Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A juicy neo-noir thriller, “The Burnt Orange Heresy” has a lush backdrop, a steamy love affair and a fascinating setting in the international art world.
James Figueras (Claes Bang), a charming and ambitious art critic, spends his days in Milan lecturing tourists about art history. It’s an easy way to make a buck and he is quite good at it. He is invited to the estate of wealthy art dealer Joseph Cassidy (Mick Jagger) and brings along new love interest Berenice Hollis (Elizabeth Debicki), an American on holiday. Also living on the property near Lake Como is reclusive artist Jerome Debney (Donald Sutherland).
As James has fallen from grace, a shot at redemption is appealing – and provides a financial opportunity. But is this scheme worth it? Turns out, everyone has secrets! As a web of intrigue gets more tangled, we learn more about the four people who are integral to this story.
Based on Charles Willeford’s 1971 novel, the film has much to recommend. The script is adapted by Scott B. Smith, whose book-turned-into-film “A Simple Plan” followed a similar pattern of a too-good-to-be-true scheme that goes horribly awry.
We’re in Milan as the story begins with witty banter between smart and attractive people — and sparks soon fly between Claes Bang and Elizabeth Debecki.
Once we arrive at the luxurious northern Italian villa owned by the rich and roguish Joseph Cassidy, there is a palpable air of mystery. What fate awaits?
Man of the house Mick Jagger, who is only in two scenes, makes the most of his mischievous international wheeler-dealer. With a twinkle in his eye and hints at danger, he’s fun to watch.
So is Donald Sutherland as a reclusive aging artist. Debney’s reputation rises and falls, a sign of art’s hard-to-interpret and sometimes fickle nature. Director Giuseppe Capotondi shows both the sophistication and the pretensions of the art world.
This is Capotondi’s first English-language feature after the intriguing “The Double Hour” in 2009, and he is good at setting up symbols and clever with details. With cinematographer David Ungaro and production designer Totoi Santoro, they give us breathtaking panoramas and an opulent estate. Composer Craig Armstrong’s score enhances the ‘something’s afoot’ tone.
Bang, who made the art satire “The Square” a few years ago, and Debecki, good in “Widows,” have terrific chemistry from the start. Her small-town teacher character is more enigmatic than he is, and the men are all captivated by her.
That is why the third act, which some find problematic, worked for me. It may stretch logic a tad, but all film noir has delicious zigs and zags.
As a luscious summer escape, sink into a gorgeous place with pretty people and signs of temptation everywhere – where will it lead? Follow the twists and turns, and you will be rewarded.
“The Burnt Orange Heresy” is a thriller directed by Giuseppe Capotondi, starring Claes Bang, Elizabeth Debecki, Mick Jagger and Donald Sutherland. It is Rated R for some sexual content/nudity, language, drug use and violence. Run-time is: 99 min. Lynn’s Grade: A- Video on Demand and Select Theatres This film closed the Venice Film Festival last fall and is now available on demand and is playing in select theaters, including the Hi-Pointe Theatre, as of Aug. 7.
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.
With its gorgeous setting, “Made in Italy” delivers on the breathtaking vistas. And there is an extra poignancy of the Neesons’ real tragedy played out in the mens’ emotional scenes.
The film, written and directed by actor James D’Arcy with loss in mind, is about an estranged father and son (real-life father and son Liam Neeson and Micheal Richardson) who travel from London to Italy to sell a Tuscan villa. Bohemian artist Robert Foster (Neeson) inherited this house from his late wife, and it has fallen into disrepair the last 15 years.
We have rooted for the father and son duo of Liam Neeson
and Micheal Richardson in real life ever since the tragic death of wife and
mother Natasha Richardson in 2009 during a skiing trip – Micheal was 13 and his
younger brother Daniel 12. The men are playing guys who don’t get along, who
have deep resentments, painful memories and are stuck in heartache.
We can identify with the turmoil. And as likeable as they
are as people, the story is a routine family drama that is as predictable as a
pasta dish at the local restaurant. Therefore, the pleasure is seeing Micheal —
he took his late mother’s maiden name as his stage name — working alongside
his father.
Not that the characters don’t have their charms. Neeson
plays a still-grieving man who is stuck in regret and can’t start again, after
a tragic accident took his wife. His life has no direction.
Jack is troubled but driven. He wants to keep the art
gallery he managed for his soon-to-be-ex-wife’s family, but they want to sell
it. Hence, the quick rehab job in Tuscany. However, being back at the place of
both happy and sad childhood memories affects him.
The renovation do not go well. They are not equipped to
handle the work but they persevere and take steps to mend their relationship.
Along the way, there are bumps in the road, and they meet some colorful
characters along the way. Lindsay Duncan plays a no-nonsense realtor named
Kate, who becomes their ally, after initial trepidation.
While they are fixing up the place, Jack meets a local chef,
Natalia (Valeria Bilello), who makes a killer risotto, and they are attracted
to each other.
Composer Alex Belcher balances both the natural beauty with
the family drama, and cinematographer Mike Eley captures the lush green hills
in an appealing way.
The themes of family and home are stressed in D’Arcy’s debut. It’s just missing freshness and sincerity.
“Made in Italy” is a drama directed by James D’Arcy and stars Liam Neeson, Micheal Richardson, Valeria Bilello and Lindsay Duncan. It is rated R for language and run-time is 1 hr. 34 minutes. Lynn’s Grade: B. A version of this review ran in the Webster-Kirkwood Times.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
One of Tennessee Williams’ most humorous one-act plays, “A Perfect Analysis Given By a Parrot,” will be the next radio play presented by the Tennessee Williams Festival St, Louis on “Something Spoken: Tennessee Williams On the Air.”
It will first air on Saturday, Aug. 8, at 5 p.m. on 107.3 FM. You can listen live or you can listen later through several platforms. It is archived at the station’s website and there is an encore Aug. 13 at 10 p.m. They are available for nearly two weeks before the next one. This third show is sponsored by the Jane and Bruce Robert Foundation.
This one is a charmer. I enjoyed the production when it was
first presented during the inaugural TWSTL in May 2016. It was staged at the Curtain
Call Lounge, with this same cast, under the direction of Brian Hohlfeld.
Kelley Weber
Intrigued by the title? Set at a dive bar in St. Louis, “A
Perfect Analysis Given By A Parrot” follows Flora and Bessie, two proud members
of the Women’s Auxiliary of the Sons of Mars, who have traveled from Memphis
for the annual convention. All Flora and Bessie want is a good time, but they
have been ditched by the conventioneers they have followed. Unfamiliar with the
territory, they wonder into a place intent on whooping it up. While drinking
fishbowls of beer and listening to sentimental tunes, the pair begin a
light-hearted conversation, then loosen up as old memories are stirred. The women,
whose relationship could be considered “frenemies,” assess each other’s lives,
revealing loneliness and longing.
As I recall, Rachel Tibbetts and Kelley Weber were very good as the two aging Southern Belles, and Bob Harvey, always fun to watch, was the waiter. Always a twinkle in his eye.
This should be a delightful radio play, to hear Williams’ distinctive wordplay, with an amusing display of merriment. Everyone so far has been an excellent listen and so different. This summer series celebrating Williams’ one-act plays is produced by Carrie Houk, artistic director, and programmed every other Saturday. Each episode is introduced by Ken Page, in his signature silky style. Don’t forget to stay afterwards to listen to University of Illinois professor Tom Mitchell provide insights about Williams’ work.
Nisi Sturges as Mrs. Hardwicke-Moore
“The Lady of Larkspur Lotion” was the first, on July 11, sponsored by Mary Strauss, which was terrific in establishing the time, place and characters. Set in a seedy New Orleans boarding house, a delusional long time tenant Mrs. Hardwicke-Moore is convinced that she owns a Brazilian rubber plantation. Shades of Blanche DuBois! (a prototype for sure). The landlady, Mrs. Wire, has always humored her, but when Mrs. Hardwicke-Moore can’t make her rent, the two women start to argue. As if the walls could talk, a young writer steps in, and his dreams are part of the fantasies of those living in this cockroach-infested place.
Williams’ yearning, his desire to fit in, his characters with their fanciful stories — all there. You create these Southern places in your head. The images are vivid, and the production values strong. Nisi Sturges, sublime in last year’s “The Night of the Iguana,” played Mrs. Hardwicke-Moore with impeccable Southern airs, while Rayme Cornell was various degrees of stern as the landlord and Bradley Tejeda intriguing as the mysterious writer (He could have had his own one-act. Maybe he did?).
“This Property is Condemned” was the second one, on July 25. Rising star Elizabeth Teeter, a fine young performer who has appeared in three Broadway shows and starred as Dorothy in the Variety Club’s enchanting “The Wizard of Oz,” played Willie with the right amount of bravado and wistfulness. Tony Merritt II, a Webster Conservatory student, was strong as Tom. It was directed by Tim Ocel, who has beautifully helmed some of the mainstage shows and is guiding five of this summer offering.
Elizabeth Teeter
You might recall “This Property is Condemned” as a 1966 movie
starring Natalie Wood and Robert Redford. They play town flirt Alva and
out-of-town railroad employee Owen respectively, who meet in Ogden, Miss.,
during the Depression. Alva dreams of getting out of the two-bit town.
The play, however, is told by Alva’s sister, Willie, who meets a guy, Tom, on the abandoned railroad tracks, and tells the story in flashback — about Alva, her mom, Owen and other characters. Williams’ frequent themes — grass is always greener, exaggerated grandiosity— are there, as are his finely drawn female characters.
Tony Merritt
What makes these radio plays – only about 20 minutes each – so special is that Williams’ voice is so recognizable in each of these one-act plays. He wrote many of them during his formative years here in St. Louis, and it’s interesting to see the progression of his work. What a bright, brilliant mind early on whose life influenced all his writings, from start to finish.
Don’t miss these little gems, featuring some of the best and brightest talents using another ‘muscle’ — their voice. For Aug. 8, if you are unfamiliar with Rachel Tibbetts, she is one of the best and most versatile actresses in town, and veteran actress/teacher Kelly Weber won a St. Louis Theater Circle Award last year for another Tennessee Williams one-act, “A Lovely Sunday in Creve Coeur.”
And it’s just fun to catch the names of the local landmarks.
Rachel Tibbetts
Next up: “Hello from Bertha” Aug. 22 5 p.m., streaming until Sept. 4, one of the “Rooming House Plays” that I adore. Starring: Anita Jackson, Donna Weinsting and Maggie Wininger, directed by David Kaplan, sponsored by John Russell
“Summer at the Lake,” Sept. 5, streaming until Sept. 18 Starring: Donathan Walters, Rayme Cornell, Kelley Weber; directed by Tim Ocel, sponsored by Mary Strauss
“Mr. Paradise,” Sept. 19, streaming until Oct. 2 Starring: Elizabeth Teeter, J. Samuel Davis, directed by Tim Ocel, sponsored by Terry Schnuck
Anita Jackson. Photo by Ride Hamilton
Listen online through:
Live: https://classic1073.org/listen/
Classic 107.3 Apple app:
https://apps.apple.com/us/app/classic-107-3/id635075917
On Radio.com: Android or Apple app
https://www.radio.com/classic1073/listen
On demand with SoundCloud: https://soundcloud.com/raf-stl
For more information: www.twstl.org/something-spoken
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.
Will Help Struggling Arts Community in Wake of Global Pandemic
Donate for Chances to Win Virtual Hangouts with Sterling K. Brown, Jon Hamm, Beau Willimon, Sam McMurray, Cory Finley and Neil LaBute
The Coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including many beloved St. Louis theater companies. In fact, local and regional arts commissions announced recently that many struggling organizations will not receive any funding in 2021, and those that do are expected to receive only a small percentage of what they have been granted in the past.
In an effort to help small professional theater companies in St. Louis as well as those across the nation to pay their bills until they can safely reopen, the St. Louis Actors’ Studio announced today the creation of the Small Professional Theatre Sustainment Fund. “The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, Founder and Artistic Director of the St. Louis Actors’ Studio. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.”
By simply donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with such famous St. Louis artists as Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, Cory Finley or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).
For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. The winner will be drawn on September 17.
During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.
About the Participating Artists Actor Jon Hamm is a John Burroughs grad best known for his Golden Globe and Emmy Award-winning role on “Mad Men.” He will star in the upcoming film “Top Gun: Maverick” in theaters this winter.See Jon Hamm’s video message here:https://vimeo.com/427780482
Sterling K. Brown is a graduate of MICDS and recent Golden Globe and Emmy Award winner for his work on NBC’s smash hit “This is Us.”See Sterling K. Brown’s video message here: https://vimeo.com/429676164
A graduate of Washington University, character actor Sam McMurray has appeared in “Freaks & Geeks,” “Friends” and “Raising Arizona.”
Director and screenwriter Cory Finley is another John Burroughs alum. STLAS produced his play “The Feast” and he recently directed the film “Bad Education” for HBO.
Playwright, screenwriter and activist Beau Willimon is yet another John Burroughs alum, STLAS produced his play “Farragut North” (of which the movies “Ides of Mach” starring and directed by George Clooney is adapted.) He developed “House of Cards” for American television and was its showrunner. He most recently wrote the screenplay for “Mary Queen of Scots.”
STLAS Associate and Tony Award-nominated playwright and screenwriter Neil LaBute whose films include “In the Company of Men,” “Your Friends & Neighbors,” “Nurse Betty” and “The Shape of Things.” Neil hosts his “LaBute New Theater Festival” at STLAS’ Gaslight Theater in St. Louis each fall in in NYC periodically.
About the St. Louis Actor’s Studio
The St. Louis Actors’ Studio is a non-profit 501(c)(3) organization that was founded by William Roth in 2006 to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. To learn more or to make a donation, visit www.stlas.org/sustain. This program would not be possible without the generous support of Mr. & Mrs. Charles L. Barnes and John Russell.
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.
Golden Anniversaries, which is co-presented by Cinema St. Louis (CSL) and the St. Louis Public Library, features classic films celebrating their 50th anniversaries. This third edition of the event will highlight 14 films from 1970, including two double bills.
Because in-person screenings remain problematic during the pandemic, Cinema St. Louis will hold free online conversations on the films, with people watching the films on their own but gathering virtually to discuss them.
Film critics, film academics, and filmmakers will offer introductory remarks and then participate in discussions about the films. Those conversations will be offered as free live streams at 7:30 PM every Monday from Aug. 10-Oct. 26. Participants will need to register for the live streams on the CSL website.
Elliott Gould, Tom Skerritt, Donald Sutherland in “M*A*S*H”
In addition to a fine selection of St. Louis critics, Golden Anniversaries will feature a quartet of experts from elsewhere, including David Edelstein, chief film critic of New York magazine (“M*A*S*H” on Aug. 10); AJ Schnack, director of such documentaries as “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and the recent “Long Gone Summer” (double bill of “Gimme Shelter” and “Woodstock” on Sept. 7); Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” (“Beyond the Valley of the Dolls” on Sept. 21); and Novotny Lawrence, author of “Blaxploitation Films of the 1970s: Blackness and Genre” (double bill of “Cotton Comes to Harlem” and “The Watermelon Man” on Sept. 28).
The discussions with the presenters will be facilitated by Cliff Froehlich, CSL’s executive director. Audience members will be able to ask questions and make observations on the films through the chat function of the live stream; those queries and comments will be relayed to the presenter by CSL.
The introductions and discussions will also be recorded and archived on CSL’s YouTube channel. Essays on many of the films will appear on The Lens, CSL’s blog.
Intro and discussion by David Edelstein, chief film critic for New York magazine (currently on furlough), commentator on “CBS Sunday Morning,” and former film critic for NPR’s “Fresh Air,” Slate, New York Post, Village Voice, and Boston Phoenix.
7:30 PM Monday, Aug. 17
Patton
Franklin J. Schaffner, U.S., 1970, 172 min.
Intro and discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ blog, The Lens.
7:30 PM Monday, Aug. 24
Husbands
John Cassavetes, U.S., 1970, 131 min.
Intro and discussion by Lynn Venhaus, film critic for the Webster-Kirkwood Times and KTRS (550 AM).
7:30 PM Monday, Aug. 31
The Conformist
Bernardo Bertolucci, Italy, 1970, 113 min., Italian
Intro and discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).
7:30 PM Monday, Sept. 7
Gimme Shelter
Albert Maysles, David Maysles & Charlotte Zwerin, U.S., 1970, 91 min.
Woodstock: The Director’s Cut
Michael Wadleigh, U.S., 1970, 224 min.
Intro and discussion by AJ Schnack, director of the documentaries “Gigantic (A Tale of Two Johns),” “Kurt Cobain About a Son,” “We Always Lie to Strangers,” and “Long Gone Summer.”
7:30 PM Monday, Sept. 14
Claire’s Knee
Eric Rohmer, France, 1970, 105 min., French
Intro and discussion by Robert Garrick, attorney and former contributor to the davekehr.com film blog.
7:30 PM Monday, Sept. 21
Beyond the Valley of the Dolls
Russ Meyer, U.S., 1970, 109 min.
Intro and discussion by Charles Taylor, author of “Opening Wednesday at a Theater or Drive-In Near You: The Shadow Cinema of the American ’70s” and former film critic for Salon.
7:30 PM Monday, Sept. 28
Cotton Comes to Harlem
Cotton Comes to Harlem
Ossie Davis, U.S., 1970, 97 min.
The Watermelon Man
Melvin van Peebles, U.S., 1970, 100 min.
Intro and discussion by Novotny Lawrence, associate professor at Iowa State University, author of “Blaxploitation Films of the 1970s: Blackness and Genre,” editor of “Documenting the Black Experience,” and co-editor of “Beyond Blaxploitation.”
7:30 PM Monday, Oct. 5
Five Easy Pieces
Bob Rafelson, U.S., 1970, 98 min.
Intro and discussion by Calvin Wilson, theater critic and former film critic for the St. Louis Post-Dispatch.
7:30 PM Monday, Oct. 12
The Traveling Executioner
Jack Smight, U.S., 1970, 95 min.
Intro and discussion by Kayla McCulloch, film critic for Cinema St. Louis’ blog, The Lens.
7:30 PM Monday, Oct. 19
Wanda
Barbara Loden, U.S., 1970, 102 min.
Intro and discussion by Cait Lore, film critic for Cinema St. Louis’ blog, The Lens.
7:30 PM Monday, Oct. 26
Performance
Donald Cammell & Nicolas Roeg, U.K., 1970, 105 min.
Intro and discussion by Robert Hunt, former film critic for The Riverfront Times.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Back in my news reporter days in ‘80s, ‘90s and early 2000s, I loved working Election Nights. Pre-computer and smart phone, we would wait for each precinct to be tallied – those were the days of the “chads,” and it was a waiting game, many a long night.
We’d have good conversations among the press corps — talk about signs, trends, who was riding a sea change, and the status quo. We’d be at courthouses, trying not to get in the way of staff but needing to call in those numbers. Wade through the crowd huddled around a bulletin board to see the latest posted computer sheet print-out. Spot a candidate and get victory statements.
You see a lot observing candidates, party leaders and local government workers. Integrity, work ethic, decency — shouldn’t it matter?
The infamous newspaper headline in 1948
In my early days, I’d be live on small market radio with totals as we got them, or calling in to an editor. I would make arrangements ahead of time with some helpful official to be able to use their office telephone and they would graciously wait til the final count was communicated. I thanked them profusely.
That was in Illinois, and in later years, the Associated Press would contract me for the night to call In the local totals. to add to the national results. You know – those TV totals you would see on screen.
I was at the Marion County Courthouse in Salem, home of William Jennings Bryan and creator of a Miracle Whip, the night Carol Moseley Braun defeated Alan Dixon, aka “Al the Pal,” for the US Senate seat in 1992. Dixon had been a Senator for 12 years after serving as Secretary of State and Treasurer in Illinois, and 20 years in state legislature. (In my hometown of Belleville, he was a legend. Took care of his people. Knew everyone.) She was the first African-American woman in the history of the Senate.
About a decade ago, digital computers and 24/7 news changed things. With electronic results, you could look up a county online. They did not need us to be foot soldiers on the ground. We all moved on in the digital world. There is nothing like racing back to the office and Typing up the results to make print deadline, running on adrenaline, caffeine and snacks from the vending machine.
Republican presidential candidate Texas Gov. George W. Bush, left, and Democratic presidential candidate Vice President Al Gore gesture during their third and final debate at Washington University Tuesday, Oct. 17, 2000, in St. Louis. (AP Photo/Ron Edmonds)
However, I was already home when, in the wee hours of the morning, CBS declared Gore won and then retracted it. Chaos. Supreme Court decided that W won in 2000, despite Gore winning popular vote.
I haven’t worked an election night for at least four election cycles. But I still like to watch the totals come in, whether it is primary, municipal or general election.
When there is an upset or a tight race won by a slim amount of votes, you feel like you see democracy in action. That the people have spoken. The turnout really mattered, changing lives.
Today, in the city of St. Louis, my polling place was quiet. I squirted hand sanitizer, got my Q-tip and opted for electronic ballot. Easy peasy. Thanked the workers — we were all in masks so you can’t smile but you can look them in the eyes.
Watching the totals isn’t the same, but what is?
Been voting since I was 18, the first batch of voters to be given that privilege in 1972, thanks to Amendment 26.
This is Democracy in action.
We the People. What a precious ritual and right we have. Should be a cause for unity.
John Lewis, Freedom Rider
Never take for granted the power of an idea, the importance of grassroots efforts, and the desire to make a change, be the change. You see something, do something.
People died and were beaten for the opportunity to cast a ballot and make their voice heard. Voter suppression is real and still takes place today — if we do one thing to honor the late American hero, Congressman John Lewis, then fight for this right.
Never lose hope and do not give in to fear. Note to self: Absentee ballots are the same as mail-in ballots.
Sweet land of liberty. Let freedom ring.
And God bless the USPS. And all the poll workers today and every election.VOTE Nov. 3, no matter the method. Just get ‘r done.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
A triumph
in the ‘new normal’ was a sight for weary eyes when Stray Dog Theatre boldly
went where no one else has in regional professional theater to produce an
intimate, absorbing “Lobby Hero” by Kenneth Lonergan.
With
live theater being one of the harshest casualties of the pandemic, watching any
kind of online production has been such a welcome respite from the world’s
troubles. I have enjoyed all the creative attempts to produce art, from clever
Zoom plays to a mash-up of archival footage and musical acts, to radio plays
and staged readings. I admire the efforts that artists are willing to take, to
make art accessible through digital media. As someone who is leery of crowds
during the public health crisis, being able to stay connected to people I admire
for their willingness to take risks and see what happens has been a great joy.
After all, theater fans cannot live on “Hamilton” replays alone on Disney Plus.
So, after
shutting their doors for the remainder of the 2020 season in May, Stray Dog
Theatre came up with an unconventional plan to take the four actors already cast
in the drama, put them into innovative pods for their safety, space them apart
at the Tower Grove Abbey, record it and make a video link available through a
service. It sounded exciting because we could see it after all – and without
crowd restrictions or safety worries.
The play
had been scheduled for June and was one of my most anticipated shows of the
season (big Lonergan fan). For the new venture, free reservations could be made
to see it July 27 – 31 and people were given 72 hours in which to view it, but
the cut-off was 11:59 p.m. on the last night. This audio-visual recording was
made possible through arrangements with Dramatists Play Service and the
playwright, and donations could be accepted. Everything was seamless –
reservation confirmed, link emailed, quick connection, and then, magic
happened.
The
play takes place in the lobby of a Manhattan apartment building. Four people’s
lives intersect through their work – two security guards and two police officers
on the night shift, and then are drawn into a murder investigation. These three
men and one woman have distinct personalities that emerge, ordinary people who
must confront moral dilemmas and ethical behavior through conflicts with each
other. Lonergan is so good at revealing layers and the late-night conversations
have a genuine intimacy.
Lobby Hero at Stray Dog Theatre. Photo by Justin Been
What a
finely tuned quartet the performers were: Jeremy Goldmeier as Jeff, a hapless
regular joe, just trying to find his way in the world but usually unlucky in
life; Abraham Shaw as William, Jeff’s strict supervisor, frustrated by the
failure that surrounds him – his knucklehead employee and his troublemaker
brother (unseen), when all he is trying to do is succeed; Stephen Peirick as
Bill, an obnoxious married police officer who abuses his power and thinks he
deserves respect as a big shot; and Eileen Engel as Dawn, a rookie officer
enamored with Bill but also trying to prove that she fits in to a macho man’s
world.
They
each have various degrees of ambition, and that is transparent. Their feelings
will become apparent as they talk to each other, from initially shooting the
breeze to thornier statements as details of a murder unfold. A nurse with three
young children has been brutally raped and killed by a group of thugs.
William’s brother is a suspect. How far will he go to protect him? Talkative and
lonely, Jeff has taken a shine to Dawn, but she is enamored with Bill, until
evidence of sexual misconduct is revealed. Dawn’s only been on the force for
three months and has a lot to learn.
It was
if I was sitting in a pew, the four well-rehearsed actors seamless in conveying
multi-dimensional characters. The smart, sharp ensemble delivered
dialogue-dense exchanges that went from casual to probing, puzzling to
skeptical, pleasant to peeved. Loyalties swiftly shifted. Director and Artistic
Director Gary F. Bell escalated the growing tensions well and shrewdly moved
the players around. The fade technique worked well as exits.
With
its relevance to today’s social issues, you would not realize it was a generation
removed, written in 2000. And Goldmeier – in what might be his best work –
makes us see every tic of his turmoil. He wants to do the right thing – but is
he capable? He is intimidated by blustery Bill, who likes to throw his weight
around, and wants desperately to please his boss. When William confides in
Jeff, they seem to become friends.
The
actors worked so well together, building the emotional energy Bell was seeking.
Peirick plays well against type, being an entitled jerk, while Engel holds her
own with the guys, talking tough with a torrent of profanity. She’s tiny but
mighty in navigating her way in an obvious man’s world.
And,
like so many key turning points, it comes down to secrets and lies. In 1808,
Sir Walter Scott wrote “oh what a tangled web we weave when first we practice
to deceive,” and it still holds true today. Stories unravel, truths unfold,
betrayals sever relationships and life gets rather messy for each of the four.
They learn the hard way that there are consequences to actions.
Justin Been has proven he is quite a visionary and his remarkable technical skills were on display again. As associate artistic director and production manager, he added imaginative touches, through music and modern graphics. He evoked the location with black-and-white scenes of New York City. He and Bell had come up with the pod idea, executed by set designer Josh Smith.
“Lobby Hero” was produced off-Broadway in 2001, after Lonergan had been Oscar-nominated for the screenplay to “You Can Count on Me.” Lonergan would finally make it to Broadway in 2014 with “This Is Our Youth,” a Steppenwolf revival of his 1996 play starring Michael Cera and Kieran Culkin. I was fortunate to see it at the Cort Theatre then, a memorable experience. Lonergan has a knack for creating vivid roles through conversations, and the gifted actors didn’t miss a beat in crafting familiar, relatable characters. After winning the Oscar for his “Manchester by the Sea” original screenplay in 2016, Lonergan oversaw a remount of “Lobby Hero” in March 2018 at the newly renovated Hayes Theatre on Broadway, starring Michael Cera as awkward Jeff and Brian Tyree Henry as stern William (both Tony Award nominees), Chris Evans (yes, Captain America) as the compromised police officer Bill and Bel Powley as feisty Dawn.
Stray
Dog hopes to be back with their season in February 2021, if all is safe to do
so. They may even return virtually with another innovative project. “Lobby Hero”
was a perfect choice to stage the inventive way they did.
If you
need information, contact them directly by email
at boxoffice@straydogtheatre.org or by phone
at (314) 865-1995.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus The sights and sounds of nights gone by are such a welcome sentimental journey on the exciting new online Muny Mondays.
But the variety show is not all a “Remember When” montage,
and that is what sets it apart. With a fresh batch of pixie dust, the Muny’s
second episode of its smash hit Summer Variety Hour Live more than met
expectations after such a sensational series launch July 20.
Rob McClure and Maggie Lakis
If you were curious as to how they could top the inaugural
show, now that we know the formula, one look at the lineup beforehand answered
that quickly. Tony nominee Taylor Louderman singing live under the Culver
Pavilion! Tony nominee and fan favorite Rob McClure, versatile veteran of six
Muny shows, singing “Suddenly Seymour” with his wife Maggie Lakis, who has been
in two Muny musicals, from their home in Philadelphia. McClure’s Muny debut was
“Little Shop of Horrors” in 2011, so that was fitting. The cast of 2017’s
spectacular “The Little Mermaid,” lead by Commodore Primous III as Sebastian,
reuniting to sing a buoyant “Under the Sea.” I mean, the deck was stacked.
The best way to describe the ebb and flow of the carefully
curated selection of acts is to compare it to a multi-course gourmet dinner especially
crafted to include favorite dishes, comfort food, bold choices and unique taste
treats, every bite bursting with flavor.
When the “Wow” factors were unveiled — those unforgettable
Muny moments that you will always recall with awe, so grateful to have
experienced it in person – they blew me away. It isn’t hard to pick five, ten
or 20 out of your head if you are a regular. (We probably share some of the
same ones – we’ll have to compare notes).
And this supersonic flash came from two performers I saw in
ensembles but did not know their names: Nkeki Obi-Melekwe and Chloe O. Davis. I
will never forget them now.
Nkeki Obi-Melekwe
Nkeki soared singing “If You Knew My Story” from
“Bright Star” during her time, a selection to reinforce color-blind
casting. Nkeki, a Michigan graduate, appeared in the Muny’s 2017 “All Shook Up”
and went on to play Tina Turner in “Tina the Musical” in London’s West End in
April 2019, then move to Broadway in October.
If you are unfamiliar with “Bright Star,” the
musical by Steve Martin and Edie Brickell, it came out the same year
“Hamilton” did and lost the Tony Award for Best Musical to the
landmark show in 2016.
Chloe O. Davis, a dancer who grew up in St. Louis and was
in “All Shook Up” and “The Wiz” in recent years, was featured in “My
Tribute to Black Broadway and Black Choreography: I Thrive Now Because You
Dared Then,” a dance she conceived and choreographed.
As she used Forest Park as her stage, she gave us a history
lesson that stirred “all the feels.” She created the styles of famous black
choreographers, using audio and visual clips in addition to her dance moves –
East St. Louis’ international icon Katherine Dunham, George Faison, Debbie
Allen, Hope Clarke, Gregory Hines, Donald Byrd, Bill T. Jones and Camille A.
Brown among them.
Chloe O Davis
Moving. Powerful. Elegant. Truly a shining moment.
A delightful song-and-dance interlude was courtesy of three
dynamos Maya Bowles, Trevor Michael Schmidt and Gabi Stapula, whose high-spirited
“There’s Gotta Be Something Better Than This” from “Sweet Charity” captured our
anxiety and their eagerness to get back to the business of entertaining. These
chorus gypsies reminded us how ensemble cohesiveness is so important to any big
splashy musical.
Gabi also works with the Muny Teens, and their fun-loving mashup of “Bring On the Monsters” from “The Lightning Thief: The Percy Jackson Musical” and “Drive It Like You Stole It” from “Sing Street” again showcased how talented some local students are – and their sunny dispositions. I’m a big fan of the 2016 movie “Sing Street,” which is writer-director John Carney’s third film about the transforming power of music (“Once” and “Begin Again”), and its stage adaptation was set to open on Broadway in April after rave reviews off-Broadway.
The power ‘hour’ also featured behind-the-scenes stories about what’s happening at The Muny, including being able to pull off the stunning fireworks at the Centennial Gala, and the amusing game show throwback Munywood Squares. With interesting fun facts, hosted by Gordon Greenberg and featuring nine Muny performers in the Zoom grid, including E. Faye Butler, J. Harrison Ghee, Ann Harada, Raymond J. Lee, Vicki Lewis, Steve Rosen, Jeffrey Schecter, John Scherer and Christopher Sieber. This week’s good sport contestants were photographer Phillip Hamer and Muny company manager Sue Greenberg. Fun remembering the raccoon who waddled on to the stage in “The Addams Family” in 2014!
Taylor Louderman
On an intermittent rainy night, star Taylor Louderman was accompanied by four socially distanced musicians, to sing live the power ballad “Astonishing” from “Little Women.” Always nice to include a female empowerment song, this one from Louisa May Alcott’s timeless and timely heroine, Jo March. From Bourbon, Mo., 60 miles southwest of St. Louis, Taylor went from Muny Teen to Tony nominee as Regina George in “Mean Girls.” She made her Broadway debut in 2012’s “Bring It On!,” has been in seven Muny shows and won the St. Louis Theater Circle Award for Best Supporting Actress in a Musical for last summer’s “Kinky Boots.” (And this year, finished her bachelor’s degree that she had started at Michigan in 2009 and was married five weeks ago to Brooks Toth).
The archival footage of past summer shows is a fond trip down
memory lane, starting with Muny titans Beth Leavel and Ben Davis in 2015’s “Oklahoma!”
Leavel, Tony winner for “The Drowsy Chaperone” and nominee for ‘The Prom,” is a
frequent St. Louis Theater Circle Award nominee, winning for her Mamma Rose in 2018
“Gypsy.” Davis, seen last year as Sky Masterson in “Guys and Dolls,” has been
nominated multiple times, and once joked during an interview that he is the ‘Susan
Lucci’ of the Circle Awards.
Davis was in the now legendary production of “Spamalot” in
2013 as Sir Galahad. Host Mike Isaacson introduced “Always Look on the Bright
Side of Life,” which holds the distinction of being the most popular song at
funerals, pointing out how weather affected the show. I remember that on opening
night June 17, a steady rain was falling after torrential downpours for days
preceding it. So, there was little opportunity to rehearse outdoors. The
audience for the show opener of the 95th season was so eager to see
this Muny premiere that we came in droves with our umbrellas — and were
mightily rewarded.
It’s a night I’ll never forget. During the curtain call,
actor John O’Hurley, playing King Arthur, stopped the show to introduce Monty
Python founder and show creator Eric Idle! Whoops, cheers and thunderous applause!
Everyone on their feet. I turned to my companion and said: “We are in the
presence of a Python!” Oh, be still my heart. It was pure bliss – he led us in “Always
Look on the Bright Side of Life” after mentioning this was the largest audience
to ever see the musical and he wanted to see if we could get in the Guinness
Book of World Records for our sing-a-long.
Oh, what a night! I had the good fortune to interview John O’Hurley
later that fall when he was touring as Billy Flynn in “Chicago,” and we had a pleasant
conversation about that enchanted evening.
Another splendid memory was shared with the incredible “We’re in the Money” from the extraordinary 2016 production of “42nd Street,” choreographed by Denis Jones, St. Louis Theater Circle Award winner. That curtain call – go see it on YouTube – as the cast cascaded down a staircase will go down as my favorite (next to “A Chorus Line”) in Muny history.
All these elements are what make summer nights special at the Muny, and spotlighting the world-class talent – from the musical theater majors from the best schools in the country to the stars with Broadway credentials — who come together in Forest Park – is one I like to emphasize. Years ago, seasons were headlined by ‘names’ – mostly from TV – and while recognizable, I much prefer having the best talent possible give us their all on that stage. Drama geek that I am, I read all the bios and notice who returns to the Muny, who creates magic on the stage, or is given the part of a lifetime.
And in that spirit, the Summer Variety Hour Live emphasizes how
many parts make each show happen.
And it is a warm, familiar embrace at a time we all need a hug.
On July 20, The Muny 2020 Summer Variety Hour Live! drew more than 30,000 viewers from across the U.S. and around the world. This total sets a new, record-breaking first in The Muny’s live-streaming history.
On July 27, we were connected by the calypso beat of newly crowned EGOT winner Alan Menken, the banjo picking of brilliant Steve Martin, the Britpop synthesizer of ‘80s New Wave, the zaniness of silly comic geniuses, homages to Busby Berkeley and Broadway chestnuts, the triumph of a ‘local’ small-town girl with a dream, sweetness, sincerity, showmances and people who think sitting under those stars in St. Louis is like coming home.
These shows (5 total, 3 left) are exclusive, one-time-only
streams and will not be available after the Thursday night airing. The July 30
re-airing will include audio description and captions. The link is: youtube.com/themunytv
The Muny’s online 2020 season is sponsored by World Wide Technology. Episode 1 was made possible by US Bank and Episode 2 by Edward Jones. They announce the next lineup every Wednesday.
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.
Metro Theater Company (MTC), St. Louis’s premiere professional theater for youth and families, continues to expand its artistic footprint into the living rooms of families in St. Louis and across the world with the presentation of two more digital streaming productions this summer, including Early Days — Stories of the Pandemic Digital Archive: A St. Louis COVID-19 Digital Play (live streamed July 29 at 6:30 p.m.) and the virtual premiere of A Kids Play About Racism (available August 1-2). Both productions are collaborations on the local and national level, and are part of Metro Theater Company’s ongoing efforts and mission to create productions that respect young people’s intelligence, tell compelling stories, stimulate curiosity and provoke thoughtful reflection, even as the St. Louis community adapts to the pandemic.
Early Days — Stories of the Pandemic Digital Archive: A St. Louis COVID-19 Digital PlayWednesday, July 29 at 6:30 p.m.FreeLive-streamed at https://www.metroplays.org, https://mohistory.org/online-resources or MTC’s Facebook page, https://www.facebook.com/MetroPlays This short play, written by MTC Producing Associate John Wolbers, is part of Metro Theater Company’s partnership with the Missouri Historical Society to document our region’s experiences with the historic COVID-19 pandemic from the unique perspectives of submissions from people of all backgrounds. Together, the two organizations have created an original 15-minute play set against the backdrop of a teen’s now-Zoom call birthday celebration, as a fictional St. Louis family navigates the changes, perspectives, emotions, and hopes we all shared in March as our lives began to change. MTC Artistic Director Julia Flood directs. The cast for this live-streamed story of courage and resilience features actors, Jacqueline Thompson, Nicholas Kryah, and Teens Make History Apprentice Madeline Emke. A Q&A follows the performance. Teens Make History is a work-based learning program for local high school students. Through long-term, paid apprenticeships in exhibitions and museum theatre, the program aims to build key professional skills and give students the confidence they need to succeed. For more information or to learn how you can support this program, please visit mohistory.org/TMH. The COVID-19 Memory Project was launched by Metro Theater Company in March 2020 to further connect the St. Louis community through storytelling during this time of social distancing. As COVID-19 has changed how we live, work, play, learn, and connect, MTC encouraged community members to share their experiences, emotions, and hopes. This repository of experiences from young people and families are being adapted into a series of virtual performances, with an ultimate goal of translating these stories into a live performance when such performances can resume. Stories from the Memory Project were incorporated in the Arts United STL virtual fundraiser. This Zoom play is the next installment of new work created through the Memory Project. To submit a story, please visit metroplays.org/MemoryProject.
A Kids Play About RacismSaturday & Sunday, August 1 & 2 Free Streaming at Broadway on Demand, https://www.broadwayondemand.com Metro Theater Company joins a groundbreaking collaboration among 37 Theatres for Young Audiences across the United States, led by the lead producing team of Bay Area Children’s Theatre, Seattle Children’s Theatre, and Alliance Theatre in Atlanta, to present the virtual premiere of A Kids Play About Racism, a theatrical adaptation of Jelani Memory’s A Kids Book About Racism. Premiering August 1 and 2 on the streaming platform Broadway On Demand, the new work is adapted and directed by award-winning director and TYA artist Khalia Davis and will be brought to life by an entirely Black and BIPOC (Black, indigenous, people of color) cast and creative team from across the United States. A Kids Play About Racism utilizes theatre to offer young children and families a way to engage in meaningful conversation about race. As part of the production, educational materials developed by Seattle Children’s Theatre in collaboration with the Northwest African American Museum will extend the experience and enhance age-appropriate engagement. All 37 partnering theatres are members of Theatre for Young Audiences USA (TYA/USA), the national organization representing the field of theatre for children and family audiences. The streaming of A Kids Play About Racism is accompanied by interviews and educational videos. The scale and breadth of this co-production has been made possible in part through the network cultivated by TYA/USA, which connects organizations and artists across the country focused on theatre for young people and families. Through the last few months, TYA/USA has offered a range of programming to provide deep connections and resource sharing in response to COVID-19. Through this network, TYA theatres across the country have been able to come together to find ways to support each other and their audiences through new and innovative collaboration models. A Kids Play About Racism is adapted and directed by Khalia Davis, with music composed by Justin Ellington and Costume Design by Ron McCann (California). It will be performed by Davied Morales (California), Angel Adedokun (California), Moses Goods (Hawaii), Rapheal Hamilton (Arizona), Isaiah Harris (Texas), Jessenia Ingram (Georgia), and Regan Sims (New York). The work is produced by Bay Area Children’s Theatre, Seattle Children’s Theatre, and Alliance Theatre, in partnership with Adventure Theatre MTC, Arts on the Horizon, Children’s Theatre of Charlotte, Chicago Children’s Theatre, Children’s Theater of Madison, Children’s Theatre Company, Childsplay, Children’s Theatre of Cincinnati, Coterie Theatre, Dallas Children’s Theater, Dare to Dream Theatre, Des Moines Performing Arts, Filament Theatre, First Stage, Honolulu Theatre for Youth, Imagination Stage, The Kennedy Center, Magik Theatre, Metro Theater Company, Nashville Children’s Theatre, New York City Children’s Theater, Oregon Children’s Theatre, Orlando Repertory Theatre, Pink Umbrella Theater Company, ReNew Productions, Rose Theater, Seattle Children’s Theatre, The Growing Stage – The Children’s Theatre of New Jersey, The Gottabees, The Open Eye Theater, TheatreWorksUSA, Trike Theatre, Trusty Sidekick Theater Company, Wheelock Family Theatre at Boston University, and Orpheum Theatre Group.
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.
Barry Sonnenfeld will be the keynote speaker for opening night of the St. Louis Jewish Book Festival on Sunday, November 1. Sonnenfeld will speak about his new book Call Your Mother: Memoirs of a Neurotic Filmmaker. His sometimes outrageous and hilarious memoir traces his idiosyncratic upbringing in New York City, his break into film as a cinematographer with the Coen brothers, and his unexpected career as the director behind such huge film franchises as The Addams Family and Men in Black, Get Shorty, Pushing Daisies and A Series of Unfortunate Events.
Now in its 42nd year, the Festival is nationally recognized for both its excellence and its size – it is one of the largest in the country. People from all backgrounds and faiths come to Festival events to hear premier speakers on topics such as history, music, politics, cooking, family, religion, sports, and more. This year, the Festival expects to attract even more people through its accessible online format.
In addition to Sonnefeld, authors include: Ron Balson, a festival favorite and award-winning author of Once We Were Brothers will speak about his newest book Eli’s Promise.
New York Times bestselling author of the VI Warshawsky, Sarah Paretsky novels will speak about her latest, Dead Land. Bruce Feiler, known to the festival for his many books including The Council of Dads, will be speaking about his new book Life is in the Transitions. In addition, Joan Lunden award- winning journalist and host of Good Morning America for nearly 20 years will speak about her latest book Why Did I Come Into This Room?
Festival-goers can take advantage of the Premier Pass, which grants access to all Jewish Book Festival Events in November including preview events before the official start.. Passes will go on sale September 1st. Visit stljewishbookfestival.org for the latest information on summer events leading up to the festival.
The Jewish Book Festival, which runs November 1-8, is a program of the Jewish Community Center.
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.
