in such an incoherent fever-dream way that the film becomes unbearable during its ridiculous 2 hours, 59 minutes runtime. It is no clearer at the end than it was in the beginning.
Joaquin Phoenix is hardly at his best in this ill-suited role as the arrested development afraid-of -his-own-shadow recluse, Beau, who is in serious mental distress and is either in a catatonic stupor or having major panic attacks and meltdowns in public places.
And neither are the actors playing the peculiar-agenda grown-ups – the normally dandy Nathan Lane and Amy Ryan as affluent strangers who rescue him during an assault, and their chic home is where he recuperates in a captive-like situation. Their Good Samaritan effort seems tinged with menace, but they are no Annie Wilken in “Misery.” However, their Fun House is anything but, particularly with their deranged daughter Toni (Kylie Rogers) and a soldier suffering from PTSD, Jeeves (Denis Pinochet).
Not unlike Lewis Carroll’s whacked-out writing in “Alice in Wonderland,” Aster strings us along with poorly drawn characters attempting to make sense of a script that has no point except to be weird for weirds sake.
However, Armen Nahapetian is fine as the sad and confused teenage Beau, who is schooled about life by a forward girl, Elaine, during a summer vacation – and so is Julia Antonelli as Beau’s first crush. As his young over-sharing histrionic control freak mother, Zoe Lister-Jones is Mona then. Patty LuPone is his monstrous, neurotic mother later in life.
In minor roles are Bill Hader as a UPS guy, Parker Posey as Elaine Bray, who works for his mom, Stephen McKinley Henderson as a therapist, and Richard Kind as a doctor.
The random bursts of violence are upsetting and the shouting, screaming and the maniacal behavior unsettling. Imagined demons roam, Beau is either terrified or trembling, and the paranoia is rampant.
We’ve seen a wide array of movies where people spiral out of control because of their less-then-normal upbringing or society’s pressures, but this scenario is not cohesive in the least and mostly incoherent.
In Aster’s world, rules of form, function and ordinary behavior are thrown out the window in favor of a provocateur making a meal out of what’s in the fridge. This is jump-out-of-the-closet scares and off-the-charts anxiety that can actually trigger viewers.
This is someone’s therapy session that we should not be eavesdropping on, and all the mommy and daddy issues raised won’t be solved any time soon. Why should anyone care about these people?
“Beau Is Afraid” is a 2023 comedy-drama-horror film written and directed by Ari Aster and starring Joaquin Phoenix, Nathan Lane, Amy Ryan, Parker Posey, Stephen McKinley Henderson, Kylie Rogers, and Patti LuPone. It is rated R for strong violent content, sexual content, graphic nudity, drug use and language. Its runtime is 2 hours, 59 minutes. It opened in theatres on April 21, is available video on demand and DVD, and began streaming Dec 1 on Showtime/Paramount+. Lynn’s grade: F.
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.
Geniuses are complicated; therefore, the life of America’s first superstar conductor and composer Leonard Bernstein is explored in an uncommon yet charismatic way in “Maestro.”
“Maestro” chronicles the complex 30-year relationship between Leonard Bernstein (Bradley Cooper) and actress Felicia Montealegre Cohn (Carey Mulligan) in an intricate portrait of art and love.
At their career-best are Bradley Cooper and Carey Mulligan who eloquently capture the passion of two people experiencing the highs and lows of an artistic life in the spotlight. They’re terrific together, and they throw themselves into these roles with a heartfelt and powerful intensity that’s mesmerizing throughout this unconventional 30-year love story.
As director, co-writer and star, Cooper masterfully conveys a larger-than-life cultural icon from his first conducting opportunity at Carnegie Hall when he was 25 to his later years after Felicia’s death in 1978. But he doesn’t gloss over his flaws, particularly as an often selfish, self-absorbed artist accustomed to attention.
The dynamic between the couple is the film’s biggest strength. And in crafting indelible portraits, they both are flawless executing the speech cadences of their characters. Mulligan, in particular, adds emotional depth to Felicia’s steely resolve and confused feelings.
The movie isn’t your typical linear womb-to-tomb biopic, and Cooper made the decision to concentrate on the married couple’s mercurial yet unbreakable union that produced three children despite the tangled nature of Bernstein’s sexuality.
His open affairs with men are more implied than delved into, however, with Matt Bomer miniscule as early lover David Oppenheim and Gideon Glick as later lover Tommy Cothran. In real life, Bernstein separated from Felicia to live with Cothran, and then returned when she became terminally ill, but that’s not specifically mentioned – only surmised.
Cooper and Josh Singer, Oscar winner for “Spotlight” who worked with producer Steven Spielberg on “The Post,” focused more on the family situation, with career highlights woven into an intriguing life tapestry.
Bernstein’s zest for living was contagious, and he dreamed big. He achieved unparalleled success in music – both conducting the New York Philharmonic Orchestra and for his legendary compositions and was the first American conductor to get international acclaim.
I remember his “Young People’s Concerts” (1958-1972) on television on Sunday afternoons. He was the first conductor to share and explore classical music to a mass audience that way.
His range was vast, and he won seven Emmys, two Tonys, and 16 Grammys during his lifetime.
One drawback is that if you aren’t familiar with Bernstein’s epic body of work, you may be lost, for there are no date stamps and sometimes only a quick reference to the material. The music score features Bernstein’s most famous compositions, re-recorded for the film.
If you didn’t know about his Broadway musical theater works “On the Town” in 1944 and “West Side Story” in 1957, both choreographed by Jerome Robbins, you’ll not be further enlightened unless you do your own research, for you only hear snippets here.
His supple compositions for “West Side Story,” arguably the greatest musical theater score of all-time with lyricist Stephen Sondheim, are barely a footnote. His propulsive Oscar-nominated score for the 1954 Best Picture winner “On the Waterfront” is another masterpiece getting only a brief mention.
Some of his massive choral pieces “Candide” and “Mass” are presented in rehearsal and performance, but again, without a timeline, one may not recognize their significance. That must be frustrating to those who didn’t grow up with his music, which I did – and recognize there are gaps for a modern audience.
The film’s best scene is Bernstein vigorously conducting the London Symphony Orchestra in Mahler’s Second Symphony (“Resurrection”) performed at the Ely Cathedral in 1973. It’s an incredible show-stopper – but without knowing what or when. Still, that scene is stunning, revealing his musical virtuosity and innate theatricality for six and a half minutes – and resulted in the New York Film Festival audience bursting into thunderous applause and cheers. It was as if we witnessed Bernstein become the music.
Credit must go to conducting consultant Yannick Nézet-Séguin, whose expertise helped Cooper feel the music, and it’s thrilling. He is currently conducts the Metropolitan Opera at Lincoln Center.
The look of the film is luxe, especially the sumptuous black-and-white cinematography by Matthew Libatique that depicts a dazzling magical time for young artists in Manhattan in the ‘40s and ‘50s.
The costumes designed by Mark Bridges are also swoon-worthy, with Mulligan’s outfits not only representing Felicia’s class and grace, but also their rising fortunes. Bridges is a two-time Oscar winner for “The Artist” and “Phantom Thread,” and has a keen eye for textures and detail. The scene where Felicia wears a Chanel suit to get bad news from her doctor is a small, but memorable, character element.
Special make-up effects artist Kazu Hiro’s seamless transformation of a 48-year-old Cooper into Bernstein at different ages is stunning, with the prosthetics lifelike. He has won two previous Oscars, for “Bombshell” and “The Darkest Hour,” transforming Gary Oldman into Winston Churchill.
Production designer Kevin Thompson’s affinity for details is striking, from the concert halls to the private residences, particularly Bernstein’s’ idyllic country home in Connecticut and a lavish apartment in the historic Dakota building. Thompson’s previous work includes “Birdman or (The Unexpected Virtue of Ignorance)” and “Ad Astra.”
The sound mixing and editing is astonishing in aural quality and should be recognized with year-end awards. That level of excellence is not just reserved for big blockbuster visual effects extravaganzas.
Even by narrowing the focus, the movie still spans decades of remarkable achievements while offering a warm portrait of a comfortable family life, with the three Bernstein children surrounded by love and affection. Maya Hawke portrays eldest daughter Jamie as a teenager with questions, Sam Nivola is son Alexander and Alexa Swinton is daughter Nina.
Another key supporting performance in this tableau is Sarah Silverman as Lennie’s sister Shirley. Bernstein’s lifelong friend Aaron Copeland (Brian Klugman) doesn’t get much screen time.
The movie packs many details in its 2 hours, 9 minutes run time, and perhaps would have been clearer in a limited series, like “Fosse-Verdon.” However, a second viewing produced far more nuance and narrowed attention.
The majestic grandeur came through on a large screen, and because the scope is ambitious, I hope it is not lost on the smaller screen.
But those bravura performances will linger no matter what format.
“Maestro” is a 2023 drama, biography directed by Bradley Cooper and starring Cooper, Bradley Cooper, Carey Mulligan, Matt Bomer, Maya Hawke, Sarah Silverman, and Gideon Glick. It is rated R for language and some drug use and it’s runtime is 2 hours, 11 minutes. In select local theaters Dec. 8 (St. Louis area) and streaming on Netflix Dec. 20. Lynn’s Grade: A-
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.
