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 satire of the super-rich, “Greed” focuses on Sir Richard “Greedy” McCreadie (Steve Coogan), a snotty prep school dropout (Jamie Blackley in flashback) who parlayed selling cheap clothes in London’s rag district into a billionaire lifestyle.
He is throwing himself a “The Great Gatsby” meets “Gladiator” meets “The Godfather” 60th birthday party on a Greek island. His staff, family, hired help and unfortunate refugees are all making his ‘moment’ miserable.
Easy targets here, and slinging arrows at one percenters has been done ad infinitum, so there is not much to separate “Greed” from other exercises in skewering excess.
While lampooning ridiculous people can be fun and some bullseyes are sharp, this film does not have anything different – let alone laugh-out-loud funny — that makes it special or worth spending nearly two hours’ watching.
Therefore, any spoofing of Kardashian-like reality TV, the focus on indulgences and entitlement of the privileged class and the scheming of truly awful people is not that engaging.
The movie’s a manic mess, jumping from introducing “Sir Shifty” of the tabloids to his family drama to party preparation.
As written by director Michael Winterbottom, with additional material by Emmy winner Sean Gray of “Veep,” the main characters are tedious and boorish with little to redeem them.
Radiating rich-guy arrogance, tan Steve Coogan, with blinding white fake teeth, is believable as a slick retail magnate with questionable ethics, decadent lifestyle and shoddy business practices. Coogan often plays jerks, so this isn’t a stretch.
Winterbottom and Coogan have worked together well before, particularly “The Trip” movies, especially “The Trip to Italy” and “The Trip to Spain.” Upcoming is “The Trip to Greece” (hmmm…). The production values are handsome.
Faring well are Shirley Henderson as McCreadie’s feisty widowed mother, and Isla Fisher as a steely yet shallow ex-wife who berates their son Finn, played by Asa Butterfield, for his wispy facial hair and aimlessness.
While it had promise as a mockumentary, “Greed” winds up an insufferable episode of “The Lifestyles of the Rich and Famous” without much to amuse. “Greed” is a comedy rated R for pervasive language and brief drug use. DIrected by Michael Winterbottom, it stars Steve Coogan, Isla Fisher, Asa Butterfield and Shirley Henderson. Run time: 1 hr. 44 min. Lynn’s Grade: C
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Elevated by beautifully nuanced performances from award-worthy Lesley Manville and sturdy Liam Neeson, “Ordinary Love” shows us “all the feels” between a longtime married couple facing a life-altering situation.
Married for a long time, Tom and Joan face new challenges when she is diagnosed with breast cancer. Their relationship is tested during this frightening journey. The intimate contemporary drama is about the moments between a couple that give meaning to their lifetime together – by showing their daily living routine, yet underneath that microscope, they must deal with uncertainty and a test on survival.
As cancer touches every family in America, your
level of comfort with the realistic details from tests to surgeries to
treatment will depend if you have gone through it with a loved one, or
yourself. It may trigger memories of those tense, distressing times.
Co-directors and married-in-real-life couple
Lisa Barros D’ Sa and Glenn Leyburn present a comfortable, common life of two senior
citizens – assuming they are retired, but nobody says from what – in the most
generic way in northern Ireland. Yet, as unexciting as it is, there is revelation
in its repetition.
That’s largely due to Manville and Neeson’s
ease with playing two people who spend a lot of time together – conveying both
affection and aggravation in equal parts. They converse in recognizable ways —
bickering at the grocery store, kidding each other without malice, complaining
about minor things, and sitting in their living room ‘places’ while watching
television in the evening, after their daily walk – just everyday regular
folks.
And that’s the beauty of Owen McCafferty’s astute
script, that it dares to be mundane. The film spotlights the kind of
run-of-the-mill details and feelings expressed that make it thoroughly
relatable, especially with such skilled performers.
The changes with Joan’s breast cancer
diagnosis are the significant test to their strength as a unit. They’ve already
endured the loss of a child – their daughter Debbie “was killed” but we don’t
know how or at what age. It’s frustrating to not know that information. The
only drawback to the script is how little backstory we get.
Neeson becomes the dutiful caretaker while
Manville reluctantly transforms from the take-charge half to someone needing
help – and they both admit how frightened they are. Her ability to telegraph
quicksilver emotions, large and small, is astounding, and their tenderness
together is palpable.
Manville, nominated as the controlling sister
in “Phantom Thread” for a supporting actress Oscar, shows the strength and
courage needed to fight cancer as well as the vulnerability associated with
something beyond your control. The waiting, the wondering – all captured well.
And the film is nicely shot, too – a noteworthy mix of the bright lights of
hospitals and the shadows of a home.
It’s refreshing to see Neeson, who has been
in that action zone for years, tackle the head of household role with such
honesty. On a personal note, after undergoing the tragic death of his wife of
15 years, Natasha Richardson, in 2009, that had to be difficult to re-live incidents
demanded in this script, which is why tackling such a role is admirable.
The ordinariness of “Ordinary Love” makes it appealing, yet it’s the craftsmanship of the project that keeps us interested and deepens its very human perspective on staring at our mortality and life as we know it. Ob-la-di, ob-la-da, life goes on – we all have learned that – but to be reminded how just ‘keep on keeping on’ is quite an achievement is not a small thing.
“Ordinary Love” is a drama rated R for brief sexuality/nudity. Directed by Lisa Barros D’Sa and Glenn Leyburn, it stars Lesley Mann and Liam Neeson. Run time: 1 hr. 32 minutes. Lynn’s Grade: B+
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.
Simple yet profound, “The Band’s Visit” is a disarming, charming experience.
It may take a little bit to win you over, but it certainly
does – with an invigorating elegance and its big heart, a great example of effective
less-is-more on stage.
Based on a 2007 film, “The Band’s Visit” is not your
average flashy big-budget spectacle, and that’s one reason it’s so refreshing
and relatable. The story is about ordinary people, their hopes and desires to
belong. They just happen to be considered “enemies” because of where they live –
Arabs and Jews – but are they really that different?
Through a bus station-cultural language miscommunication, a
traveling Egyptian Police Band winds up stranded in a small town in the Negev
desert — Bet Hatikva instead of Petah Tikvah. They are supposed to perform at
an Arab cultural center, but another bus is not available until the next day, so,
residents take them in overnight. They share shelter, meals, music and
conversation over the course of one day.
The winner of 10 Tony Awards – and nominated for 11 – in
2018, this musical, now playing at The Fox Theatre in St. Louis until March 8, conveys
what made the off-Broadway show and its move to Broadway such sensations. It is
one of only four musicals in Broadway history to ever win “The Big Six” – musical,
director, composer, book, actor and actress – at The Tonys.
The staging is innovative, and turntables are used effectively, especially during a roller-rink date scene. Humor is key too, as in the park having one bench.
Besides endearing performances from its first-rate cast,
the music and lyrics by David Yazbek are unforgettable. The dynamic, poetic
world-music score, with jazz influences, features an assortment of memorable
songs – starting with the humorous “Waiting” and “Middle of Nowhere,” and wrapping
up with the haunting “Answer Me.”
Make sure you stay after the curtain call for the band’s upbeat
finale, their ‘concert’ performance.
The cast recording won a Grammy Award for Best Musical Theater
Album in 2019, and they won a Daytime Emmy Award for a performance of “Answer
Me” on The Today Show.
The Fox Theatre is one of the 32-city stops on the first national
tour, which began June 25, 2019. “The Band’s Visit” played off-Broadway for a
little more than a year, beginning Dec. 8, 2016, and moved to Broadway Oct. 7,
2017. After 589 performances and 36 previews, it closed April 7, 2018.
Combined with book writer Itamar Moses’s witty script, “The
Band’s Visit” emphasizes connection between people and different cultures – if we
all listen to each other.
While the townsfolk desperately want to find meaning in
their lives, we are moved by those universal themes of longing, loss and loneliness
that everyone relates to – and how music is the thread that unites us all.
And what simple kind-hearted gestures and compassion can
mean in times of need. This humanistic approach is how it captivates the
audience. After all, people who need people are the luckiest people in the
world, Barbra Streisand once sang to Omar Sharif in “Funny Girl,” — and a song
is named after the Egyptian-born 1960s movie star here.
The ensemble features 14 people, and the tight-knit company
is adept at conveying bonding and breaking barriers. Janet Dacal is terrific as
a lively Dina, a lonely café owner whose tough and feisty demeanor masks a
heart of gold. She befriends the band’s conductor, Tewfiq Zakaria, played by
Sasson Gabay, who replaced Tony winner Tony Shalhoub on Broadway and originated
the role in the 2007 movie.
As he becomes more comfortable, he shares a personal
tragedy with her. Their relationship throughout the show is a high point.
Also noteworthy are Joe Joseph as the likable trumpet
player Haled, who loves American jazz musician Chet Baker; Danny Burgos as the
timid café worker Papi, who Haled helps out on a date; and Pomme Koch as the
other café worker Itzik, who brings clarinet player Simon home to dine with his
family and they deal with his crying baby.
Known only as the “Telephone Guy,” Mike Cefalo is funny in
a quirky role, and then shows off a beautiful voice when he starts off “Answer
Me.”
The highly skilled band musicians must be mentioned too,
because they add such a vitality to the show: Adrian Ries, conductor/keyboard;
Adam McDonald, associate conductor/keyboard; Tony Bird, violin; George Crotty,
cello; Evan Francis, clarinet, saxophone, flute; Roger Kashou, darbouka/riq; Ronnie
Malley, oud/guitar; Shai Wetzer, drums/Arabic percussion; and Alex Farha,
musician swing.
In small and subtle moments, this pleasant interlude speaks volumes. And that poignancy in a tidy 90-minutes is a life-affirming way to exit the theater and enter a wary world.
The Fox Theatre presents “The Band’s Visit” Feb. 25 through March 8 at the Fabulous Fox, 527 N. Grand. For tickets, visit www.metrotix.com or call 618-534-1111. For more information, visit www.fabulousfox.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A 10-time Tony winner’s national tour comes to the ‘Lou, world premieres of “The Roommate” and last chance to see a whole roster of shows. There is a feast of choices as we usher March in, and spring can’t be far behind. Here’s what’s on local stages.
“Annapurna” St. Louis Actors’ Studio The Gaslight Theatre N. Boyle Ave., St. Louis Thursday – Saturday at 8 p.m. Sunday at 3 p.m. Feb. 14 – March 1 www.stlas.org 314-458-2978
Laurie McConnell and John Pierson star as Emma and Ulysses in Sharr White’s play about love and loss in the backdrop of the Colorado Rockies. Once married, they have a child, but haven’t seen each other for a long time.
“The Band’s Visit” Fox Theatre 527 N. Grand Feb. 25 – March 8 www.fabulousfox.com
Winner of 10 Tony Awards, including Best Musical in 2018, this joyously offbeat story is set in a remote town where a band of musicians arrive, lost. They bring the town to life in unexpected ways. This is an adaptation of a 2007 Israeli film, with music and lyrics by David Yazbek. It is performed without intermission.
Here is our review: https://www.poplifestl.com/unforgettable-music-big-heart-distinguish-tony-winner-the-bands-visit-at-the-fox/
“The Ever After” Curtain’s Up Saturday, Feb. 29, at 6:30 p.m. Dunham Hall, SIUEdwardsville www.curtainsuptheater.com
A cheesy talk show host invites familiar fairy tale characters who have been estranged for 20 years to reconcile on the show.
Brett Amber
“Flanagan’s Wake” Emery Entertainment The Playhouse at Westport Plaza 635 Westport Plaza Jan. 24 – March 21 www.playhouseatwestport.com
This interactive hit show from Chicago is set in an Irish pub, and Flanagan’s family and friends give him a comedic memorial with plenty o’ pints, crazy sing-a-longs and witty tales. Cast includes Brian Ballybunion, Fiona Finn (Jennifer Theby-Quinn), Mickey Finn Father Damon Fitzgerald (Patrick Blindauer), Kathleen Mooney, Mayor Martin O’Doul
“Ghost”
Metro Theatre Company
Feb. 2 – March 1
Fridays at 7 p.m., Sundays at 2 p.m.
The Grandel Theatre
3610 Grandel Square
www.metroplays.org
World premiere of a new play adapted by Idris Goodwin from
Jason Reynolds’ award-winning bestseller for young readers. Castle Cranshaw,
aka “Ghost,” has only known running, but he runs for all the wrong reasons
until he meets Coach. Directed by Jacqueline Thompson and stars
“Men on Boats”
The Performing Arts Department at Washington University
Feb. 21 – March 1
Edison Theatre on campus
pad.artsci.wustl.edu
John Wesley Powell’s expedition down the Green and Colorado rivers is a 19th
century journey.
“The Mystery of Irma Vep” The Repertory Theatre of St. Louis Feb. 14 – March 8 Loretto-Hilton Center on the Webster University campus www.repstl.org
One dark and stormy night…two actors play eight characters, with a few dozen costume changes, a lot of wigs and a blending of classic horror, B-movie mysteries and farce. Charles Ludlam’s supernatural comedy includes a newly revived mummy, a mysterious portrait, a family curse and a howling werewolf.
“The Office! A Musical Parody”
Emery Entertainment
March 4 – 8
Wednesday-Friday at 8 p.m.
Saturday at 4 p.m. and 8 p.m.
Sunday at 2 p.m.
The Grandel Theatre
Tickets: Metrotix 314-534-1111 or one hour before showtime at Grandel box
office.
www.theofficemusicalparody.com/tour
Dunder Mifflin is opening an office near you. This is the third
North American tour of the unauthorized off-Broadway show, written by Bob and
Tobly McSmith. It is still playing at the Jerry Orbach Theatre at 210 West 50th
Street in NYC.
Mashable calls it “the world’s most elaborate inside job,
created with a whole lot of love, just for fans.” It’s a typical morning at
Scranton’s third largest paper company until, for no logical reason, a
documentary crew begins filming the lives of the employees.
“Picnic” Webster University’s Conservatory of Theatre Arts Feb. 20 – March 1 Thursday and Friday at 7:30 p.m. Saturday at 2 p.m. and 7:30 p.m. Sunday at 2 p.m. Stage III Auditorium www.webster.edu 314-968-7128
William Inge’s play is set in a small town one Labor Day Weekend in the joint backyards of two widows. One lives with her two daughters and a boarder; the other is a woman and her mother. A studly young man, Hall, comes to town, and the resulting electrical charge causes some friction.
Photo by John Lamb
“The Roommate” The West End Players Guild Friday and Saturday at 8 p.m. Sunday at 2 p.m. Additional Thursday show Feb. 27 at 8 p.m. Feb. 21 – March 1 Union Avenue Christian Church 733 N. Union at Enright www.westendplayers.org 314-367-0025
St. Louis premiere of Jen Silverman’s contemporary comedy
has been described as “The Odd Couple” meets “Breaking Bad.” Sharon, a divorced
empty nester takes on a roommate in her Iowa City house – and Robyn has come from
the Bronx. She has a mysterious, shady past who moves around a lot. She is
everything Sharon is not — a vegan and gay, for starters. They begin to
influence each other in surprising ways.
“Saint Joan of Arc”
The University Theatre at Saint Louis University
Collaborative piece with Prison Performing Arts
Thursday through Saturday at 8 p.m.
Sunday at 2 p.m.
Feb. 21 – March 1
Kranzberg Arts Center
501 N. Grand
Tickets: www.metrotix.com
Inspired by love of God and country, Joan became a 15th century
French military leader. This is a contemporary retelling directed by Lucy
Cashion.
“Spell #7”
The Black Rep
Wednesday at
Feb. 19 – March 8
A.E. Hotchner Studio at Washington University.
www.theblackrep.org
Ntozake Shange’s Spell #7 is a choreopoem set in a bar in St. Louis frequented
by Black artists and musicians, actors, and performers. In a series of
dreamlike vignettes and poetic monologues, they commiserate about the
difficulties they face as black artist.
“Transluminate”
A short-play festival
The Q Collective
Thursday and Friday, Feb. 27 and 28, at 7:30 p.m.
Saturday, Feb. 29, at 4 and 7:30 p.m.
Sunday at 4 p.m.
The Chapel
6238 Alexander Drive www.theqcollective.theater
“The Vagina Monologues”
St. Louis College of Pharmacy
Friday, Feb. 28 at 7 p.m.
Academic and Research Building Auditorium
4531 Children’s Place, St. Louis, MO 63110
Tickets: $5 at the door (cash only) or available for purchase on Eventbrite
ahead of time
Note: All proceeds from ticket and dessert sales will go
directly to Lydia’s House in St. Louis
Eve Ensler’s play is based on interviews with more than 200
women. With humor and grave, the piece celebrates sexuality and strength.
Through this play and the liberation of this one-word, countless people throughout
the world have taken control of their bodies and their lives.
The play gave birth to V-Day, a global activist movement to end violence against
all women and girls. Activists are working to end harassment, rape, battery,
incest, female genital mutilation and sex slavery. (https://www.vday.org/homepage.html)
It is sponsored by the Department of Liberal Arts and the
Office of Diversity and Inclusion. For more information, email angela.doerr@stlcop.edu
Lydia’s House works in faith to end domestic violence by
being a place of healing and a voice of hope for abused women and their
children.” (https://www.lydiashouse.org/)
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The theatre will produce classics Moby Dick and Little Shop of Horrors, as well as two world premieres at two different theatres this season ST. LOUIS — The Repertory Theatre of St. Louis announces a dynamic new set of shows for its 2020-2021 season designed to delight, excite and engage theatregoers like never before.
“This year, we want to share the magic of The Rep with both our longtime supporters and new audiences across the region,” said Hana S. Sharif, The Rep’s Augustin Family Artistic Director. “Our new season will feature classics, contemporary thought-provoking shows and robust family programming to make theatre accessible to more people than ever before.”
The 2020-2021 season will include well-known works such as Moby Dick and Little Shop of Horrors, as well as groundbreaking contemporary plays like Hir, a dark comedy that explores family dysfunction and gender roles in America, and Mlima’s Tale, a captivating work from two-time Pulitzer Prize-winning playwright Lynn Nottage.
The Rep will also debut world-premiere productions of Top of the World, a riveting psychological thriller, and The Gradient, a daring new play set in a near-future world where there are rehabilitation centers for men accused of sexual misconduct.
Sharif announced the season lineup at an event Thursday evening at Delmar Hall emceed by Julie Tristan, award-winning host and journalist for 98.1 FM and KPLR 11, and featuring special guest Missouri State Sen. Jamilah Nasheed, who delivered a proclamation welcoming Sharif to Missouri.
For the first time, two of The Rep’s productions this season will be presented in partnership with COCA – Center of Creative Arts in the soon-to-be-opened, state-of-the-art Berges Theatre in University City.
“Welcoming partners such as The Rep into our space is just the type of new programming we envisioned as we launched COCA’s expansion plans,” said Kelly Pollock, Executive Director of COCA. “Hosting part of The Rep’s season in the new Berges Theatre creates an opportunity to support professional theatre in St. Louis, while providing opportunities for young people brings us all closer to creating a St. Louis that is connected and inclusive.”
Event guests also got a sneak peek of the 2020-2021 season lineup with a special musical performance from Little Shop of Horrors, performed by vocalists Shayna Blass and Mark G. Meadows.
In addition to the six Mainstage shows and three Studio shows, The Rep will also produce the story of Donny Hathaway in Twisted Melodies, three productions for young audiences as part of its Imaginary Theatre Company, as well as an expanded New Play Festival in the fall. This season also kicks off a new holiday tradition with a December production of Charles Dickens’ classic, A Christmas Carol. (Detailed descriptions and run dates of all shows below and at repstl.org/2020-2021).
ABOUT THE REPERTORY THEATRE ST. LOUIS The Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Learn more about The Rep at www.repstl.org.
The Rep’s 2020-2021 Season
MAINSTAGE:
Little Shop of Horrors Book by Howard Ashman Music by Alan Menken Lyrics by Howard Ashman
Previews: Sept. 4-10, 2020 Performances: Sept. 11 – Oct. 2, 2020 Performed at the Loretto-Hilton Center for the Performing Arts (130 Edgar Rd.)
It’s a classic tale, really: Girl meets boy. Boy meets carnivorous alien plant. Carnivorous alien plant develops an insatiable taste for blood. Join Seymour and Audrey on this musical comedy joy ride bursting with pop melodies, soul ballads and girl group swagger. Buckle up for an evening of romance, action and a just a touch of overzealous dentistry.
Top of the World by Catherine Butterfield
Performances: October 2020 Performed at COCA’s Berges Theatre (524 Trinity Ave.)
A riveting psychological thriller makes its world premiere at The Rep. Following the suicide of his wife, television crime show runner Brendan Murray desperately seeks any clues he might have missed. The mystery deepens when an episode of Brendan’s TV show begins to mirror his real-life tragedy all too closely. As Brendan and his family replay their memories seeking answers, they only unlock more questions. One question looms above the rest: how do they find a pathway to healing?
The Great Leap by Lauren Yee
Previews: Oct. 30 – Nov. 5, 2020 Performances: Nov. 6-22, 2020 Performed at the Loretto-Hilton Center for the Performing Arts
Armed with a lethal crossover dribble and a knack for devastating trash talk, 17-year-old Manford Lum is the star point guard of a U.S. college basketball team traveling to Beijing for an exhibition match between two rival coaches. But as this Chinese-American phenom arrives amidst the roiling backdrop of the 1989 Tiananmen Square protests, Manford discovers himself at the epicenter of a personal, political and cultural standoff. Lauren Yee’s formidable play bristles with all the relentless energy of its underdog hero.
Native Gardens by Karen Zacarias
Previews: Jan. 15-21, 2021 Performances: Jan. 22 – Feb. 7, 2021 Performed at the Loretto-Hilton Center for the Performing Arts
“The difference between a flower and a weed is a judgment.” In Karen Zacarías’ brilliant comedy, cultures and gardens collide, turning well-meaning neighbors into feuding enemies. The play begins as a polite backyard dispute between the young, upwardly mobile Del Valles and the thoroughly Baby Boomer Butleys. But as the pairs squabble over the two feet of dirt where their properties meet, the action spirals into a symphony of inspired chaos.
Oo-Bla-Dee by Regina Taylor
Performances: February 2021 Performed at COCA’s Berges Theatre
The piano is rollicking, the bass is thumping and the saxophone is wailing. It can only mean one thing: Evelyn Waters & The Diviners are in town. Regina Taylor’s swinging musical chronicles a 1940s Black female jazz band as they journey from St. Louis to Chicago seeking fame and freedom in a climate of racism, sexism and an unforgiving industry. Inspired by the true stories of Billie Holiday, Sweethearts of Rhythm, Valaida Snow and May Lou Williams, Oo-Bla-Dee celebrates all the women musicians who fought for and earned their rightful place in American history.
Moby Dick Adapted by David Catlin From the book by Herman Melville
Previews: March 12-18, 2021 Performances: March 19 – April 11, 2021 Performed at the Loretto-Hilton Center for the Performing Arts
Madness, obsession and bloodlust take harrowing flight in a thrilling revision of Melville’s masterpiece. Captain Ahab’s hunt for the great White Whale soars to new heights through exhilarating acrobatic and theatrical spectacle that invites audiences into the heart of the action. This adaptation from Lookingglass Theatre Company brings a literary legend to life in an experience that’s both visceral and evocative.
STEVE WOOLF STUDIO SERIES:
Hir by Taylor Mac
Previews: Oct. 9-15, 2020 Performances: Oct. 16 – Nov. 1, 2020 Performed at the Loretto-Hilton Center for the Performing Arts
As Isaac returns from the war zone of Afghanistan, he finds fresh battle lines have been drawn in his childhood home. This dark comedy sees the soldier’s dysfunctional family in a total role reversal: a tyrannical father enfeebled by sickness, a once timid mother drunk with power and a sibling transitioning into a person he doesn’t recognize anymore. With the family’s former identity upended, old wounds and unresolved grudges drag them into all-out chaos.
The Gradient by Steph Del Rosso
Previews: Jan. 8 – Jan. 14, 2021 Performances: Jan. 15-31, 2021 Performed at the Loretto-Hilton Center for the Performing Arts
In this world premiere satire set in the not-so-distant future, a new facility promises to take men accused of sexual misconduct and rehabilitate them into responsible citizens. But inside the walls of The Gradient, the culture ruled by profit margins and corporate buzzwords muddles its high ideals. New employee Tess is eager to do her part, but finds herself locked in a subtle psychological battle with her latest client – one who has the perfect answer to her every question. Steph Del Rosso’s bold new play asks: can we mass-produce forgiveness?
Mlima’s Tale by Lynn Nottage
Previews: March 26 – April 1, 2021 Performances: April 2-18, 2021 Performed at the Loretto-Hilton Center for the Performing Arts
Mlima, a majestic and powerful African elephant, is murdered for his tusks. From beyond the veil of death, Mlima’s spirit follows the path of his tusks on a moving, lyrical journey through the dark world of the international ivory trade. From Lynn Nottage, the two-time Pulitzer Prize-winning playwright of Sweat and Ruined, Mlima’s Tale is a captivating and haunting fable come to life.
Kelvin Roston Jr. as Donny Hathaway
SPECIAL SHOWS:*
Twisted Melodies Written by and starring Kelvin Roston, Jr.
Performances: July 2020
This powerful one-man show is based on the life of St. Louis soul music icon Donny Hathaway, perhaps best known for his duets with Roberta Flack. Twisted Melodies is an immersive and crushing play about the brilliant singer and composer’s compelling inner struggle. Torn between the muses that inspire him and the mental illness that torments him, Hathaway evaluates his life in a gripping performance by St. Louis native Kelvin Roston, Jr.
A Christmas Carol by Charles Dickens Adapted by Michael Wilson
Previews: Dec. 6-10, 2020 Performances: Dec. 11-30, 2020 Performed at the Loretto-Hilton Center for the Performing Arts
At long last, the ghosts of Ebenezer Scrooge’s past, present and future have caught up with him. Now London’s most infamous miser must take a transformative journey as he faces the worst parts of himself and discovers unexpected redemption. Families are sure to delight in this enchanting winter’s tale filled with the wonder of Christmas in a theatrical extravaganza unlike any that St. Louis has seen before. Don’t miss the start of a new tradition as The Rep launches its annual production of Michael Wilson’s fantastical adaptation of Charles Dickens’ beloved tale.
* Single-ticket exclusives
IMAGINARY THEATRE COMPANY:
A Gnome for Christmas by Sarah Brandt Music and lyrics by Stephen James Neale
A warm-hearted holiday musical sprinkled with fun and hijinks, A Gnome for Christmas returns to the Imaginary Theatre Company. Lulu’s father is an inventor…just not a very successful one. After another of his failed inventions lands the family at a rundown farmhouse, Lulu’s about ready to give up. But when mysterious and magical things start happening, it seems that this farm might be home to more than meets the eye. A mischievous enchanted gnome, Timmy, is determined to bring Lulu a little Christmas cheer. With memorable songs and lovable characters, it’s the perfect holiday confection.
Puss in Boots by Nathan and Jennifer Roberts
Everyone’s favorite feline fable is here to charm and beguile! The miller’s son is not finding life easy, with barely a penny to his name and no inheritance from his father, save for a useless cat and a pair of too-small boots. But this cat hides a secret: She can talk! And sing! And she has a plan to take them from the poorhouse to a princely castle. But how long can this extraordinary kitty keep up the ruse before the cat is out of the bag? Bring the whole family and share the legend of Puss in Boots!
Tomás and the Library Lady Adapted by José Cruz Gonzalez From the book by Pat Mora
Dive into a fantastical world of books in this celebratory true story. As Tomás’ family heads north to Iowa for work, they find fewer and fewer people who speak their native Spanish language. Looking for a place to fit in, Tomás finds a new passion when he befriends a librarian who introduces him to the magical world of books. This enchanting story adventures through the pages of towering dinosaurs and ferocious tigers, igniting Tomás’ imagination and bringing the audience along for the ride.
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.
What happens when you take Puccini’s La Boheme (The
Breakfast Club of its day) out for a sexed-up, drugged-up, angst-amped joy
ride through lower Manhattan in the upper decade of the former millennium?
Well, if it’s 24 years ago, it snags a Pulitzer Prize for Drama and the Tony Award for Best Musical while running for an impressive 12 years and grossing more than $280 million.
But what if it’s 24 years later? Do a quick internet search about the 20th-anniversary touring production of Jonathan Larson’s Rent, which opened at the Fabulous Fox on Friday, Feb. 21, and you’ll find a significant amount of critics-sphere dithering about the dreaded R-word – relevance.
Is this Puccini reboot (of sorts) still relevant now that the LGBTQ and AIDS epidemic cultural landscape has shifted in the past two decades — to say nothing of New York City real estate?
On the other hand, is a focus on relevance really that…well,
relevant? After all, is Oklahoma and its “surrey with the fringe on top”
relevant? Is South Pacific and its hair washing man removal relevant? Will
Hamilton still be hip-hoppin’ relevant in 20 years?
Kelsee Schweigard as Maureen
The crucible for relevance of any piece of theater (define
relevance any way you please) is, ultimately, time. It’s about longevity. It’s
about audiences willing – eager even – to engage with a new production of a
show and embrace it anew. Within this context, the relevance of Rent,
now 20 years on, is proved by its ability to enthusiastically fill seats, which
this touring production certainly did on opening night at the Fox Theatre. The
audience demographic was “youthier” than some other recent Fox shows, which
makes sense because Rent is talkin’ ‘bout that younger generation that
bridges the analogue and digital worlds.
The audience was greeted immediately by Paul Clay’s muscular, industrial set design, adapted for this production by Matthew Maraffi, which provided an effective visual environment that evoked the vibe and spirit of (to cross genres) the Dandy Warhols’ “Bohemian Like You.” The lighting was noteworthy, too, appropriately shifting from candle-lit love-mood to spotlighted rock concert stage. Tucked stage right was the lean pit orchestra, led by conductor/keyboardist Mark Binns, which was seamlessly – visually and aurally – integrated into the production. In fact, it was easy to forget they were on stage most of the time.
Rent is a demanding show choreographically speaking.
It requires a range of athleticism during numbers such Mimi’s Tina
Turner-channeling “Out Tonight” to the company’s languid, funereal “Goodbye,
Love.” This production is generally up to that challenge, though Aiyana Smash as
Mimi appeared unsure and overly studied during some of her pole-dancing moves while
climbing and hanging from the railings during “Out Tonight.” Such hesitancy was
quickly forgotten after her tabletop romping later in that number.
Costume Design by Angela Wendt was true to the original and
to the 90s era it represented. Costumes were mostly rags that thankfully didn’t
veer too deeply into Uriah Heep territory and enlivened with some Jane Fonda
workout and Where’s Wally? flourishes. One misstep was the portrayal of
the riot police who wore oversized, cartoonish visors, cupped their batons like
rural sheriffs and marched like children on parade. That may have been the
intent, but it detracted from the emotional reach of their scenes.
The 20th reunion Rent benefits from a
strong, deep-bench cast:
Cody Jenkins as Mark Cohen
Cody Jenkins as Mark Cohen provided the connective tissue
throughout as both emcee and cast member. He delivered an admirable range that
modulated from affable to earnest and, at-times, angry and callow.
Coleman Cummings delivered a strong but uneven performance
as Roger Davis. On numbers that required his “big voice,” his voice was strong,
meaty and powerful, but in quieter moments he was ineffectively torpid and
lispy, even though Roger is not in good health.
Audience favorite Angel Schunard was
Pussy-Galored/Pussy-Glamoured with a cat-like, Jack Skellington-esque aplomb by
Joshua Tavares. His drag queen persona rightly drew applause and you-go-girl
affirmations, but his quieter, sick and dying scenes were equally as memorable
for their quiet power – especially his simulated puking. Schunard had the
perfect blend of range and moves for the entirety of this demanding part.
Kelsee Sweigard delivered one of the show’s most impressive
performances as Maureen Johnson during the “Over the Moon” performance art
number. She played the preposterous “milk in the cyber world” scene with a
believable, earnest awkwardness that wasn’t easy to achieve – in the same way
playing believably drunk is never easy.
Shafiq Hicks as big-man Tom Collins belted out his deep,
resonant, “Old Man River”-tinged voice in all his solos, especially his reprise
of “I’ll Cover You.” His best stage moments begged the production make a hard
stop – in only good ways – to pay special attention to his performance.
Ditto for Smash as Mimi. Smash’s show-stopping power was
evident in equal measures in her dance and singing. Her Mimi shared an impressive
spectrum of radiance, assertiveness, horniness, vulnerability and, ultimately,
transfigured.
Rent at 24 resonates a little differently than it did in its Broadway and touring heyday. Perhaps at its 30th and 40th anniversaries will find a different relevance, though audiences may need footnotes to explain references to the Sex Pistols, Spike Lee, Ecstasy, etc.
But, as Dale Carnegie (of all people) once wrote, “Your
purpose is to make your audience see what you saw, hear what you heard, feel
what you felt. Relevant detail, couched in concrete, colorful language, is the
best way to recreate the incident as it happened and to picture it for the
audience.”
Yeah, Rent does that.
The 20th anniversary tour of “Rent”
The Fabulous Fox Theatre presented “Rent” February 21-23.
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.
Alternately charming and frustrating, “Olympic Dreams” squanders its spectacular setting with a scattershot romance that ultimately is a letdown.
Two strangers in a strange land discover a mutual attraction during their stay at the 2018 Winter Olympics in PeyongChang, Korea. They are each at a crossroads in their lives. Penelope (Alexi Pappas) is a first-time Olympian whose cross-country skiing event is early in the games, so she hangs out with Ezra (Nick Kroll), a friendly volunteer dentist on a break from his fiancé.
While they explore the sights outside the Athletes Village and spend more time together, they confess being worried about the next step in their lives. Are they ready to take another leap into the unknown?
While the connection between two lonely out-of-their-comfort-zone people – a cross-country skier and a volunteer dentist at the 2018 PeyongChang Olympics – is intriguing, particularly set against the pomp and pageantry of the 23rd winter Olympic games, it feels too improvised and jagged.
I wanted to like this movie and these people much more, but after the time investment, was as unsatisfied as the couple.
Not that the film doesn’t have its merits. The youthful energy and uncertainty of a 22-year-old introverted athlete willing to pursue adventure is appealing in Alexi Pappas’ character. She certainly wants more from gregarious 37-year-old khaki-wearing Dr. E, who is funny and nice, but just too confused about his romantic status to take the next step.
When they are hanging out inside Olympic Village, it’s delightful. When they first arrive, you have a palpable sense of how overwhelmed they are by their surroundings.
This is the first narrative feature to be shot inside the Olympic Village, and its breathtaking at times. You can also feel the cold, with the backdrop of snow and ice Feb. 9-25 in Asia. The director, Jeremy Teicher, also served as cameraman, and the cinematography beautifully captures the majesty and grandeur of the setting.
The two performers also co-wrote the screenplay with Teicher, and they had a little gem of a genuine romance but its indecision and unfinished quality hinders its overall feeling.
But that insiders’ look into an athlete’s life at the Olympics and the backstage pass at events is its strongest suit. They used many real-life athletes in the film. In the end credits, they list what country each athlete is from and what sport.
And comedian Nick Kroll showing more vulnerability in a dramatic, less goofy role is another key element.
I wish all the well-intentions and lovely little parts had added up to a gold-medal victory.
“Olympic Dreams” is a romantic comedy directed b y Jeremy Teicher, starring Nick Kroll, Alexi Pappas, Gus Kenworthy. It’s rated: PG-13 for some language and sexual references. Lynn’s Grade: B- A version of this review appeared in the Times newspapers — Webster-Kirkwood Times, South County Times and West End Word.
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.
Based on true events, writer-director Yaron Zilberman chronicles the disturbing descent of a promising law student into a delusional ultranationalist obsessed with murdering his country’s leader, Israeli Prime Minister Yitzhak Rabin. It’s an unnerving look through the eyes of a murderer who silenced a powerful voice for peace.
After the 1993 Oslo accords, it looked like peace was at hand between the Israelis and the Palestinians.
But Yigar Amir, an Orthodox Jew, transformed from a hot-headed
political activist into a delusional extremist who assassinated Israeli Prime
Minister Itzhak Rabin on Nov. 4, 1995.
Zilberman methodically shows how a person can be radicalized as he identifies with fanatic groups about the decades-old violence in the Middle East. Zilberman weaves archival footage into the story, giving it the feel of a docudrama.
The movie, Israel’s submission for an Academy Award International
Feature nomination, won the Israeli award for best film. Both Yehuda Nahari, as
Yigar Amir, and Amitay Yaish Ben Ousilio, as Yigar’s father Schlomo, were
nominated but did not win.
Zilberman’s last film, “A Late Quartet,” a drama about a
string quartet with dysfunctional lives starring Phillip Seymour Hoffman,
Christopher Walker and Catherine Keener, came out in 2012.
He co-wrote this engrossing, well-researched script with
Ron Leshem and Yair Hizmi, and they get inside the psychological mindset of the
assassin and the personal turmoil affecting his judgment.
Nahari gives as srong performance as Amir, showing how his anger
fuels his delusions, as does his girlfriend leaving him as he becomes more
isolated. He recruits fighters and arms them to kill Palestinians. He thinks
that their territory is God-given and he can bring salvation to his people. He
discovers an ancient rule, The Law of the Pursuer, and insists it gives him the
right to murder Rabin.
The result is a chilling portrait into the mind of an assassin and a look at how fragile democracy can be.
“Incitement” is directed by Yaron Zilberman and stars Yehuda Nahari Halevi, Amitay Yaish Ben Ousilio, Anat Ravnizky. It is not rated, but there are scenes of graphic violence. The film is 2 hours, 3 minutes, and is in Hebrew, with subtitles. Lynn’s Grade: B+
This review also appeared in the Feb. 21 Times newspapers — Webster-Kirkwood Times, South County Times and West End Word.Timesnewspapers.com
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
The multi-award-winning Tennessee Williams Festival St. Louis proudly announces its Fifth Annual Festival for Thursday, May 7 through Sunday, May 17, 2020, headlining The Rose Tattoo. A preview performance of the play is set for Thursday, May 7, with May 8 as the official opening night. There will be more than a dozen separate elements, scheduled so that attendees may attend every one during the eleven-day run, all held in the Grand Center Arts District and on The Hill.
The theme of the 2020 Festival is “Tennessee Williams & Italy.” Williams frequently traveled to Italy, recalling in his Memoirs: “As soon as I crossed the Italian border, my health and my life seemed to be magically restored. There was the sun and there were the smiling Italians.” He wrote to his grandfather, “It is difficult to tear myself away from Italy which is the nearest to heaven that I have ever been, the people so friendly, gentle and gracious and the days so tranquil and sunny.”
In that spirit the Festival will mount a stunning production of The Rose Tattoo, set in a resilient community of Sicilian immigrants on the Gulf Coast near New Orleans.
Executive Artistic Director Carrie Houk has consulted extensively with our region’s Italian-American community to ensure their engagement and to provide authenticity.
Festival highlights include:
▪ Williams’ Tony award-winning masterpiece The Rose Tattoo, which is currently enjoying a triumphant revival on Broadway. The Rose Tattoo will be staged at The Grandel Theatre.
▪ A new collection of Williams’ one-act plays, The St. Louis Rooming House Plays, will provide an immersive experience in Grand Center’s historic Stockton House, where audience members will move from room to room and play to play. Previous versions of this remarkable theatrical experience have been some of the hardest-to-get tickets in town.
▪ An academic series, “Tennessee Williams and his Midwest Experiences,” will bring noted scholars and historians from around the world to discuss how Williams’ life in the Midwest influenced his later life and his works. As audience members will see, his life events in the Midwest permeate his works, and are even directly relevant to his Italian experiences.
▪ A variety of special events including: Tennessee Williams Bus Tour; La Dolce Vita Pool Party at the Last Hotel (formerly the International Shoe Company where Tennessee Williams worked); a staged reading of Glass (which imagines what transpired between Tennessee Williams and lead actress Laurette Taylor on the opening night of The Glass Menagerie) by Michael Aman; Amor Perdido, composed of Williams works that are new to the stage, from the University of Illinois; screenings of Italian-themed The Roman Spring of Mrs. Stone and Boom; “TW Jam”, a late-night jam of poetry, monologues and music; “Tennessee Williams Tribute” at Guido’s on The Hill; the “Williams Playwriting Initiative;” panels, parties, conversation, and much more.
“We are proud that, in five years, the Tennessee Williams Festival has become one of St. Louis’ most widely attended and anticipated cultural events,” said Houk, the Festival’s founder. “Last year, our attendance soared and we were showered with awards. In our fifth season, we aspire to go even further.”
Lead sponsorship of the festival is provided by Emerson. The Festival is also funded in part by Mary Strauss, Ken and Nancy Kranzberg, The Whitaker Foundation, Regional Arts Commission, the Missouri Arts Council, Missouri Humanities Council, Trio Foundation of St Louis and the Arts and Education Council.
Tickets will go on sale March 1 through Metrotix and at the Fox box office.
For more information, including parking, food, hotels, etc., please contact Helene Estes at info@twstl.org. For media inquiries, please contact Marla Stoker Ballenger at marla@marqueemediastl.com or at (314)-997-5525.
About the Festival
The Tennessee Williams Festival St. Louis was established in 2016 by Carrie Houk, the award-winning producer, casting director, actor, and educator.
The Festival, which aims to enrich the cultural life of St. Louis by producing an annual theater festival and other artistic events that celebrate the artistry and life of Tennessee Williams, was named the 2019 Arts Startup of the Year by the Arts & Entertainment Council.
In 2014, Houk produced Williams’ Stairs to the Roof with such success that the on- going annual Festival was established. The inaugural Festival was themed “Tennessee Williams: The St. Louis Years,” followed by “The Magic of the Other” in 2017 and “The French Quarter Years” in 2018. The 2019 festival featured Night of the Iguana and A Lovely Sunday for Creve Coeur. As the years have passed, the awards have mounted. Last year’s St. Louis Theater Circle gave them eleven nominations and seven awards, and has nominated them for seven more awards this year. The Festival has attracted thousands to its readings, panel discussions, concerts, exhibitions, and productions.
Tennessee Williams
About Tennessee Williams
Born Thomas Lanier Williams III in 1911 in Mississippi, Williams moved to St. Louis at age seven, when his father was made an executive with the International Shoe Company (where the City Museum and the Last Hotel are now located). He lived here for more than two decades, attending Washington University, working at the International Shoe Company, and producing his first plays at local theaters. He credited his sometimes difficult experiences in St. Louis for the deeply felt poetic essence that permeates his artistry. When asked later in life when he left St. Louis, he replied, “I never really left.” Most people are familiar with the famous works that have garnered multiple Pulitzer Prizes, Tony Awards and Academy Awards, such as The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof and Suddenly Last Summer. He also wrote hundreds of additional plays, stories, essays, and poems, many of which are only now seeing the light of day as his estate permits greater access. He is today considered by many leading authorities to be America’s greatest playwright.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
In 1999, Slightly Askew Theatre Ensemble began as Off Center Theatre, a community theatre group. Then in January 2001, the company began to pay artistic and technical staff, making the switch to becoming a non-Equity professional theatre company. In this capacity, Off Center presented 15 productions from 2001 to 2005.
Founding Artistic Director, Margeau Baue Steinau, took over directorship of the company in 2005, shortly after which, in 2006, Steinau and other local artists formed Slightly Askew Theatre Ensemble (SATE), under the umbrella of Off Center Theatre.
To mark the year 2020, SATE is looking back on productions from its history. We are re-visiting plays that were popular with audiences at the time and deserve another production. Given the growth of the company over the past 20 years, HINDSIGHT IS 20/20.
The SEASON OF HINDSIGHT will include the following productions:
Aphra Behn Festival, SATE’s annual festival founded in 2017, highlighting woman directors and designers (March 6-8, 2020)
Top Girls by Caryl Churchill, originally produced in 2009, examining the paradoxical lives of women in the workforce and at home, directed by Rachel Tibbetts (Aug. 12-29, 2020)
Classic Mystery Game adapted and directed by Keating, originally produced in 2019, investigating Western society in 2020 through the lens of the 1985 movie, CLUE (Oct. 28-Nov. 21, 2020)
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.
