Lynn Venhaus

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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.

ERA’s Album to Premiere at Release and Listening Party June 3

ERA’s Album to Premiere at Release and Listening Party June 3

ERA’s album will premiere at the Album Release and Listening Party at Off Broadway on
June 3, 2021 at 8 p.m.
Equally Represented Arts (ERA) presents “SHE”
ALBUM RELEASE & LISTENING PARTY INFORMATION
Thursday, June 3, 2021
Doors open at 7 p.m.
Radio play begins at 8 p.m.
at Off Broadway, 3509 Lemp Ave, St. Louis, MO 63118

Tickets are $10 and can be purchased at the door or in advance at offbroadwaystl.com
Off Broadway will have capacity limits and employ safety precautions as outlined on their
website and social media channels.

DIGITAL ALBUM PURCHASE INFORMATION
SHE will be released as an album for digital purchase via bandcamp at eratheatre.bandcamp.com.
Album price will be $10.

ABOUT SHE
SHE controls the radio station of the fascist regime in power. SHE’s also the star of the
broadcast. Her recording studio abounds with music and oysters. But in the nearby government
camps full of misfits and would-be revolutionaries, only torture and starvation is thick on the
ground.
Tonight, however, SHE’s realm feels different. The bombs sound closer. Time moves faster. But
SHE will finish her radio show, and it will be her finest. If executing every number in the
broadcast means some people need to die, so be it; it is a small sacrifice. The citizens need her
and she will not let them down.

COLLABORATORS
Written by Nancy Bell. Music composed by Joe Taylor. Lyrics by Nancy Bell.
Director: Lucy Cashion
Stage Manager: Miranda Jagels Félix
Assistant Stage Manager & Intern: Spencer Lawton
Production Managers: Will Bonfiglio, Lucy Cashion, & Joe Taylor
Artwork: Martin Brief
Marketing: Keating
Pre-Mixing: Joe Taylor
Mixing & Mastering: David Beeman
with
Nancy Bell………………SHE
Will Bonfiglio……………Nils (the brother)
Gabe Taylor…………….Fritz (the production manager)
Alicen Moser……………GIRL (the wandering spirit of SHE as a child)
Mitch Eagles…………….Michel (the loyal one)
Joe Taylor……………….George (the music director)
Anthony Kramer………..Max (the back-up vocalist) & P.A. Voice
Additional Vocals: Taylor Tveten
Piano: Audrey Morris & Joe Taylor
Bass: Andy Hainz
Percussion: Dustin Sholtes
Saxophone & Clarinet: Matt McKeever
Violin & Guitar: Kevin Buckley
Trumpet: Ryan Torpea
Accordion: Jessica Adkins
Foley: Lucy Cashion & Joe Taylor

Recorded by Joe Taylor at Kid Scientist Studios & David Beeman at Native Sound Recording on
Cherokee Street, St. Louis, USA

With public support from the Missouri Arts Council, a state agency.

About ERA
Equally Represented Arts (ERA) is an experimental theatre company based in St. Louis,
Missouri.
Theatre is a collaborative, multi-disciplinary, live art form. ERA’s mission is to use the elements
unique to theatre’s identity to expand the possibilities for what that art form can be and challenge
our community’s expectations for meaning in theatre, art, and the world. We root ourselves in the
belief that all theatre’s components are equal and that innovation stems from experimentation.
We are an ensemble company. We make our work collectively and consider all artists involved in
a project equally essential to that project. We believe that actors are creative artists. Our process
for each production is unique to that production.
For more information, please visit eratheatre.org

Arts For Life to Resume Community Theater Activities

Arts For Life to Resume Community Theater Activities

The local not-for-profit arts organization, Arts For Life, has announced that it will return to in-person judging of community theater productions beginning July 1.

With the goal of “Making a Dramatic Difference,” AFL is passionate about the healing power of the performing arts, and is proud to salute, support, and serve the theater groups in the St. Louis, MO-IL Metro East region.

AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are part of it.

Since 1999, the annual Best Performance Awards has celebrated achievements in musical theater and youth productions. In 2015, the Theatre Mask Awards were started to honor outstanding work in plays – in both dramas and comedies.

About 25 community theater organizations are eligible to participate in AFL.

Additionally, the group is seeking volunteer judges to evaluate shows and performers for their annual awards recognizing excellence in the region. Volunteers are the “eyes and ears” of AFL, ambassadors in the community. The deadline for applications is Monday, June 7.

Judges are required to attend a meeting before they are assigned shows to score. You must be 18 years old or older and choose either musicals or plays. If interested, fill out the form here for the Theater Recognition Guild, either the TMAs or BPAs:
https://www.surveymonkey.com/r/2021trgjudgeapp

Mandatory judges’ training meetings will be on the Zoom teleconference platform, offered at three different dates and times: Wednesday, June 23, and Sunday, June 27, both at 7 p.m.; and Saturday, June 26, at 1 p.m. The TRG chairmen will go over AFL’s policies and procedures, giving the judges the tools to be fair and conscientious.

For not-for-profit registered theater groups who want their shows to be eligible for accolades, they must fill out the paperwork eight weeks prior to opening night. Those forms are located here:
https://www.surveymonkey.com/r/2021participationforms

“Welcome back! AFL is thrilled to see our theatre groups getting ready to start putting on shows again. We are recruiting judges, scheduling training and looking forward to getting back to enjoying theatre in the St. Louis-Metro East areas,” said AFL President Mary McCreight.

“Thank you to everyone who stayed the course and who are still excited to entertain. We are ready and hope you are too. See you soon!” McCreight said.

AFL had suspended judging activities beginning in April 2020 because of the coronavirus public health emergency in Illinois and Missouri. The board of directors adopted measures to foster the protection of those who work and play in community theater until it would be safe to return.

As the CDC and local officials have recently eased restrictions and more Americans are vaccinated, the AFL board of directors, at their May 15 meeting, agreed to move forward and resume normal operations on July 1.

In mid-March 2020, the global COVID-19 pandemic shutdown included closing performance venues, limiting capacity at gatherings, and protocols for social distancing and face coverings.

AFL had transitioned to virtual streamed formats for both their TMA and BPA shows honoring productions in 2019 last summer and for the recent TMAs recognizing shows produced in early 2020 and one in the fall.

The BPAs were cancelled for 2021. and the few musicals that were performed in early 2020 will be considered for the 2022 awards, along with those performed from July through December in 2021.

AFL board members have continued their focus on encouraging and promoting community theater in the region and supporting charitable programs. They will award two annual youth scholarships in June.

In recent years, AFL has initiated an Adopt-a-Student mentoring program and presented an online series on diversity and inclusion last fall.

“I am incredibly grateful to all of our constituencies – the board, judges, participating groups, audience members and donors – for their commitment to AFL and their engagement and unwavering support of our local theatre community during these uncertain times,” McCreight said.

AFL was founded in 1994 by Lucinda Guyrci dedicated to the healing power of the arts through its work with youth, the under-served and the community.

For more information, contact AFL TRG Secretary Kim Klick at afltrg@artsforlife.org or visit the website, www.artsforlife.org

Be sure to subscribe/like to our social media: https://www.facebook.com/artsforlifestlouis, https://twitter.com/arts_for_life and YouTube channel: https://www.youtube.com/channel/UCnCSL5RPbHTrhbc0mbHcWnA

Unconventional Thriller ‘Profile’ Takes Place on Computer Screen

Unconventional Thriller ‘Profile’ Takes Place on Computer Screen

By Lynn Venhaus
An interesting concept using unique technology, “Profile” is an unconventional thriller that plays out entirely on a computer screen.

“Profile” follows an undercover British journalist (Valene Kane) in her quest to bait and expose an ISIS terrorist recruiter (Shazad Latif) through social media, while trying not to be sucked in by him and lured into becoming a militant extremist herself.

This Screenlife format was pioneered by writer-director Timur Bekmambetov, a Russian filmmaker who produced “Unfriended” and “Searching” using the same technology. He also directed “Abraham Lincoln: Vampire Hunter” in 2012, which indicates he is not a typical narrative kind of guy.

Those used to more traditional storytelling may not find the format sustainable, but the fast-paced swirl of information does move the story along. The problem is not the Skype, text messages, videos or social media posts, but rather the plot itself – when a couple hard-to-swallow developments occur as it moves to its conclusion.

The film is inspired by a true story of a woman who changed her name to Anna Erelle and wrote a novel “In the Skin of a Jihadist” in 2015, which Bekmambetov and co-screenwriters Brittany Poulton and Olga Kharina adapted for this tale.

Valene Kane is mostly convincing as Amy Whittaker, an ambitious freelance TV reporter whose personal life is complicated – her insufferable shallow fiancé Matt (Morgan Watkins) wants to upgrade their living quarters and she can’t come up with her half just yet.

She pitches the idea of going undercover, posing as a young convert to Islam, to ensnare an ISIS recruiter who is trafficking war brides. The sex slavery aspect intrigues her boss Vick (Christine Adams), who will eventually offer her full-time work.

The assignment is going well but takes a turn, where Amy makes some unethical decisions – and her interaction with her TV editor isn’t realistic either.

As played by Shazad Latif, Abu Bilel Al-Britani is a charismatic soldier, and his tactics appear to be working as he professes his love for Amy, who is masquerading as Melody Nelson.

Abu Bilel isn’t his real name, either. So, who is fooling who? Are Amy’s actions for real or a set-up?

With her messy personal life, job and financial worries, she is vulnerable.

Those are questions that we won’t get satisfactory answers to in this dangerous game. Are we to believe Amy is impulsive, effectively manipulated and emotionally attached – or is it phony?

The film’s credibility is ultimately at stake.

Regarding the Screenlife gimmick, it is engaging. Shot in nine days, the film’s look is seamless, with good work by editor Andrey Shugaer and production designer Ben Smith.

The film, set in 2014, emphasizes the consequences of living out loud online and how prevalent lies and deceit are in social media. Had the plot not disintegrated in the third act, this would be even scarier than the stories we know to be true on radicalized women sucked into the risky dark side.


“Profile” is a 2018 drama-thriller directed by Timur Bekmambetov that starts Valene Kane, Shazad Latif, Christine Adams, Morgan Watkins. It is rated R for language throughout and some disturbing images and the run time is 1 hour, 45 minutes. Opens in theatres May 14. Lynn’s Grade: B-

‘The Crime of the Century’ Shows Human Cost and Fallout of OxyContin, Fentanyl Addiction

‘The Crime of the Century’ Shows Human Cost and Fallout of OxyContin, Fentanyl Addiction

By Lynn Venhaus
Since 2000, 500,000 Americans have died of drug overdoses. Director Alex Gibney, who also wrote and narrated “The Crime of the Century,” exposes the truth in an urgent, straightforward way.

Witness one of the most devastating public health tragedies of our time. The two-part HBO Original documentary takes a sobering look at legal drug-pushing Big Pharma’s role in America’s opioid crisis.

The blame rests largely on the multi-billion pharmaceutical industry, which manufactured the crisis and earns profits from it.

Exhaustively researched, this expansive and hard-hitting documentary traces the origins and evolution of the current epidemic that is tearing families apart across the U.S.

Gibney points fingers at Purdue Pharmaceutical, the Sackler family, manufacturers, distributors, pharmacies, pill mills, corrupt doctors, people on company payrolls knowing they broke laws and government officials whose political campaigns accepted huge donations from Big Pharma.

The prolific Gibney won an Oscar for the documentary “Taxi to the Dark Side” in 2008, an Emmy for “Going Clear: Scientology and the Prison of Belief” in 2015 and much acclaim for “Enron: The Smartest Guys in the Room,” last year’s “Totally Under Control” on the coronavirus pandemic and many other works.

He focuses on commerce and crime, interviewing whistleblowers, DEA agents, medical professionals and journalists, among a wide range of talking heads.

This documentary is presented in association with The Washington Post. Investigative reporters Sari Horwitz, Lenny Bernstein and Scott Higham share their stories.

Evidence on the over-production, reckless distribution and abuse of synthetic opiates is shown, and Gibney makes sure there is a human side to the story – interviewing grieving families, doctors going against the status quo, insiders and investigators. There are definite heroes, like Joe Rannazzisi, formerly of the DEA, and Dr. Art Van Zee, a small-town Virginia practitioner witnessing his community’s demisem and villains — Dr. Lynn Webster of Live Tree, Dr. Richard Sackler who avoided prosecution and Dr. John Kapoor, who didn’t. Rudy Guiliani was a hired gun for Purdue — one of their ‘Partners in Pain’ shills.

Part One targets corporate greed, revealing the aggressive promotion of OxyContin in 1996 from family-owned pharmaceutical giant Purdue Pharma and a propaganda campaign redefining pain and how we treat it.

He depicts how Purdue worked closely with the FDA to get the medicine approved for wider use, hiding the dangers and claiming it was not addictive.

The time-released OxyContin paved the way for more addictive drugs, as Part 2 shows with the losing battle on fentanyl and its synthetic derivatives. The widespread corruption isn’t surprising — but still shocks, particularly how law enforcement has been undermined (The Martino bill – look into it) and the extent to which EMTs are overwhelmed.

The deceptive marketing videos from Purdue and Insys Therapeutics are hard to stomach, as are the examples of fraud, conspiracy and malfeasance. Between 2006 and 2014, more than 100 billion doses of oxycodone and hydrocodone were shipped nationwide.

The data is astounding as we learn the details of unethical and illegal practices of bribing doctors to prescribe high doses of opioids and other leaked documents from the Department of Justice on corporate negligence.

Part 1 is 1 hour, 52 minutes and Part 2 “What’s in It for Me?” is 1 hour, 58 minutes. Every minute is riveting.

We can’t afford to look away – the human cost and fallout is too great.

“The Crime of the Century” is a two-part documentary – Part I is 1 hour, 52 minutes, and Part II is 1 hour, 58 minutes — directed by Alex Gibney. It is currently streaming on HBO Max (May 11, 12). Lynn’s Grade: A

Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

Michael Hamilton to Retire As Stages St. Louis’ Artistic Director

STAGES St. Louis Artistic Director and co-founder, Michael Hamilton, has announced that he will be retiring at the end of the 2021 Season.

“From our opening season in 1987 to our launch into the stunning new Kirkwood Performing Arts Center, every moment at STAGES has been an extraordinary one for me. As I explore and embrace the next chapter in my life, my heart will always remain at STAGES,” said Artistic Director Michael Hamilton. “It is truly a life legacy that I am incredibly proud of. But I am particularly proud and grateful of all the
extraordinary people that I met and worked with in my 35 years at STAGES. That is something I will be able
to keep in my heart for the rest of my life.”

A co-founder of STAGES St. Louis, Michael has directed over 100 productions in his 35-year STAGES history and has been the creative force behind the company’s most iconic productions that patrons have come to know and love. For his work at STAGES, Michael has been honored with multiple awards including the Art & Education Council’s 2019 Lifetime Achievement Award (with Jack Lane) and both Kevin Kline and St. Louis Theatre Circle Awards for Outstanding Director of a Musical. Michael’s list of award-winning productions
include FOOTLOOSE (2005); THE FULLY MONTY (2007); PROMISES, PROMISES (2010); ANYTHING GOES
(2015); and MAN OF LA MANCHA (2019).

Additionally, Michael’s acclaimed production of ALWAYS…PATSY CLINE (2013) was not only transferred to the Alabama Shakespeare Festival, but also played a record-breaking eight-month run at the Playhouse at Westport Plaza.

“When Michael and Jack asked me in my role as Kirkwood’s Director of Parks and Recreation to rent the Robert G. Reim Theatre for the first STAGES Season in 1987, I don’t think any of us imagined what would come of that meeting,” said STAGES Board President Dave White. “But Michael had a vision and knew what he could do with that stage at the Reim. Seeing the growth of the organization from that point is one of the proudest parts of my career. Under Michael’s direction, STAGES has absolutely raised the bar for
what theatre looks like in St. Louis.”

“As the saying goes, there will be very big shoes to fill with the departure of Michael Hamilton,” said Mosbacher Family Executive Producer Jack Lane. “But, I have no doubt that there is a future artistic leader of STAGES out there waiting for us. As we enter our new phase in the Kirkwood Performing Arts Center, STAGES is setting sail onto a national platform that no doubt will unfold in dynamic new ways and be embraced by both our loyal patrons and newcomers alike.”

Jack added, “We are also pleased to announce that we are establishing The Michael Hamilton Artistic Fund, where contributions will support the advancement of artistic needs at STAGES.”

The entire STAGES family wishes Michael the best in his well-deserved retirement and thanks him for his steadfast leadership and dedication to the mission of STAGES for 35 years. A national search has begun for the new Artistic Director role.

The organization looks forward to the curtain rising again with the return of Michael’s critically-acclaimed and audience-loved production of ALWAYS… PATSY CLINE (August 6-September 5) this upcoming season, followed by the STAGES premiere of JERSEY BOYS (September 24-October 24).

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website. STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education.

Michael Hamilton

In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of our new
home, the Kirkwood Performing Arts Center. STAGES Performing Arts Academy is regionally renowned for its innovative and multi-disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the
only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences.

For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.
Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.

Haunted House or Sociopathic Husband? ‘Things Heard & Seen’ Needs to Pick a Lane

Haunted House or Sociopathic Husband? ‘Things Heard & Seen’ Needs to Pick a Lane

By Lynn Venhaus

A poorly constructed storyline squanders a good cast in “Things Heard & Seen,” an unsatisfying adaptation of the bestselling novel “All Things Cease to Appear” by Elizabeth Brundage.

When George Claire (James Norton) accepts a teaching offer at a small liberal arts college in the Hudson Valley, he relocates his wife, Catherine (Amanda Seyfried), a Manhattan artist, and their 4-year-old daughter Franny (Ana Sophia Heger) to an old farmhouse. The home has a dark history and sinister things start happening.

Shari Springer Berman and Robert Pulcini seem to be odd choices to write and direct this multi-generational story that abandons that idea. They were Oscar-nominated for the screenplay of “American Splendor,” which they directed.

However, they can’t make up their mind whether to concentrate on being a paranormal activity horror film or a thriller about a sociopathic husband. Pick a lane, people – and neither is convincing.

James Norton, a British actor last seen as Meg’s husband in Greta Gerwig’s 2019 “Little Women,” is an implausible cad with a wandering eye – picking up chicks at the local library with his daughter in tow. He is built up as a golden boy, a hotshot art historian whose students worship him, but then turns deceitful on a dime.

Of course, he doesn’t believe his wife about her supernatural suspicions. A feeble Amanda Seyfried, whose character is bulimic, seems lost in this stale role. A controlling George thinks she’s losing it – no surprise there. And she is thoroughly in the dark about his duplicitous double life. When she starts suspecting a crack in his façade, the ghosts turn into sympathetic pals.

The old house is another character, with signs of ghosts that are often used in unimaginative genre films. The set-up early on is where someone should scream “Get out of the house now!” Naturally, the rambling homestead is a remote place, and set in 1980, there is no modern technology that could be used for rescues.

The supporting cast includes Oscar winner F. Murray Abraham as the erudite art department chair, Rhea Seehorn as a sassy weaver on the faculty, Karen Allen as the town realtor, Michael O’Keefe as her husband, also the town sheriff, and Natalia Dyer as a cynical coed. You’d expect that they would have more to do, but nope – rather wasted instead of serving the plot.

With a few genuine moments of suspense, you see where it had potential, but several teases of substantive developments go nowhere, leading to one of the more ridiculous endings in recent memory.

As the third act rushes to conclusion – and people wind up injured or dead after confronting the horrible husband about his misdeeds – one figures out that this has been a huge waste of time.

The only way to enjoy any part of this movie is to revel in the bad dialogue. If you go in realizing that this film is trash, you might have fun with it.

Otherwise, the lack of cohesiveness will be frustrating.

Amanda Seyfried

“Things Heard & Seen” is a 2021 horror-thriller directed by Shari Springer Berman and Robert Pulcini, starring Amanda Seyfried, James Norton, F. Murray Abraham, Rhea Seehorn, Natalia Dyer, Karen Allen, Michael O’Keefe. It runs 2 hours, 1 minute and is rated TV-MA. It is now streaming on Netflix. Lynn’s Grade: D-

Union Avenue Opera Announces Summer Line-Up and Spring Garden Concert Series

Union Avenue Opera Announces Summer Line-Up and Spring Garden Concert Series

This July, Union Avenue Opera (UAO) will make its return to presenting live, in-person opera following a summer of cancellations due to the COVID-19 Pandemic. For the 2021Season, UAO will move its performances to The Big Top, in St Louis’ Grand Center district, for three exciting, socially distanced performances of both Offenbach’s Les contes d’Hoffmann and Rossini’s Il barbiere di Siviglia.

“I am beyond thrilled that we have found a way to safely bring opera back to the city of St. Louis this summer. It is an incredible opportunity for us to be creative and offer audiences something different for this one unique season,” said UAO founding Artistic Director and conductor Scott Schoonover.

This summer, audiences will have the opportunity to see two classic, beloved operas in one week – even on the same day, as UAO will offer two matinee performances for the first time in eight years.

“The operas will unfold, acted in front of our wonderful orchestra on The Big Top stage with costumes and lights, to delight socially distanced crowds in the large open-air tent. I can’t wait to see our patrons again and hope that new audience members will come out as well, in support of this effort to put St. Louis artists, orchestra members and technicians back to work after this difficult year,” said Schoonover.

Operated by the Kranzberg Arts Foundation, The Big Top is Missouri ArtSafe Certified and will employ rigorous COVID-19 mitigation policies for the benefit of all guests, staff, and artists in its 1,200-person tent which will have reduced capacity for 2021. The Big Top will also employ a contact-less ticketing and concession experience for opera goers and masks will be required.

“I know those who attend will be moved in a special way by hearing live singing and orchestra again, and by seeing wonderful portrayals of these complex and sometimes hilarious characters in person. It certainly gives us all something which we can look forward to in the upcoming months. Finally, I would like to assure our loyal supporters that UAO fully intends to be back in its home venue next season with a full, 3-opera lineup.”

Single tickets range from $25 to $55 and will be available exclusively through MetroTix beginning June 1, for members of the public. All tickets must be purchased in advance either online at www.metrotix.com or by calling 314-534-1111 or 800-293-5949. UAO will utilize tiered on-sale dates for past subscribers and donors prior to the public on-sale date – more information regarding tiered ticket on-sale dates can be found online at www.unionavenueopera.org.

Brooklyn Snow

Offenbach’s: LES CONTES D’HOFFMANN
Three Performances: July 21 and 24 at 7:30PM and July 23 at 2:00PM
Presented in French with projected English supertitles
Conducted by Scott Schoonover
Staging by Mark Freiman

Offenbach’s grand French opera follows the poet Hoffmann as he searches for true love in a magical tale
of thwarted love, art, and revenge! Best known for the Barcarolle “Belle nuit, ô nuit d’amour,” “Chanson
de Kleinzach,” and the ultimate showcase of coloratura soprano singing, Olympia’s “Doll aria.” Les
contes d’Hoffmann is a haunting tale of one man’s desire for the perfect woman. Hounded by his other-worldly nemesis and accompanied by Nicklausse, his ever-faithful friend, Hoffmann seems forever unlucky in love. Darkly playful and set against fantastical backdrops and stirring chorus formations, the opera renders the story of Hoffmann’s descent into madness and intoxication in faithful detail

Under the baton of Artistic Director Scott Schoonover, lyric tenor William Davenport will make his UAO debut in the title role. Soprano Brooklyn Snow, who received high praise for her portrayal of Cunegonde in 2019’s Candide returns to sing the three heroines as Jeremiah Sanders makes his UAO debut as the opera’s four villains. Anthony Webb (Enoch Snow, Carousel) returns to sing the roles of the four servants and Emma Sorenson (Hänsel, Hänsel und Gretel) as Hoffmann’s faithful companion, Nicklausse.

Hoffmann – William Davenport*
Lindorf / Coppélius / Dappertutto / Dr. Miracle – Jeremiah Sanders*
Andrès / Spalanzani / Pittichinaccio / Frantz – Anthony Webb
Olympia / Giulietta / Antonia – Brooklyn Snow
Nicklausse – Emma Sorenson
Luther / Crespel – Joel Rogier
Hermann / Schlemil – Randell McGee
Nathanael / Cochenille – Anthony Heinemann
Voice of Antonia’s Mother – Liya Khaimova


Rossini’s: IL BARBIERE DI SIVIGLIA
Three Performances: July 22 and 23 at 7:30PM and July 24 at 2:00PM
Presented in Italian with projected English supertitles
Conducted by Stephen Hargreaves
Staged by Jon Truitt

Figaro! Figaro! Figaro! Only the clever barber Figaro can help the fair Rosina outwit her guardian, the aging Dr. Bartolo and live out her days in the arms of her true love, Count Almaviva. A grand plan is hatched, full of mischievous escapades and inventive antics sure to delight audiences of all ages. This Rossini Italian classic features one of the most well-known pieces of music in history, Figaro’s “Largo al factotum” along with Rosina’s dazzling “Una voce poco fa.” Full of laughter and beautiful music, see why Il barbiere di Siviglia has been an audience favorite for more than two centuries.

No stranger to his role, Pedro Barbosa will make his UAO debut as Conte d’ Almaviva as Robert Mellon makes his UAO and role debut as the barber Figaro, and Janara Kellerman (Mrs. Herring, Albert Herring) makes her role debut as Rosina. Also returning are Andy Papas (Ko-Ko, H.M.S. Pinafore) as Dr. Bartolo, Erin Haupt (Hebe, H.M.S. Pinafore) as Berta, Isaiah Musik-Ayala (Colline, La bohème) as Basilio, as Stephen Hargreaves (Nabucco) conducts.

Conte d’ Almaviva – Pedro Barbosa*
Figaro – Robert Mellon*
Rosina – Janara Kellerman
Dr. Bartolo – Andy Papas
Basilio – Isaiah Musik-Ayala
Berta – Erin Haupt
Fiorello – Ben Worley

In anticipation of its season, UAO will bring classic opera front and center in its 2021 Opera in the Garden – Garden Concert Series this spring featuring thrilling operatic performances. Launched in 2018, as a House Concert Series, UAO moved the concerts outdoor last fall for the safety of its artists and patrons and were some of the first, live, operatic performances held in St. Louis during the pandemic.

Sunday, May 16 at 6:00PM
Our series starts in the Ladue garden of Margaret Gilleo and Charles Guenther with performances by UAO artists Leann Schuering, Anthony Heinemann, and Randell McGee with Nancy Mayo on piano. The concert will feature operatic favorites including “Je veux vivre” Roméo et Juliette, “Kuda, kuda” Eugene Onegin, “Caro nome” Rigoletto, “Cosa sento!” Trio from Le nozze di Figaro, “Refrain, audacious tar” – Duet from H.M.S. Pinafore.

Saturday, June 5 at 7:00PM
Join us as we return to the Compton Heights garden of Dr. Kenneth and Marjorie Smith and welcome back Metropolitan Opera soprano Mary Dunleavy for a special Saturday night concert. Ms. Dunleavy will present a selection of arias from opera’s favorite courtesans (such as Violetta, Manon, Madama Butterfly) as well as art songs by American composer Amy Beach with pianist Gail Hintz.

Sunday, June 27 at 6:00PM
We conclude our series in the in Webster Groves garden of Jack and Mary LaBarge as we introduce our very own Figaro, Robert Mellon alongside 2021 season artists Erin Haupt and Liya Khaimova with Nancy Mayo on piano. Concert highlights include “Largo al factotum” Il barbiere di Siviglia, “Elle a fui, la tourterelle” Les Contes d’Hoffmann, “Che faro senza Euridice” Orfeo, “Evening Prayer” duet from Hansel
and Gretel, and “Soave il vento” trio from Così fan tutte.

Tickets are $50 for individuals or $100 for Patron Seating which includes the best reserved seats and a $50 tax-deductible donation to UAO. Tickets are on sale now at www.unionavenueopera.org and must be ordered in advance (no door sales)

About Union Avenue Opera – UAO was founded in 1994 to bring affordable, professional, originallanguage opera to St. Louis, a mission the company continues to pursue to this day. UAO is committed to hiring the most talented artists, directors, designers and technicians both locally and from across the United States. UAO provides promising singers the first steppingstone of their professional career. The
company celebrated its 25th Anniversary Season in 2019 and offers vibrant and affordable opera experiences in original languages to audiences who reflect the breadth and diversity of the St. Louis region. UAO is a publicly supported 501(c)(3) nonprofit organization registered in Missouri. In 2018 UAO became an OPERA American Professional Company Member. OPERA America is the national
membership organization for artists, administrators and audiences, dedicated to support the creation, presentation and enjoyment of opera.

Financial assistance has been provided by the Missouri Arts Council, a state agency, and with support
from the Regional Arts Commission, and funded in part by the Arts and Education Council.

Stray Dog Theatre Announces Plans to Return to the Stage In August

Stray Dog Theatre Announces Plans to Return to the Stage In August

Artistic Director Gary F. Bell has announced that Stray Dog Theatre plans to return to live performances in late summer and get back to a full season in 2022.

“It has been so very long since we’ve been able to see you in person at the Tower Grove Abbey. I want to start off by thanking you all for supporting SDT’s Digital Series during this unusual time. Today, I am so happy to announce that Stray Dog Theatre has an exciting and vibrant plan for returning to live theatre! We have missed you all so much, and are beyond thrilled to share with you all of our wonderful upcoming offerings,” he said.

Stray Dog is starting with a 2021 Limited Series, which includes three plays in the last half of the year: ‘ART’ by Yasmina Reza, with adaptation by Christopher Hampton, premiering in August 2021; “Blue/Orange” by Joe Penhall in October 2021; “Who’s Holiday” by Matthew Lombardo in December 2021.

“A whole new season will premiere in 2022 and will offer a complete season of 6 plays and musicals just like in the past. We’re excited to announce more about this soon,” Bell said.

A new website will go live on July 1. Prior to July, you can purchase tickets for any of the 2021 Limited Series by calling the box office at (314) 865-1995.

“As always, all of us at Stray Dog Theatre are thinking of you and your safety as we plan our 2021 Limited Series and the brand new 2022 Season. We’re ready when you are!” Bell said.

TICKETS & SHOW GUIDELINES FOR THE 2021 LIMITED SERIES



As a return celebration, the 2021 Limited Series tickets will be $25 per person/per show* and are available by calling the box office at (314) 865-1995. Starting July 1, 2021, you may also purchase tickets by visiting www.straydogtheatre.org.

During the 2021 Limited Series, seating may be limited and offered in “pods” of 2 or 4 which will be physically distanced for maximum safety. If you have any questions please contact us at the box office at (314) 865-1995.

For your safety and ours, all actors, tech crew, and Stray Dog Theatre employees have been vaccinated.

We will be following all local and federal safety guidelines during each production.

*Season Subscriptions are not available for the 2021 Limited Series but will return for our 2022 Season. Ticket prices will return to normal for the 2022 Season.

ART

by Yasmina Rezawith adaptation by Christopher Hampton

Marc, Serge, and Yvan have been the best of friends for years. When Serge buys a very expensive piece of art, the intellectual and emotional arguments that ensue become less theoretical and more personal and threaten to destroy their friendships.

‘ART‘ will be presented under the stars on our gorgeous Tower Grove Abbey lawn.

8PM Thursdays thru Saturdays August 5, 6, 7, 12, 13, 14, 19, 20, 21.Additional performance Sunday, August 15 at 8PM. 

Blue/Orange

Blue/Orange
by Joe Penhall
The day before Christopher is due to be discharged from a psychiatric ward, his doctor has reservations and raises his concerns with a senior colleague. Blue/Orange is an incendiary tale of race, madness, and a Darwinian power struggle at the heart of a dying National Health Service.
BLUE/ORANGE will be presented inside the historic Tower Grove Abbey.
8PM Thursdays thru Saturdays October 7, 8, 9, 14, 15, 16, 21, 22, 23.Additional performance Sunday, October 17 at 2 PM.

Who’s Holiday

by Matthew Lombardo
You saw her last when she was just two
Celebrate the holidays with Cindy Lou Who
Pull up a seat and fill up your cup
‘Cause your favorite little Who is all grown up
A wildly funny and heartfelt adults-only comedy that explores the twisted tales after that fateful night when a certain Grinch tried to steal Christmas. For Mature Audiences.
WHO’S HOLIDAY will be presented inside the historic Tower Grove Abbey.
8PM Thursdays thru Saturdays December 2, 3, 9, 10, 11, 16, 17, 18.Additional performance Sunday, December 12 at 2 PM.

‘The Human Factor’ Looks at Personalities Involved in Mid-East Peace Negotiations

‘The Human Factor’ Looks at Personalities Involved in Mid-East Peace Negotiations

By Lynn Venhaus
The complicated history of the Israel-Arab conflicts is explored in this thorough and engrossing documentary.

“The Human Factor” takes a deeper dive into the personalities involved and how that affected the persuasive efforts to change hearts and minds.

After the Cold War ended in 1991, the U.S. stayed the biggest global superpower and turned attention to negotiating peace in the Middle East. Director Dror Moreh takes a behind-the-scenes look at three decades of negotiations between Israel and its Arab neighbors by interviewing six mediators and uses archival footage for the historical details.

By interviewing go-between Dennis Ross – who worked under four presidential administrations, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller, we get different perspectives that add depth to the historical records. All accomplished diplomats, they shed light on the process that helps us to understand where and why things go wrong.

Moreh, an Oscar nominated Israeli film director for “The Gatekeepers” (2012), co-wrote the script with Oron Adar. They start out with Secretary of State James Baker, under President George H. W. Bush, and mainly concentrate on the impact of the Bill Clinton years. After the botched deal at Camp David in 2000, they wrap up the next 20 years in a montage rundown.

The U.S. has been so close, but today, it seems like peace between the countries seems more impossible than ever. And the former diplomats candidly share their frustrations.

What we thought was a breakthrough turned out not be what everyone assumed at the Oslo Accords in 1993.That agreement between Yasser Arafat, chairman of the Palestinian Liberation Organization from 1969 to 2004, and Israel Prime Minister Yitzhak Rabin (’74-’77 and ’92-95), lead to a Nobel Peace Prize in 1994, and then signed in 1995. But it did not result in peace. Rabin was assassinated two months later on Nov. 4, 1995.

Since then, five different men have served as prime minister of Israel: Shimon Peres, Benjamin Netanyahu, Ehud Barak, Ariel Sharon and Ehud Olmert. and attempts to reach peace have failed.

The men in the rooms where it happened point out the missed opportunities, what happened with Syria and the PLO, and the complexities involved because of the region’s intricate history.

They could still be talking now, but the film smartly ends at 1 hour, 48 minutes, and is a story well-told. Moreh has gathered copious amounts of archival footage for the historical details.

A history, geography, political science and psychology class all at once, “The Human Factor” shows why there is no easy solution for sustainable peace in the Middle East.

FILE – President Bill Clinton, center, Israeli Prime Minister Ehud Barak, left, and Palestinian leader Yasser Arafat walk on the grounds of Camp David, Md., at the start of the Mideast summit on July 11, 2000. The documentary “The Human Factor” shows the behind-the-scenes story of the U.S.’s effort to secure peace in the Middle East. (AP Photo/Ron Edmonds, File)

“The Human Factor” is a 2019 documentary directed by Dror Moreh starring Dennis Ross, Gamal Helal, Martin Indyk, Daniel Kurtzer, Robert Malley and Aaron Miller. It is rated PG-13 for some violence/bloody images and has a run time of 1 hour, 48 minutes. In opened in theaters May 7. Lynn’s Grade: B+

‘The Unthinkable’ Bleak Doomsday Thriller

‘The Unthinkable’ Bleak Doomsday Thriller

By Lynn Venhaus
A dysfunctional family relationship drama starts out this bleak doomsday terror attack that keeps everybody guessing about the bad guys and what’s at stake.

It’s the Midsummer national holiday that celebrates the summer solstice and Sweden wakes up to a state of emergency. They are under attack, but no one knows who is behind it or why. Internet, TV and phone networks are down – and the chaos keeps coming.

A shy, lonely teenager, Alex (Christoffer Nordenrot) has an abusive father that propels him to leave one day, and eventually becomes a heralded professional pianist. He returns home for his mother’s funeral when he runs into his childhood crush Anna (Lisa Henni), whom he has been pining away for, and his conspiracy theorist dad Bjorn (Jesper Barkeslius), who remains unapologetic.

They reunite when they need each other most, so of course that brings up flashbacks amid the central theme of trying to survive. It’s an easy crutch for plot purposes while chemical rain falls from the sky.

The low budget film must have spent most of its Kickstarter money on explosions and fiery crashes. The danger is real, even if we don’t know what is happening, just like the confused citizenry, thus keeping us off-guard.

The movie starts off glum, then proceeds to get grimmer. Time is running out while they sprint across country roads and fields in their village as bullets are sprayed at the innocent.

The thinly drawn characters aren’t specific enough to get invested in their plight. The unapologetic dad is such a miserable man that we don’t care whether he makes it.

 And the platonic reuniting of Alex and Anna is through a contrived circumstance, which is awkward, no matter how much we want to root for them.

By virtue of its basic construction, the plot is too manipulative and the characters lack sincerity because of it.

The lead actor, Christoffer Nordenrot, is also a co-writer, along with director Victor Danell. Their collective, Crazy Pictures, is used to making short films. Perhaps elongating this tale was too big of a task.

By combining a mediocre soap-opera family drama with a murky suspense-thriller, we do not get a satisfying result for either. “The Unthinkable” lacked a spark that could have gone a long way in building up suspense.

If you do sit through all 2 hours and 9 minutes of the film, stay for the credits – they post photos that indicate what might have happened, leading to 800,000 deaths.

“The Unthinkable” is a suspense sci-fi thriller, directed by Victor Danell, and stars Christoffer Nordenrot, Lisa Henni and Jesper Barkselius. It is in Swedish, with English subtitles and is not rated. The run time is 2 hours, 9 minutes, and it is in theaters and video on demand May 7. Lynn’s Grade: C.