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.

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

Muny’s Luminous, Splashy ‘The Little Mermaid’ Is Inspired Panorama

By Lynn Venhaus

When the Muny teams up with visionary director John Tartaglia, they create a magical world, and it always takes us to a happy place.

Enamored by only a few chords of “The Little Mermaid” score’s breezy calypso music, the luscious blue green turquoise palette of scenic designer Ann Beyersdorfer’s dazzling seascape and video designer Katherine Freer’s vibrant underwater kingdom teeming with marine life, and we’re eager to dive into this glistening fairy tale fantasia.

With his track record of infusing shows with whimsy and wonder, one expects Tartaglia to achieve new heights for the Muny’s third presentation of Disney’s cherished musical – and wow does he.

Imaginatively staged and seamlessly incorporating all the wizardry available – including innovative use of puppetry from revered Puppet Kitchen International, with designs by Eric Wright, and stunning aerials by ZFX, Hans Christian Andersen’s fish-out-of-water romance enchants in exciting new ways.

If you took away the bells and whistles, this Douglas Wright book adaptation of the Dane’s 1837 short story would still tug on your heartstrings, because stripped down, it is ultimately about families giving each other the greatest gifts –roots and wings.

Rich Pisarkiewicz (left) and Michael Maliakel in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Headstrong Ariel has an insatiable wanderlust, as does Prince Eric, whose zest for adventure pulls him away from his birthright. They disobey to chart their own course, and that comes with risks. She rescues him from drowning, and that remarkable visualization involving flying apparatus is thrilling.

All Disney princes and princesses yearn – and these restless royals must triumph. (And Michael Maliakel knows about being a hero — he played “Aladdin” for three years on Broadway.) The handsome heir is bewitched by the mermaid’s beautiful voice, and the spunky teen falls hard for a forbidden but enticing human world.

With their appealing ardor, Savy Brown and Maliakel are adorable as the made-for-each-other pair. Both have lush voices, and they convey their longing through his fervent renditions of “Her Voice” and “One Step Closer” and her luxe delivery of the iconic “Part of Your World” plus the engaging opener “The World Above.”

The classic true love’s kiss trope is significant because it will break dastardly Ursula the Sea Witch’s curse, so that Ariel can keep her voice and become human. And there isn’t a more intoxicating love song than “Kiss the Girl,” especially with the moonlit romantic mood achieved in the second act.

Ever since lyricist Howard Ashman and composer Alan Menken wrote the game-changing music for the 1989 animated film, generally regarded as the property that resuscitated Disney’s reputation and ushered in the studio’s creative renaissance of the 1990s, “The Little Mermaid” has endured as a beloved pop culture fixture.

Books, videos, merchandise, the stage musical in 2007, and a live-action remake film in 2023 continue to entertain fans around the world.

From left: Adam Fane, Nicole Parker and Kennedy Kanagawa in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

The Muny presented this wildly popular Disney title in 2011 and 2017, and costume designer Robin L. McGee is back from the latter’s creative team seven years later to put a fresh spin on a wide range of colorful outfits.

In a pivotal scene, an iridescent seafoam green dress makes Ariel even more radiant, and in a sixth-time collaboration with Puppet Kitchen International, Ursula’s octopus tentacles (real guys inside) remain a marvel in motion.

Tartaglia has opted for the villain to be more cartoonish rather than menacing, and newcomer Nicole Parker is campy, wears garish makeup, and alternates between exaggerated cackling and screeching as the slinky wicked witch.

Gearing it towards a younger audience, the director made it less dark, although “Poor Unfortunate Souls” makes her intentions clear, and “Daddy’s Little Girl,” alongside her henchmen, oozes spite.

Her electric eel minions, Flotsam and Jetsam, are also softened. Kennedy Kanagawa and Adam Fane are nimble in their slithery headdresses and eerie in their numbers, especially “Sweet Child.”

The three standout comical characters — confidante fish Flounder, silly seagull Scuttle and skittish sidekick Sebastian the crab – ingratiated themselves quickly with the audience.

From left: Leia Rhiannon Yogi, Jen Cody and Savy Jackson in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Leia Rhiannon Yogi is a cheerful Flounder, demonstrating her dexterity with the bright-hued puppet, while the sublime Fergie L. Philippe, so memorable as Emmett in “Legally Blonde” two summers ago, steals every scene he is in as the lovable calypso-singing crustacean.

He joyously leads the vivacious super-sized spectacle, “Under the Sea,” complete with swirling sea creatures including jellyfish, swimming turtles and Pufferfish. The Oscar-winning Best Song is arguably the show’s best number on the gigantic stage.

Muny fan favorites Jen Cody, Ben Davis and Christopher Sieber each bring their own distinct interpretation to their integral supporting roles.

A limber comedienne, Cody does backflips and handsprings as firecracker Scuttle, mangling English and denoting her crisp comic timing. She blithely leads a rollicking “Positoovity” and “Positaggity.” She has previously delighted audiences as the grandma in “The Addams Family,” Elizabeth in “Young Frankenstein” and stripper Tessie Tura in “Gypsy,” among other amusing roles.

Natural leading man Davis, last seen in his virtuoso St. Louis Theater Circle Award-winning performance as “Sweeney Todd,” is an imposing regal – and buff – King Triton, who must put aside his prejudices and doubts for his daughter’s happiness.

He brings necessary gravitas to the role, although the glow-in-the-dark scepter seems cumbersome at times. His rich baritone is such a pleasure, and he imbues his song “If Only (Triton’s Lament)” with real emotional heft. The reprise with the quartet of Ariel, Eric, Sebastian and Triton is quite lovely.

Christopher Sieber in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Emily Santel

Christopher Sieber, who was a terrific Daddy Warbucks in the charming “Annie” directed by Tartaglia in 2018, has fun being over-the-top as the fussy French Chef Louis in his signature number “Les Poissons.”

The actor has been nominated for the Tony Award twice, as the original Lord Farquaad in “Shrek the Musical” (Fun fact: Tartaglia was Pinocchio) and Sir Dennis Galahad in “Spamalot” (More fun facts: Ben Davis played Galahad in the 2013 Muny production, and both Sieber and Davis were in the Muny’s 2017 “Jesus Christ Superstar,” with Sieber as King Herod and Davis Pontius Pilate).

Versatile veteran actor Rich Pisarkiewicz gets an opportunity to shine in a role well-suited to his talents – Prince Eric’s loyal guardian Grimsby. He is in his 44th season at the Muny, and this is his 87th show.

Some of the creative team worked with Tartaglia on last year’s extraordinary “Disney’s Beauty and the Beast,” including McGee, Beyersdorfer, lighting designer Jason Lyons, wig designer Ashley Rae Callahan, sound designers John Shivers and David Patridge, and ebullient choreographer Patrick O’Neill. His movements reflect people moving as if in water.

Tartaglia’s background includes puppetry with Jim Henson on “Sesame Street,” and is back working on “Fraggle Rock” on Disney Plus these days. His artistry is obvious, and this joins his other unique Muny productions “Mary Poppins,” “Matilda,” “The Wizard of Oz,” and “Tarzan” in recent years as examples of his unmistakable playfulness and indomitable spirit. He kept the tempo lively and brisk.

Savy Jackson and Ben Davis in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Music Director Michael Horsley’s elegance is noteworthy too. The hummable tunes and featured personalities keep us interested, easily earning smiles on a summer night from lots of families in attendance.

The creative artists’ inspired flourishes refreshed this chestnut, with the most striking aspect the constantly moving aquatic tableau – Beyersdorfer’s neon-splashed set, Freer’s mesmerizing video, Lyons’ sumptuous illuminations, McGee’s striking looks, Wright’s original puppets, O’Neill’s dance steps and the belief that the whole team could produce the impossible.

Everyone involved brought the best parts of themselves to this project, and its splendor shines brightly.

The Muny presents “Disney’s The Little Mermaid” July 8 through July 16 nightly at 8:15 p.m. on the outdoor stage in Forest Park. The runtime is nearly 2 hours and 20 minutes, including one 15-minute intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Fergie L. Philippe and Jen Cody in the 2024 Muny production of Disney’s “The Little Mermaid.” Photo by Phillip Hamer

Charming Old-fashioned Rom-Com ‘Fly Me to the Moon’ Soars

Charming Old-fashioned Rom-Com ‘Fly Me to the Moon’ Soars

By Lynn Venhaus

A stylish nostalgic romantic comedy-drama that vividly recalls the high-stakes of America’s Space Race with the Russians, “Fly Me to the Moon” is a rare summer movie that is as charming as it is smart.

Specifically set during NASA’s bold Apollo 11 drive, director Greg Berlanti meticulously recreates the historic mission, while focusing on two very different points of view in a light-hearted way.

It’s a pivotal time in 1969. Marketing maven Kelly Jones (Scarlett Johansson), who was brought in to fix NASA’s public image, wreaks havoc on launch director Cole Davis’s (Channing Tatum) singular, serious focus – the already difficult task of putting a man on the moon. When the White House deems the mission too important to fail, Jones is directed to stage a fake moon landing as backup.

Those of us alive then know what really happened on July 20, 1969, when an estimated 650 million people tuned in to the three broadcast networks to watch Neil Armstrong take his first steps on the moon (94% of all Americans watching television!).

It’s presented in thrilling footage here, and to watch CBS’s most-watched Walter Cronkite react again brought a tear to my eye and a lump in my throat. I hope the movie has broader appeal than just us NASA nerds and Baby Boomers who paid attention to every exciting detail when the astronauts were like rock stars, but it really hits our sweet spot.

(My second-grade teacher hauled in a TV so we could watch John Glenn’s Friendship 7 launch into orbit on Feb. 20, 1962). The constants in the 1960s news cycle were the Vietnam War, civil rights protests, and the space race, which inspired people to dream the impossible at a time of great turbulence.

Rose Gilroy’s clever script, with story by Keenan Flynn and Bill Kirstein, smartly builds tension. A subplot that shifts the stakes pokes fun at the fake staging rumor that caught fire like so many conspiracy theories of the 1970s — and there’s even a couple Stanley Kubrick jokes, as he was linked to have filmed the hoax.

Only the twist here is that then-President Nixon is so worried about America’s image in the world if the mission fails that he directs a super-secret Project Artemis as a back-up plan. His shady government operative, Moe Berkus, is played by Woody Harrelson as an unflappable enforcer. Given Tricky Dick’s reputation, this fraud scenario doesn’t seem too far-fetched.

Adding plenty of heat are Channing Tatum and Scarlett Johansson in an opposites-attract romance that feels like an homage to the 1960s flirty wholesome fun comedies that often starred Doris Day, Natalie Wood, James Garner and Rock Hudson.

Tatum is well-suited to play Cole Davis, a decorated pilot turned dedicated NASA launch director, with a heart-tugging backstory, and Johansson blithely embodies a slick marketing specialist tasked with getting America moonstruck. She’s a throwback to the “Mad Men” advertising heyday depiction, with some baggage of her own as well.

You can either be cynical about the retro cliches or embrace its old-fashioned breeziness. The performers are engaging, and their glibness produces sparks.

The captivating vintage vibe, down to the Tang promotions, sunshiny Florida setting, and pocket-protector engineer outfits, is presented with flair by production designer Shane Valentino, art director Lauren Rosenbloom, and costume designer Mary Zophres. Her kicky selections for Johansson are particularly fetching, and some of her choices for Tatum make him look like Captain Kirk.

They immerse you into a bygone time and place in much the same way as Tom Hanks’ feel-good ‘60s rock band comedy “That Thing You Do!” did in 1996. Composer Daniel Pemberton’s score elevates the atmosphere, and his needle drops of ‘60s hits and moon-themed songs enhance this experience.

The chipper supporting cast includes Ray Romano as Henry Smalls, a NASA stalwart who is closest to Cole, Lisa Garcia as Kelly’s assistant, and Noah Robbins and Donald Elise Watkins as dorky but enterprising engineers.

Jim Rash steals his scenes as a very flamboyant and temperamental director brought in for the deception footage. And Johansson’s real-life husband Colin Jost makes an appearance as one of the senators who needs convincing for funding.

The movie honors the 400,000 NASA workers who helped make going to the moon a reality. Sure, the movie could have been a tad shorter, but it touched upon everything it needed to combine the true story with the comedic fictional account.

This crowd-pleaser takes flight evoking an era where, despite a divided union, we could come together as Americans and celebrate our best and brightest, the dreams we could achieve. I don’t recall a more patriotic moment in my life in the late 20th century, with the 1980 USA hockey team “Miracle on Ice” a close second.

Fueled by magnetic star power, “Fly Me to the Moon” is a delightful summer trifle with a surprising emotional center.

“Fly Me to the Moon” is a 2024 comedy-drama directed by Greg Berlanti and starring Scarlett Johansson, Channing Tatum, Ray Romano, Jim Rash, Lisa Garcia, and Woody Harrelson. It is rated PG-13 for some strong language, and smoking, and the run time is 2 hours, 12 minutes. It opened in theatres July 12. Lynn’s Grade: A

Sightlines: Remembering the Final Goodbye and My Unforgettable Mom

Sightlines: Remembering the Final Goodbye and My Unforgettable Mom

By Lynn Venhaus

“To live in the hearts we leave behind is not to die.” –Thomas Campbell.

On this day 23 years ago, we said our final goodbye to our mother, who was three weeks from turning 71.

I know you flew on angels’ wings, Mom, and I know you made your mark on Earth – Rosemary Zierrath Zipfel, July 28, 1930 – July 7, 2001, while you were here. I hope to always be reminded of your sunny optimism in the face of great adversity

To watch someone die from lung cancer is a horrible thing, and we had been with her at Barnes for a month. We knew we had to let go, she wasn’t ever coming back to be that sweet, smiling, devoted woman who had an incredible heart and work ethic, who sacrificed a lot for her five children.

And with Julie, Mike, Matt, Mary Clare and I in the room, she opened her eyes, smiled at us, and died.

She had been unresponsive for days, and on July 4, the chaplain said gather your family. So we scrambled to get that in motion while all around us were fireworks and celebrations.

Losing anyone is tough, but losing your anchor, your rock, your family center, is a very tough transition.

They called her age group the Greatest Generation. And she was! Rosie the Riveter in the flesh. She was born on the hottest day of 1930 during the Great Depression, the firstborn daughter of Lorraine C. and Eleanor Taylor Zierrath in East St. Louis, Ill. It was 108 degrees.

Mom, expecting Julie, flanked by her parents, sister Judy and princess me, in Indiana 1957.

Among her greatest attributes, besides being a devoted big sister to brother Charlie and sister Judy, was her belief that family was everything. She was there for everybody. She never knew a stranger.

I was born after my parents’ biggest heartbreak, their first baby, a daughter Claire, died three days after birth in Kodiak, Alaska. My dad was stationed there in the U.S. Navy, Mom said they never even saw her — doctor said it was for the best. She was born with a tumor on her spine. Can you imagine, being 22-23 years old, losing your child, and being so far away from your loved ones? This was 1953.

When my dad was discharged, they moved back to where their parents lived, in Belleville, Ill. Due to my dad’s business work, we moved around soon after I was born in 1954, to Nashville, Tenn., Muskegon, Mich., Richmond, Ind., and Dayton, Ohio, all before I was 5. Julie and Mike were born in Indiana. Matt and Mary Clare would arrive after we moved back to Belleville in 1960.

My parents divorced when I was 7 years old, and we moved in with my maternal grandparents. Rose was a single mom when that was scarce, especially in a Catholic family. What courage! Besides helping take care of my siblings, I withdrew into books, movies and music — they became my salvation.

The Zipfel kids with Mom — Mike, Mary, Mom, Julie, Lynn and Matt, 1985.

I am sure as a nerdy bookworm growing up I exasperated her – I know I did. She was always trying to get me outside when I just wanted to finish my Nancy Drew book after a quick bike ride. My brothers spent their summer days on a neighbor’s sandlot while we girls helped with chores. She signed me up for two weeks at a stay-over summer camp in the Shawnee National Forest, without asking, and all three times were disasters. (You think I exaggerate? Family lore insists not).

And then I was this awkward, overly dramatic teenager who found my tribe going to speech meets and play practice while everyone else in the fam was playing on sports teams. She accepted me when I know she didn’t understand me, her oldest that she relied on to help with her four other kids.

But she was the one who guided me into journalism. She thought that best suited my skills, and told my teacher. “Your Mom says you want to be a journalist,” the nun told me. I was 13, it was 1968, and the world was literally on fire – upheaval and cataclysmic events. That is when I discovered my nose for news. That was my direction. Thanks, Mom.

Without my Mom’s encouragement, it wouldn’t have sparked an interest so early. That was a male-dominated field, and she was nonplussed ” “You can do it.”

I have written about her many, many times – her bravery, her compassion, her thoughtfulness, and her resilience.

And she firmly believed we girls could do anything we put our minds to. You want to go to college? We will make that happen. I was the first person to graduate from college in my family. All of my siblings earned degrees, with her support.

So supportive to everyone, she always made you feel better. It would have been easy to listen to naysayers, and take no for an answer, but that was not Rose. She didn’t give up until she was forced to, and she would not let that defeat her. There were times when I am sure she wanted to throw a pity party for herself, but she just kept going.

We lost a lot that Saturday 23 years ago. But we gained perspective on what it means to have had a spectacular role model, how to live an exemplary life, and that you can indeed live on in the hearts you leave behind.

Mom with grandsons Tommy Davis, Charlie Venhaus and Tim Venhaus, circa 1990.

Lord, I miss her laugh.

I miss picking up the phone and saying hey.

I miss celebrating special occasions with her.

I miss asking her advice. “How do you get past heartache and setbacks and overcoming self-doubts and trauma?”

I can still hear her soothing words ringing in my head. And yes, most of the time she was right! Moms always know the right thing to say.

She was nice and polite — but she was tough as nails. Do not dismiss or condescend or patronize. Test her at your peril.

She summoned the strength of suffragettes, and the wisdom of someone who learned from all the hard knocks that tried to take her down, and to survive and thrive against all odds. The world seems to want to beat you down, but she would rather help people up and they helped her.

To watch her in motion was to marvel at her abilities – How she kept finding joy in the small pleasures of life, and how she never stopped.

She always found something to smile about, and I will never forget that, Mom.

Daughters Lynn, Julie and Mary, with Mom, at Mary’s bridal shower in 1987.

She loved movies. My fondest childhood memories are staying up late with her on Saturday nights and watching classic black-and-white films.

She let me stay up to watch the Oscars in 1963. I was 8. It was on Monday nights back then. She never missed this telecast. Of course I fell asleep before it was over but I remember how glamorous it all was, and Gregory Peck winning for To Kill a Mockingbird. There must have been a commercial for Hitchcock’s “The Birds,” which came out around then, because I remember being terrified when I saw the school kids running and birds attacking them!

Here’s to you, Mom, for sharing your love of the cinema with me and taking us to the Skyview Drive-In on warm summer nights – because with 5 kids, that’s how we could afford movies in those days!

Perhaps her greatest legacy was her sense of family. She believed that we were mightier together, and forged a strong bond so that we could tackle our struggles together, and enjoy each other. Not that we were the model of one big happy family because, like all families, there were rough patches. But, she allowed us to be individuals and appreciated our differences. Nevertheless, we were one for all and all for one. Family First.

Anyone who was ever at our house growing up — 9 people in a tiny frame house on Belleville’s west end — knows how boisterous and lively the place was.

Mom and BFF Donna Finch.

She loved to grab her coffee and cigarettes, and shoot the breeze. She and her best bud Donna Finch, a neighbor, would sit on the screened-in porch and call it the best Saturday night.

Love and miss you always. I know I stand on the shoulders of giants, you and grandma included.

I hope my knuckle-headed brothers and my Timmy are good company for you in “The Good Place.” And Grandma and Grandpa and Uncle Charlie and Aunt Shirley are telling funny stories.

Your memory will continue to bless us all. Thank you for being such an unforgettable spirit. You live in all of us.

Mom, holding Julie and pregnant with Mike, and her mom, aka “Mims,” and me.

Cover photo: Mom, center, with some teenage friends.

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

Lively Ensemble Ignites ERA’s Kooky ‘Romanov Family Yard Sale’

By Lynn Venhaus

It really is a yard sale and a play rolled into one kooky experience. A Masha! Masha! Masha! mash-up of absurd comedy and history, “Romanov Family Yard Sale” is another unconventional offering from ERA (Equally Represented Arts) Theatre, always pushing whatever envelope they think needs a prod.

All tchotchkes must go so that these survivors, pushed out of power during the Russian Revolution, can flee abroad. Explained as a “purgation play told in three demonstrations,” we travel back in time to July 1919.

These chapters identify the quirky focus: “Capeetalism,” “The Church of the Great Babooshka,” and “Independence Day.” Life, as they knew it, is over, and their future is scary, given the recent past and unmoored present.

This takes place exactly one year after the last Russian Tsar, Nicholas II, was executed, along with his wife, Empress Alexandra, and their children – grand duchesses Anastasia, Maria, Olga and Tatiana, and only son Alexei, a hemophiliac.

Their distant cousins want to escape to the U.S., with hopes of American filmmakers publicizing their plight. Chrissy Watkins, as very serious Dody, and John Wolbers, as a determined Kirk, arrive with their video cameras, and receive an enthusiastic royal welcome.

This part is fictionalized, but the House of Romanov really ruled imperial Russia from 1613 to 1917, until forced to abdicate and placed under house arrest by those Lenin-led Bolsheviks. That’s when the Iron Curtain came down as the Communist Party took over.

The play’s setting is in a former Tsar-sponsored theater wrecked by those revolutionaries. The loyalists warn us not to sit in a red chair, or we may be shot.

Frustrated by their predicament, they express themselves as people clinging to their old way of life. But they are also protective of each other, like families are.

You might feel like you are entering a reality TV zone. Prior to the performance, tables and racks are laden with goods that are later made available in the lobby. And the cast is already in character, hawking their wares and advising on what to do.

They are really pushing the ‘Baby Beans,” aka plush toy animals that look like the Beanie Babies popularized in the 1990s. There is no such Beanie Baby Bubble Burst in their world.

Ellie Schwetye as Little Yelena.

Using convincing thick Russian accents, aided by dialect coach Keating, an all-in repertory of regular ERA interpreters and other veterans dance, prance, bicker and sing “Take Me Out to the Ballgame” like they are putting on a pageant for their wannabe home in exile.

As part of this eccentric ensemble, they offer us bread, vodka shots, and Anastasia’s hand in marriage while trying to purge all their possessions.

They will collect tickets, and people do walk out with stuff (they even have a basket of plastic bags to carry purchases). Need a VHS copy of “Waterworld” or a well-worn romance novel?

It is not a prerequisite to brush up on Russian history to understand the story, but if you recall a basic outline, and recognize a Faberge egg, you’ll find Courtney Bailey’s clever original play even more amusing. And while the acting is mostly for laughs, their characters’ despair does peek through.

Adam Flores offers a touch of poignancy as bereaved Cousin Alexi, waltzing with his deceased wife, Cousin Katrina (a skeleton often guided by Bailey)..

Lucy Cashion, director and ERA mastermind, is adept at making classic literature structures fresh with unique twists and divergent perspectives.

She keeps the characters swirling so the action is swift, although a tad chaotic at times with 15 people on stage. Resourceful, she also designed the set and the sound and was the video editor.

She last tackled Russia in a Chekhov-inspired “Moscow” drinking game and one-act play produced for the St. Louis Fringe Festival in 2015, and again as a whimsical red-soaked Zoom play fundraiser in 2020.

Bailey, who wrote the imaginative “Bronte Sister House Party” for SATE in 2022, Best New Play Award from the St. Louis Theater Circle, has created another fertile playground for her latest effort.

Last year, the pair humorously combined the John Hughes Brat Pack comedy “The Breakfast Club” with a Bertold Brecht pastiche – and nod to Cold War spies in an East German political satire called “The Brechtfast Club.”

Inspired by Southern yard sales and pop culture touchstones, whip-smart Bailey has inserted references to the 1975 “Grey Gardens” documentary through very funny portrayals by Rachel Tibbetts as Big Yelena and Ellie Schwetye as Little Yelena, a perfect pairing.

She also credits the 1997 Dreamworks animated feature “Anastasia,” the “Independence Day” blockbuster movie from 1996, and Episode #822 of NPR’s “This American Life.” And apparently, Kate Bush’s 1980 song (also misspelled title) “Babooshka” was an influence.

Alicen Moser as Pigbat and Cassidy Flynn as Rasputin.

The spry large cast, some of whom were in “The Brechtfast Club” and The Midnight Company’s recent “Spirits to Enforce” that Cashion directed, includes characters you might recognize from their historical significance.

For instance, always hilarious Cassidy Flynn is Rasputin. He makes a dramatic entrance, in a stringy raven-haired wig with a shock of a silver streak, and black garb, as the controversial figure – charlatan or mystic, visionary and faith healer?

His sidekick, Pigbat, is played in disguise by Alicen Moser. I did not fully understand that character’s purpose, possibly only to add sight gags as she flaps her white Russian wings?

Ashwini Arora has fun toying with the public mystery of princess Anastasia – who may be dead or may be an imposter, or who might actually have escaped. That tale has been the subject of movies, plays and musicals, so the ERA collaborators incorporate the legend and surrounding confusion.

Three strong actresses play sisters named Masha like they are part of the Brady Bunch (of course!) – Celeste Gardner, Kristen Strom, and Maggie Conroy are engaging maidens, who can be kinda bitchy too, moving in unison.

They are outfitted in distinctive peasant garb, which displays the fine handiwork of costume designer Marcy Wiegert.

Exaggerating stereotypes, Miranda Jagels Felix is a hunched over and very worried Aunt Babooshka, wearing the traditional kerchief tied under the chin, and deep-voiced Anthony Kramer looks like a member of the politburo with a tweedy jacket and a thick mustache (that had trouble staying on) as Uncle Boris. He is obsessed with eggs, a running joke.

Multi-hyphenate Joe Taylor is this production’s Most Valuable Player, as he not only composed an interesting original cinematic-like score, but also plays the keyboard, and performed as “A Choir of Raccoons.”

He was the cinematographer for a black-and-white old-timey film called “The Last of the Romanovs” that is played at the conclusion. And added AV technician and music director to his chores, too.

As much as I enjoy watching this collective perform, and I consider their “Trash Macbeth” in 2016 one of the all-time treasures in local theatre, this play is too stretched out and would work better condensed into one act, not two.

A little nipping and tucking would heighten the ‘oomph’ that it achieves intermittently. As funny as Flynn is onstage, and the devilish Rasputin is in his wheelhouse, the middle “Church of the Great Babooshka” segment slumped when it went off on religious tangents, especially the communion.

Admittedly, the wedding ceremony, and plucking a game groom from the audience, was confidently handled, and the revelry was fun. Time for a daffy dance break!

The audience seemed to lean in to all the goofiness that ensues, even if it wasn’t always clear what was happening in this universe that teetered between fantasy and reality.

When you have that much assembled talent, it’s hard to find everyone a moment or two to shine, but they sure had a blast together as a tight-knit unit. These are swell collaborators who make the tiny but mighty ERA standout in the local landscape.

The show is co-produced by Cashion, Felix, Will Bonfiglio, and Spencer Lawton, who also effectively stage-managed. They are fully committed to surprising patrons and making sure their presentations offer something different.

Crisp work by Emma Glose as tech director and Denisse Chavez as lighting designer is also notable.

With their avant-garde experimental nature, inventive ERA always sparks ideas, and they gather the talent to pull off even the most peculiar material. No matter what, they are conversation starters.

ERA Theatre Presents “Romanov Family Yard Sale” from July 4 through July 20, Thursdays through Sundays, at 8 p.m. at the Kranzberg Arts Center (Blackbox theatre), 501 Grand Blvd., St. Louis, MO 63104. It is recommended for audiences age 21+. For more information, visit www.eratheatre.org, For tickets, metrotix.com.

‘Ghostlight’ Laser Focused About Healing Power of the Arts

‘Ghostlight’ Laser Focused About Healing Power of the Arts

By Lynn Venhaus
Demonstrating the healing power of the arts, the disarming “Ghostlight” is a deeply moving and affectionate examination of how community can get us through tough times.

When a construction worker (Keith Kupferer) unexpectedly joins a local community theater’s production of “Romeo and Juliet,” the drama onstage starts to mirror his own life.

Co-directors Kelly O’Sullivan and Alex Thompson won over the Sundance Film Festival audience in January with their gentle comedy-drama that elicited both laughter and tears. Since that triumph, this unpretentious indie film has gradually built a following through its deft blending of art and reality.

Perceptively written by O’Sullivan and skillfully filmed in Chicago, three actors of a well-known thespian family, who operate a flourishing theater in the suburbs, smoothly fill the principal roles. In addition, “Ghostlight” has a bevy of performers involved in the Windy City’s thriving theater scene.

Through its naturalistic low-key setting, it conveys an organic quality that engages. You may not be familiar with the Kupferer-Mallens, but after watching this, you won’t forget them.

Keith Kupferer plays Dan Mueller, the sullen and distracted head of an anguished family. His trigger temper at his day job – a city road worker with a short fuse, is causing problems. (Fans of “The Bear” may recognize him as Sugar’s doctor in the Season 3 episode “Ice Chips.”)

He is distant from his wife Sharon, an elementary school music teacher, who is tenderly played by his actual spouse Tara Mallen. They are the exasperated parents of a hostile, troubled teen Daisy, who is shrewdly portrayed by their accomplished actress daughter Katherine Mallen Kupferer.

Their distress is clear, although the backstory is slowly revealed, which illuminates their suffering and eventually resonates with anyone who has experienced grief. Their walls of pain dissolve into a heart-tugging narrative enhanced by its found family setting. (Theater geeks, assemble!)

 Dan wanders into a rehearsal of “Romeo and Juliet,” and is drawn to this idiosyncratic ragtag ‘tribe,’ so he comes back. His therapeutic response carries over to his family too, and their situation begins to parallel Shakespeare’s 16th century tragedy.

You begin to imagine what the Capulets and Montagues were feeling in the aftermath of the teen deaths in Verona – the anger, despair, denial, depression and hurt. Grief is such a personal journey but viewers will respond to this family’s predicament.

The eccentric supporting characters are amusing, and ultimately, compassionately teach Dan about the satisfaction of losing yourself in a fictional part. He discovers the bonus of experiencing camaraderie between the players.

For those who have been involved in theater at any level, the meta moments are laugh-out-loud funny – especially if you have done warm-up and breathing exercises, a table-read, or just dealt with prickly personalities. OK, some of the characters can come across as caricatures but are grounded.

Stealing every scene that she is in, diminutive Dolly De Leon is delightful as blunt-talking Rita. De Leon was a standout in the Oscar-nominated “Triangle of Sadness” in 2022.

She plays a former actress with actual professional credits, unlike the amateurs surrounding her. But the cast is all committed to the production, and assists Dan, who is far from natural at this, stumbling through iambic pentameter.

As he opens up, so do they. The assured direction by O’Sullivan and Thompson, partners in real life, give this a cozy true-to-life feel. It’s modestly staged but rich with its very human, relatable moments expressed in its nearly two-hour runtime.

The movie reminds us that only through connection can we understand and carry each other, and that makes for a memorable soul-soothing encounter. 

“Ghostlight” is a 2024 comedy-drama directed by Kelly O’Sullivan and Alex Thompson and starring Keith Kupferer, Tara Mallen, Katherine Mallen Kupferer, and Dolly DeLeon. It is rated R for language and its runtime is 1 hour, 55 minutes. In select theaters, including Cinema St. Louis’ Hi-Pointe Theatre Aug. 2-8; available Video on Demand on various platforms July 30, and will be streaming on AMC+ Aug. 30. Lynn’s Grade: B+.

Despite ’80s Kitsch and Cool, ‘MaXXXine’ Is Weakest of West’s Horror Trilogy

Despite ’80s Kitsch and Cool, ‘MaXXXine’ Is Weakest of West’s Horror Trilogy

By Lynn Venhaus

Slashy and trashy, “MaXXXine” falls short of the thrills that made Ti West’s “X” and “Pearl” superior horror films in 2022.

The time is 1985 and the place is TinselTown. Adult film star Maxine Minx (Mia Goth), flush with success from the porn video biz, finally gets her big break in a horror movie. But the fame she craves can be snuffed out quickly because a mysterious killer stalks Hollywood starlets, and she wants to find out who is trying to thwart her crossover career by revealing her sinister past.

Despite West’s flair for retro genre pieces, this third installment starring Mia Goth lacks a compelling and cohesive story. For someone who pushes horror movies forward with an unmistakable style, this doesn’t offer anything fresh and feels forced.

Sure, there’s more money, more star power, excessive blood and gore, and heaps of chutzpah – but homages to schlocky 1980s horror movies can only sustain West’s sprawling plot so far.

It’s too large of a canvas to get invested in any of the ‘decent’ characters, although the elegant and statuesque Elizabeth Debicki adds class as a ruthless female director trying to make her mark in a misogynous industry.

Not only is it the weakest in the trilogy, but do we want to continue beyond the final frame? As it turns out, the big reveal is lame, and its sanctimonious angle took a long time limping to its ridiculous conclusion even for an hour and 44-minute runtime.

Moses Sumney as Leon, Maxine’s best friend.

Of course, with horror movies, logic goes out the window. Oh sure, purposely strut down a creepy pitch-black alley and walk into a dark mansion for the first time where you know nobody, and it sure doesn’t sound like a party is going on!

We experience the all-too-familiar tropes, but we have plot threads that leave us hanging, and there should have been a more satisfying turn, especially with all of West’s bag of tricks.

The self-righteous morality police have always been squeaky wheels, and seem like an easy, predictable target. Oh, religious zealots are offended by Hollywood smut?

The buddy cop dynamic of Bobby Cannavale and Michelle Monaghan was sadly under-used, the very real Night Stalker serial killer slayings wound up to be a red herring, and Maxine’s friends and colleagues were picked off in alarming fashion without much reason to care.

With Goth, you have a fascinating leading lady – a cold-blooded narcissistic sociopath that is so focused on fame that her moves are jaw-dropping (and ultimately made me too queasy to root for her success or redemption or comeuppance). Yay to cruelly chopping off man parts and crushing skulls?

Mia Goth as Maxine Minx

The violence is gruesome – and to be fair, there were ‘eyes-closed’ moments in the first two, too, but it was horrifyingly presented. (I know it’s a horror movie, duh, but sometimes restraint is more effective.)

To see such deviant behavior from a young girl so sick and twisted in “X” and “Pearl,” you wanted to know how she got that way. Here it seems like a contest – how sleazy and disgusting can we get? And did anyone else get a “Scream 3” vibe as well as throwbacks to Brian DePalma’s “Dressed to Kill” and “Body Double”?

In this installment, preacher’s daughter Maxine is just as self-absorbed and demented as she was before, a continuation of her character’s evil nature, a la “The Bad Seed” and Damian in “The Omen.” There is nothing new to add. If you’re making her into a Scream Queen, then shouldn’t it be scarier?

Nevertheless, West has surrounded his muse with a fine cast of characters. Kevin Bacon chews the scenery as a scummy private detective from Louisiana that underestimates what a disturbing lethal weapon she is. Giancarlo Esposito, in a goofy toupee, is hilariously over-the-top as her bulldog agent-lawyer.

The use of cocaine, such a part of hedonistic Hollywood, is omnipresent, but there are no consequences? Everyone who succumbed back then finally had to pay the piper, but we don’t get anywhere near that cause-and-effect.

While being very entrenched into that ‘80s mindset, the film’s intention does resemble the current ‘I wanna be a star’ social media influencer and celebrity culture obsessions.

In the West universe, there is no such thing as “be careful what you wish for,” only rewards, which makes Maxine even more terrifying. In “X,” she survived a Texas-chainsaw type massacre in the ‘70s, and “Pearl” was a grotesque backstory of a hyper-sexed homicidal maniac.

However, West being a master at atmosphere, his setting much of the action on a Hollywood backlot, specifically the Universal Studios tour – that ‘Psycho’ house! – is fabulous eye candy, thanks to production designer Jason Kisvarday (“Everything Everywhere All At Once”).

Kevin Bacon as Louisiana private detective.

And the seedy Hollywood Boulevard scenario from that period is realistic, especially embodied by Moses Sumney’s Leon, who works at a video store.

Perhaps it’s a little too on-the-nose, as is the soundtrack’s use of “Bette Davis Eyes.” However, the soundtrack is one of the more pleasant notes here, and so is composer Tyler Blake’s eerie score.

West’s skillful use of visual styles is another strong suit, collaborating with his “X” and “Pearl” cinematographer Eliot Rockett, and he edited the film too. And his wit is undeniable – clever use of comic relief, particularly pop culture jabs of the day.

I never thought of West as someone who played it safe. He offers this Bette Davis quote at the start: “Until you’re known in my profession as a monster, you’re not a star.”

OK, point taken. Let’s move on. I think this story has run its course.

“MaXXXine” is a 2024 horror film directed by Ti West and starring Mia Goth, Elizabeth Debicki, Kevin Bacon, Giancarlo Esposito, Bobby Cannavale, Michelle Monaghan, Moses Sumney, Halsey, Lily Collins, and Simon Prast. It is rated R for strong violence, gore, sexual content, graphic nudity, language and drug use, and has a 1 hour, 44-minute runtime. It opened in theatres July 5. Lynn’s Grade: C-.

St Louis High School Musical Theatre Winners Take Part in The Jimmys

St Louis High School Musical Theatre Winners Take Part in The Jimmys

The St. Louis High School Musical Theatre Awards (SLHSMTA) winners Theo Rickert and Will Kinsella recently returned from an exhilarating 12-day trip to New York City, where they competed with 100 other high school students from across the country at the prestigious Jimmy Awards®/National High School Musical Theatre Awards®. 

The unforgettable experience highlighted the exceptional abilities of St. Louis’ young performers, who had the opportunity to engage with Broadway professionals, participate in intensive workshops, and be part of the vibrant theatrical community in the heart of Broadway. Rickert and Kinsella showcased their talents on a national stage at the Jimmy Awards® on Monday, June 25 at the Minskoff Theatre in New York City.

Theo and Will also had the opportunity to attended the illustrious Tony Awards® on Sunday, June 24 at the David H. Koch Theater at Lincoln Center for the Performing Arts, hosted by Academy Award winner and Tony Award® nominee Ariana DeBose.

The Jimmy Awards® are presented by The Broadway League Foundation and the Pittsburgh CLO. With 102 nominees from 51 regional awards programs, the evening was hosted GRAMMY Award-nominated singer, songwriter, and actor Josh Groban.

Will Kinsella

2024 O’Fallon Township High School graduate, Will Kinsella, performed in the Feature number. “Jimmy Awards® week was a total blast! We were able to meet so many important people in the industry and got to experience the magical world of Broadway,” says Kinsella. “A big highlight was that we were surprised with a trip to the Tony’s dress rehearsal, and then surprised again when we went to see the actual Tony Awards®! We saw MJ the Musical, toured the Museum of Broadway, and embarked on so many other epic New York adventures. We finished out the once in a lifetime journey by making our Broadway debut after rehearsing the week prior. I will never forget the feeling when I walked out onto the Minskoff Theatre stage for the first time: complete awe.” Kinsella reflects.

Theo Rickert, a rising senior at Belleville West High School, performed “(Just A) Simple Sponge” from the musical The SpongeBob Musical in thecharacter medley #4. “The Jimmy Awards® was one of the best weeks of my life! It was so much fun and such a great educational opportunity,” says Rickert. “This experience was too impactful to put into words and I am so grateful for the honor of being able to participate. I will always cherish the friendships made with my wonderful peers and the life changing opportunities and experiences at the Jimmy Awards®.”

Theo Rickert

About The St. Louis High School Musical Theatre Awards

The St. Louis High School Musical Theatre Awards (SLHSMTA) are produced by The Fabulous Fox, The Muny and The Fox Performing Arts Charitable Foundation. This program is designed to celebrate outstanding achievement in high school musical theatre. Participating schools have their productions evaluated by a panel of theatre professionals. The year-long adjudication process culminates in an awards ceremony modeled on the Tony Awards©. The winners of the Outstanding Actress and Outstanding Actor categories travel to New York (all expenses paid) to compete in the National High School Musical Theatre Awards (Jimmy Awards©) program and to participate in a week-long professional development experience

About The Jimmy Awards® / National High School Musical Theatre Awards®

The Jimmy Awards®/The National High School Musical Theatre Awards® (NHSMTA®) program impacts more than 100,000 students who participate in high school musical theatre competitions sponsored by presenters of Touring Broadway productions throughout the United States. Presented by the Broadway League Foundation, the program sends a Best Actress and Best Actor winner from each of these competitions to New York for a week-long theatre intensive of coaching and rehearsals with industry professionals in preparation for a one-night-only talent showcase on Broadway. Named for Broadway impresario James M. Nederlander, the program has been the catalyst for more than $2,000,000 in educational scholarships. The fourteenth annual Jimmy Awards® will take place on Monday, June 26, 2023 at the Minskoff Theatre on Broadway. Coaching and rehearsals for this one-of-a-kind event will be held Monday, June 19, 2023 through Monday, June 26, 2023 in New York City. For more information, please visit www.JimmyAwards.com.

About Carol B. Loeb

Carol B. Loeb has a great passion for educating young people. A career mathematician and educator, Carol believes passionately that all areas of study contribute to a student’s success – including the arts and musical theatre. Through her intellect and generosity, she has impacted an untold number of students at all levels of education. She is honored to serve as the presenting sponsor of the St. Louis High School Musical Theatre Awards.

Theo Rickert and Will Kinsella. Photo provided by Fox Performing Arts Charitable Foundation.

‘A Quiet Place: Day One’ Keeps Alien Story Humming with Unnerving Prequel

‘A Quiet Place: Day One’ Keeps Alien Story Humming with Unnerving Prequel

By Lynn Venhaus

Still terrifying and unnerving, the third chapter of this durable horror science fiction franchise presents a smart origin story, “A Quiet Place: Day One.”

That’s no small feat, given the popularity of the first two films that were co-written, directed and starred John Krasinski. He contributed to the story here, is a producer, and will be back with a Part 3 to continue the Abbott family saga.

“A Quiet Place” in 2018 set up a chilling post-apocalyptic world, where the Abbotts are trying to survive – dad Lee (Krasinski), mom Evelyn (Emily Blunt) and children, deaf daughter Regan (Millicent Simmonds), son Marcus (Noah Jupe) and toddler Beau. They live in a small, tight-knit community in Millbrook, New York, in the Hudson Valley, and action commences about 89 days after the June 18, 2020, attack.

The sequel in 2021 saw the remaining Abbotts expand their horizons beyond their farm. That’s when family friend Emmett (Cillian Murphy) and Henri (Djimon Hounsou), known as “Man on the Island,” are introduced, and it’s been about 474 days since the monsters wreaked havoc on Earth. Henri shows up in the prequel, adding a nifty thread.

They have discovered the creatures can’t swim, so escaping to water is a safe bet, and for the Abbotts, they find out another weakness, and use high-frequency audio feedback from Regan’s cochlear implant as a weapon.

“A Quiet Place: Part 2” gave us a glimpse of the aliens’ arrival, but this prequel takes place in the first four days of the chaos and moves the action to hustling and bustling noisy New York City.

A prickly cancer patient, Samira (Lupita Nyong’o) is on a group trip to New York City with fellow hospice residents and their nurse Reuben (Alex Wolff) when an alien invasion sends the world into silence.

That’s because the blind ‘Death Angel’ marauders have super-sensitive hearing and will brutally swoop in for the kill when hunting by sound. Sam gets separated, and on a quest for her childhood favorite pizza — she’s determined to get to Patsy’s in East Harlem, she encounters law student Eric (Joseph Quinn), and they help each other fight for survival.

There’s added dread, reminiscent of the shock of 9-11, as the panic-stricken populace struggles to escape grisly deaths. And to see the subways paralyzed, skyscrapers danger zones as those swift aliens crawl lightning-fast over every surface, and an anxious, shell-shocked humanity is unsettling.

Every car alarm, luggage wheel traveling over city streets, stepping delicately on crunchy debris, and general urban cacophony is magnified, and when people forget that silence is golden, calling out to loved ones or having an emotional meltdown, they’re goners.

Now one would think using this clever device of sound being death’s calling card would grow tiresome, but it doesn’t. I was still on the edge of my seat with every snap, crackle and pop after the three films, and eager for Part 3.

The best thing about this franchise is the thrilling communal movie-going experience it provides. I have fond memories of being in a very still crowd watching the first six years ago, where every soda slurp and popcorn munch was magnified, and the cathartic release that came when Evelyn had the baby, by herself, in the bathtub. The tension was practically unbearable– and Blunt vanquished those evil marauders in fine fierce form.

The sequel was the first movie I saw in a theater post-pandemic shut down, in May 2021, and it was such a celebratory event that even the jump scares were welcome.

Cut to a warm June night last week where I joined fellow fans collectively holding our breaths as the engaging new characters tried to outsmart the creatures. The jump scare is a doozy, and the crowd loved it. Sharing suspense is such a pleasurable big-screen experience!

Those critters are ugly! The CGI is remarkably seamless and the sound design, always the movie’s strongest suit, is at another state-of-the-art level.

While the first film was stingy in its reveal of the grotesque beasts, and the second time, lengthier in full view, this time we get various looks – a particularly terrifying one is when they scatter, like spiders, over all the tall buildings. Wisely, director Michael Sarnoski refrained from too much gore.

But the personal emotional connection of the characters has always been key to this franchise’s commercial success. Original co-screenwriters Scott Beck and Bryan Woods had helped create memorable characters that we cared about and Sarnoski does the same here.

Stand-offish Sam might be initially an unlikable lead character, but as you learn her backstory, sympathy builds, especially with her service cat Frodo. Lost soul Eric, a guy from England unfamiliar with America, is a stranger in a strange land angle that works, particularly his compassion.

How they cling to each other to make it through each hour keeps focus on the ferocious fight to stay alive, whether Sam is scribbling in a journal, or Eric makes a treacherous trek to get her thermal fentanyl patches for her Stage 4 cancer pain.

Lupita Nyong’o, Oscar winner for “12 Years a Slave,” has found a good niche in horror films, as her memorable turn in Jordan Peele’s “Us,” indicated. Like the best silent film actresses, she conveys so much with a glance.

Equally expressive is Joseph Quinn, mostly known as Eddie in “Stranger Things,” who will be in the upcoming “Gladiator 2.” He is convincing as an earnest guy dazed by the predicament but one who finds practical solutions to situations they find themselves in as they roam the city. He’s resourceful, and that comes in handy.

Their unlikely, but touching, bond is the reason this series remains compelling, but also handing this project off to Sarnoski was a bold and wise move. With fresh characters and a new location, he maintains the tension.

Sarnoski scored big with a small drama he directed and wrote, “Pig,” in 2021. He resuscitated Nicolas Cage’s reputation, giving him one of his best roles as a grieving former gourmet chef (St. Louis Film Critics Association’s Best Actor). It’s now streaming on Hulu, worth seeing. And Alex Wolff, a prominent brash character in “Pig,” is the kind hospice nurse Reuben in “Day One.” Wolff, who has made his mark in horror movies, including “Hereditary,” “Old,” and “My Friend Dahmer,” is a calming presence here.

Sarnoski’s different approach, while honoring the origin’s intentions, keeps its zing. The lurking destroyers remain very creepy, and the goal of a safe haven means all hope is not lost.

Each movie has offered its own well-crafted tone and tempo, and this runtime is 100 minutes, compared to the original’s 90 minutes, and Part 2’s 97 minutes.

“A Quiet Place: Day One” takes us on a familiar course in frightening fashion, touching on tender moments that make life worth living while dealing with a dystopian future no one saw coming. Challenge met.

“A Quiet Place: Day One” is a 2024 horror sci-fi drama directed by Michael Sarnoski and starring Lupita Nyong’o, Joseph Quinn, Alex Wolff and Djimon Hounsou. It is rated PG-13 for terror and violent content/bloody images and the run time is 1 hour, 40 minutes. It opened in theatres June 28. Lynn’s Grade: B+.

Bursting with Vitality, the Muny’s Exultant ‘Dreamgirls’ Electrifies

Bursting with Vitality, the Muny’s Exultant ‘Dreamgirls’ Electrifies

By Lynn Venhaus

Let’s cut to the chase. Tiffany Mann’s electrifying rendition of the signature song, “And I Am Telling You I’m Not Going,” is everything you want it to be and more, exceeding the highest expectations.

If The Muny had a roof, she would have smashed it to smithereens. She met her Muny moment by unleashing a torrent of fury, hurt, pain and devotion with such ferocity – and control – that the only one not breathless after listening was Ms. Mann. She was stunning in her range and vocal reservoirs.

It was truly one of the most spectacular powerhouse performances in my 60 years of attending Muny shows. She received thunderous ovations throughout, with some of us leaping to our feet as we applauded at the finish.

It’s no wonder she took us to church, for she’s been doing that for a long time. Her parents are nationally renowned gospel singers and actors David and Tamela Mann. You may recall Tiffany bringing the house down in “Smokey Joe’s Café” in the Muny’s first post-pandemic show in 2021.

Tiffany Mann in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

That “Dreamgirls” showstopping first act closer has been thrilling audiences since its debut in 1981 and was ranked the no. 1 rhythm-and-blues song of 1982 on the Billboard chart. It’s an intimidating one to master, even for the most gifted vocalists.

Tony winner Jennifer Holliday’s career took off after originating the role of Effie White on Broadway, winning a separate Grammy for best vocal performance, and Jennifer Hudson won an Oscar as Best Supporting Actress for the 2006 movie adaptation.

This rags-to-riches showbiz musical stands out because it delves into the complexities of gender and race at a time when pop music was going through a seismic cultural shift, with changing times and tastes.

Black singers were breaking down racial barriers with ‘crossover’ music, yet often compromised in a live music and recording business hierarchy.

These are subjects explored in such crowd-pleasing jukebox musicals as “Motown: The Musical,” “Memphis,” and “Tina – The Tina Turner Musical,” but “Dreamgirls” was among the first, marked by its style and sophistication.

The book and lyrics by Tom Eyen and music by Henry Krieger focuses on an all-girl singing group – think Diana Ross and the Supremes, the Shirelles, Martha and the Vandellas, and the Chiffons — as they rocket to superstardom in the 1960s and 1970s.

From left: Charl Brown, Courtnee Carter, Aramie Payton, Nick Rashad Burroughs, Tiffany Mann, Aisha Jackson and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

They must learn the ins and outs of a cutthroat system while not having much control over their contracts or lives. The soul sounds recall the Motown music trajectory of 1962-1976 in a peppy upbeat score, with meaningful emotional ballads to reflect character transitions.

It’s the kind of big splashy production that lends itself well to the glitz and glamour that the Muny can dazzle us with – and the creative team worked its customary magic to generate.

The look is super-sleek, with chic fashions from indomitable costume designer Leon Dobkowski, trendy wig designs from master stylist Kelley Jordan, ritzy set designs from ever-sharp Edward E. Haynes Jr., and perceptive bygone era video design from clever Elaine J. McCarthy.

Now in his 12th season, lighting designer extraordinaire Rob Denton enhances the in-vogue parade of fashions, glittery nightclub settings and mod TV appearances.

In 2012, the Muny staged a robust production featuring Holliday as Effie – and future “Hamilton” star Christopher Jackson as unscrupulous manager Curtis Taylor Jr.

Tiffany Mann and Ron Himes in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

In this dynamic reprise, Mann makes Effie her own – and the high-spirited ensemble comes together seamlessly as a family along to an effervescent pulsating rhythm.

The principal characters are an impressive gathering of seasoned pros who’ve made a name for themselves on Broadway.

Immensely likable performers Aisha Jackson is classy Deena Jones and Courtnee Carter is flashy Lorrell Robinson, with the later addition of Effie’s replacement, Natalie Kaye Clater as charming Michelle Morris. They bring a lot of sparkle and pizzazz to the ambitious and naïve rising trio The Dreamettes.

They beautifully blend harmonies, and you root for them and their big dreams. Making their Muny debuts, Jackson was the first black woman to play the role of Anna in the Broadway production of “Frozen” and Carter was recently in the Tony-winning revival of “Parade.”

And the male leads are equally strong – silky-smooth Charl Brown is again impressive as the ethically challenged Curtis Taylor Jr., the Svengali manager-producer, after his memorable turn in the aforementioned “Smokey Joe’s Café” the summer of 2021. He was Tony nominated as pioneering Smokey Robinson in “Motown: The Musical.”

From left: Aisha Jackson, Nick Rashad Burroughs, Tiffany Mann, Courtnee Carter and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

With the theatricality and bluster of James Brown and Little Richard, Nick Rashad Burroughs is on fire as live-wire star Jimmy “Thunder” Early. He quickly won over the audience with his brash charm and high energy.

Burroughs originated the role of Ike Turner in “Tina – The Tina Turner Musical” on Broadway and was recently seen as Henri de Toulouse-Lautrec in the touring production of “Moulin Rouge” that came to the Fox this spring.

Aramie Payton is warm and personable as the talented songwriter C.C. White, Effie’s brother. He was the original Michael Jackson standby in “MJ – The Musical.”

Local treasure Ron Himes is a formidable Marty, an early mover and shaker who helps the group navigate the biz and tries to keep Curtis in check.

They are a tight-knit unit gliding through the ups and downs of fame.

Director Robert Clater makes sure we feel the heart along with the soul as a whirlwind rise marks Act One. His vivacious staging of the Apollo Amateur Night line-up opening and a supercool “Steppin’ to the Bad Side” gets us off to a rousing start.

The company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The momentum keeps going with “Dreamgirls” and “Party Party,” followed by the serious “Heavy” and that soul-stirring rafter-shaking hit song.

Highlights also include the ironic white milquetoast rendition of “Cadillac Car” by Dave and the Sweethearts – really hammering a serious point with humor – and one of the most poignant numbers, “Family.” That is the enduring theme that ultimately saves some of them from themselves.

Choreographer Lesia Kaye keeps the dancers moving while music director/conductor Anne Shuttlesworth ensures everybody’s grooving, although I did feel at times the orchestra overpowered the vocals..

The late great legend Michael Bennett, fresh from the phenomenon that was “A Chorus Line,” directed and choreographed the original “Dreamgirls” 43 years ago, and Kaye honors that legacy with vigor.

Because of the heady mix of achieving their dreams in Act One, there is a believable joy throughout – until Effie’s heartbreaking personal and professional betrayal, although her erratic unprofessionalism and off-putting diva behavior precipitates her inevitable downfall.

Aisha Jackson and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The cool and refined Deena becomes the more ‘presentable’ leader of the group, now known as Deena Jones and the Dreams, and is everything hot-headed Effie lacks, so Act Two interjects more of the pitfalls of fame and personal strife as fortunes run high and low.

While the cliched backstage drama also features Effie’s redemption, karma for Curtis, and Jimmy’s career tumbles, the girls’ can’t stop the detrimental cracks in their upward direction.

The consequences of single-minded success are obvious, and the book isn’t as strong in this snapshot, and the pacing sags midway.. You can see the strain of having everything tied up neatly on the page, yet the resolution feels earned for the principals, if rushed..

“And I Am Telling You…” isn’t Mann’s only slam dunk, for her contrite “I Am Changing” and her pensive “One Night Only” soar.

And darn if that long-time-coming reunion doesn’t produce a lump in the throat!

Among noteworthy elements to emphasize, Dobkowski’s elegant interpretations of retro fashions deserve their own standing ovation. His work always suits the characters perfectly, and he’s won two St. Louis Theater Circle Awards, for “Seussical” and “The Wiz.” He is in his 11th season, and brings out a shiny, happy vibe to everything he produces. Remember his jubilant “Sister Act” from last season?

From left: Courtnee Carter, Aisha Jackson, Natalie Kaye Clater and the company of the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

And Haynes’ scenic design is so fluid, one must salute his depth – briskly moving scenes in Chicago, Detroit, St. Louis, Miami, Las Vegas, and other cities with remarkable dexterity. Theater Circle winner for “Smokey Joe’s Café,” he created the landmark set for last season’s “Chess.”

One doesn’t achieve this slick sense of time and place with its distinctive sound and fury without prioritizing collaboration. That is what sets this show apart from a typical “Behind the Music” documentary, with a cast and crew determined to razzle dazzle us in a most exuberant triumph.

Come for THE SONG, stay for the teamwork.

From left: Courtnee Carter, Aisha Jackson and Natalie Kaye Clater in the 2024 Muny production of “Dreamgirls.” Photo by Phillip Hamer

The Muny presents “Dreamgirls” at 8:15 p.m. nightly June 27 – July 3 on the outdoor stage in Forest Park. The run time is nearly 2 hours and 30 minutes, including intermission. Tickets are available at muny.org, by calling MetroTix at (314) 534-1111 or in person at the Muny Box Office, 9 a.m.-9 p.m. daily.

Haunting ‘Fancy Dance’ Offers Natural Portrait of Reservation Life

Haunting ‘Fancy Dance’ Offers Natural Portrait of Reservation Life

By Lynn Venhaus

A raw and real portrait of Native American life on an Oklahoma reservation, “Fancy Dance” is a haunting, heartbreaking missing-person drama from an interesting little-seen perspective.

It’s a slow-build from writer-director Erica Tremblay and co-writer Miciana Alise that turns into a slow burn.

A serious-minded Lily Gladstone plays Jax, a gruff and tough hustler living on the Seneca-Cayuga Reservation, trying to survive and help care for her 13-year-old niece Roki (Isabel Deroy-Olson). On the outside, she appears cold-hearted, but deeply cares about keeping her family intact.

She resorts to desperate measures when her sister Tawi, an exotic dancer, disappears, and their white father Frank (Shea Wigham) and his second wife Nancy (Audrey Wasilewski) are granted temporary custody of Roki once the Department of Family Services gets involved. Jax has a criminal record and is not allowed to have contact, let alone be guardian.

Tawi and Roki were preparing to dance at a big-deal annual powwow in Oklahoma City. Jax wants that happy experience for her niece, so she kidnaps the girl from her grandparents and goes on the run while an Amber Alert is launched.

Jax and her father, never close, have been estranged since her mother’s death and his move from the reservation.

Gladstone, all pent-up rage, and the pain of loss hangs heavy. While she seemingly does not want to abandon hope, she outwardly shows the strain of anguish taking its toll. Nevertheless, she is a fighter and summons every ounce of bravery she has.

While Jax attempts to get answers about her sister’s whereabouts and urge police to investigate, a stacked deck about the rough road for indigenous women and the justice system that fails them also unfolds. Their half-brother JJ (Ryan Begay) is part of the tribal police force, and he claims he can’t do much with the feds involved.

The tension is mild and the story meanders, but the film’s earnestness eventually gets it back on track. The acting is lived in, and the young actress Deroy-Olson gives a precious portrayal of an innocent girl having to grow up much faster because of her circumstances.

Wigham, a longtime character actor, isn’t given much to do in an underdeveloped role, but his Frank is not a villain, and seems sympathetic. After all, he is reluctant to get authorities after Jax.

Tremblay, who belongs to the Seneca Cayuga Nation, has written for the TV series “Reservation Dogs” and directed documentaries, but this is her first feature film as director. She is attentive to details regarding her tribal nation’s way of life. Along with production designer Charlotte Royer and cinematographer Carolina Costa, they have created an authentic atmosphere.

A sorrowful mood permeates this slice-of-community and culture because of how marginalized these characters have been treated their entire lives. Samantha Crain’s evocative score has melancholic tones but also joyous native rhythms.

The sobering realization of systemic racism and the entrenched colonialism makes this naturalistic piece stand out. However, the ending is abrupt and seems rushed. Yet, it ends on such a joyful, hopeful note of togetherness that you really want to root for these women to be comforted by their family connections.

But there is no denying the narrative’s impact. It makes you understand these women’s plight, forcing us to pay attention. And the performances are impactful in emphasizing the storytelling’s importance.

“Fancy Dance” is a 2023 drama directed by Erica Tremblay and starring Lily Gladstone, Isabel Deroy-Olson, Shea Wigham, and Ryan Begay. It is rated R for language, some drug content and sexual material, and runs 1 hour, 30 minutes. It premiered at the Sundance Film Festival and opened in select theaters on June 21. It began streaming on Apple TV+ on June 28. Lynn’s Grade: B.