Winners of the St Louis High School Musical Theatre Awards Announced

Winners of the St Louis High School Musical Theatre Awards Announced

The St. Louis High School Musical Theatre Awards winners were announced Thursday, May 15 at The Fabulous Fox. The ceremony was hosted by 2019 & 2020 SLHSMTA Outstanding Lead Actor winner Michael Harp and directed by Lee Anne Mathews. The winners were named in 19 categories (plus WOW! Performance Awards and Special Recognition Awards) including the Outstanding Lead Actress
and the Outstanding Lead Actor who will go on to compete in the Jimmy Awards/National High School Musical Theatre Awards on Monday, June 23 at the Minskoff Theatre in New York City, presented by The Broadway League Foundation.

Outstanding Musical Level 1:
Westminster Christian Academy, Hello, Dolly!

Outstanding Musical Level 2:
Lutheran High School South, Little Women

Outstanding Lead Actress, Amelie Lock for her performance as Emma in Ladue High School’s production of The Prom: School Edition
Outstanding Lead Actor, Tyler Bugg for his performance as Orpheus in Liberty High School’s production of Hadestown: Teen Edition

Outstanding Lead Actress:
Amelie Lock | Ladue Horton Watkins High School

Outstanding Lead Actor:
Tyler Bugg | Liberty High School

Outstanding Supporting Actress:
Molly Sallaberry | Saint Louis Priory School

Outstanding Supporting Actor:
Kevin Friel | Lutheran High School South

Outstanding Student Costume Design & Execution:
Clara Walker & Emily Nguyen | Liberty High School

Outstanding Faculty Costume Design & Execution:
Jenn Erickson | DaySpring Arts & Education
Dianne Mueller | Westminster Christian Academy

Outstanding Ensemble:
Lutheran High School South, Little Women

Outstanding Orchestra:
Edwardsville High School, Chicago: Teen Edition

Outstanding Student Scenic Design & Execution:
Allena Mitchell & Avery Bowen | Liberty High School

Outstanding Faculty Scenic Design & Execution:
Eden Hudder | Frist Baptist Academy
Rick Christensen | Francis Howell Central High School

Outstanding Student Choreography: Outstanding Faculty Choreography:
Sophia Huddleston | Mary Institute and St. Louis Country Day School

Katheryn Pennington | Lutheran High School of St. Charles County

Outstanding Student Technical Execution:
Rachel Church | Liberty High School

Outstanding Faculty Technical Execution:
Evan Sanft | Lutheran High School South

Outstanding Musical Direction:
Carter Datz | Liberty High School

Phylan Peters-Bahkou | Lutheran High School South

Outstanding Direction:
Phylan Peters-Bahkou | Lutheran High School South

Student Reporters:
Eric Perschbacher Belleville West High School
Jane Nordstrom, Visitation Academy

Special Recognition Awards and WOW! Performance Awards for outstanding work in support of the
production were also given out.

SPECIAL RECOGNITION:
Awarded for an outstanding performance in a role not eligible for a nomination.
 Bayless High School
 Christian Brothers College High School
 Oakville High School
 St. Joseph’s Academy

WOW! MOMENTS:
Awarded to a production for something that goes above and beyond what is expected of a traditional high
school production
 Eureka High School
 Hazelwood West High School
 Rockwood Summit High School

CAROL B. LOEB PRODUCTION ENHANCEMENT AWARDS:
Created to provide investments in the technical production elements of select High School theatre programs.
 Incarnate Word Academy
 University City High School



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

About The Jimmy Awards® / National High School Musical Theatre Awards®
The Jimmy Awards®/The National High School Musical Theatre Awards® (NHSMTA®) program impacts more than 100,000 students who participate in high school musical theatre competitions sponsored by presenters of Touring

Broadway productions throughout the United States. Presented by the Broadway League Foundation, the program sends a Best Actress and Best Actor winner from each of these competitions to New York for a week-long theatre intensive of coaching and rehearsals with industry professionals in preparation for a one-night-only talent showcase on Broadway. Named for Broadway impresario James M. Nederlander, the program has been the catalyst for more than $2,000,000 in educational scholarships.

The fourteenth annual Jimmy Awards® will take place on Monday, June 23, 2025 at the Minskoff Theatre on Broadway. Coaching and rehearsals for this one-of-a-kind event will be held Saturday, June 14, 2025 through Monday, June 23, 2025 in New York City. For more information, please visit www.JimmyAwards.com.

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

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Scene-Stealers in Satin: OTSL’s “Die Fledermaus” Pops a Cork in 1960s Manhattan – And To Its 50th Season

Scene-Stealers in Satin: OTSL’s “Die Fledermaus” Pops a Cork in 1960s Manhattan – And To Its 50th Season

By CB Adams

“Die Fledermaus” is a sparkling comedy of mistaken identities, romantic mischief and champagne-fueled revenge. In Opera Theatre of Saint Louis’s new production, director Shawna Lucey reimagines Johann Strauss II’s classic operetta in the sleek, high-society world of 1960s Manhattan, where cocktail culture and social games set the stage for elegant chaos.

But within this stylish interpretation, there’s something a little new: theft. This “Die Fledermaus” gives new meaning—not just of time and trust, but of the spotlight itself. Nearly every performer finds a moment (or more) to dazzle, tease or upend expectations, and by the curtain call, the show has delivered its comic comeuppance—and it’s stolen your heart. What a way fabulous and fun way to start the company’s current four-opera festival and celebrate its 50th year!

OTSL’s “Die Fledermaus” is a fizzy, stylish delight, reimagining Strauss’s operetta in the sleek, mid-century world of sharp tailoring, cocktail culture and social intrigue. Director Lucey leans into the era’s glamour and satire, crafting a production that feels timeless and freshly minted. The setting proves an ideal backdrop for the operetta’s themes of disguise, flirtation and comic reckoning.

Two scenes in particular showcase the production’s inventiveness and theatrical flair. One is the Act II party, relocated to Prince Orlofsky’s Manhattan penthouse shaken and stirred with a dazzling swirl of martinis, mod fashion and musical mischief. The party becomes a playground for mistaken identities and social games with Kelsey Lauritano’s delightfully eccentric Orlofsky presiding over the chaos like a bemused Warholian host.

Lauritano’s smoky, wine-dark mezzo and magnetic presence give the character a cool detachment and sly charisma. Channeling a touch of Judy Garland glam, Bob Mackie sparkle and the cool mystique of Marlene Dietrich—think, too, of Maurice Chevalier with a Russian accent—she transforms the traditionally male role into a showcase of flair and effortless command.

Sara Gartland shines as Rosalinde, bringing vocal radiance and comic precision to a role that demands transformation and versatility. Her journey from a weary, overlooked housewife to a commanding Hungarian countess is one of the production’s most fun performances.

The role calls for lyrical warmth and agile coloratura, especially in the aria “Klänge der Heimat,” where Gartland’s expressive phrasing and technical finesse reveal Rosalinde’s emotional depth and theatrical flair.

Deanna Breiwick as Adele. Photo by Eric Woolsey.

Deanna Breiwick’s Adele, masquerading as an actress, seizes every comic beat with sparkling wit and vocal agility, her luminous soprano effortlessly navigating the role’s coloratura flourishes. With a stage presence that radiates charm and precision, she blends vocal athleticism with a keen sense of comedic timing, making each moment feel both spontaneous and impeccably crafted.

The visual centerpiece of this production is Robert Innes Hopkins’ dazzling set for the Act II party at Prince Orlofsky’s penthouse—a gleaming, mid-century Manhattan fantasia that perfectly captures the production’s blend of elegance and irony. Known for designs that marry classical structure with theatrical flair, Hopkins creates a space that feels both expansive and intimate, a playground for disguise and deception bathed in sleek lines and shimmering surfaces.

His costume designs are equally impressive, with every character—from leads to ensemble—dressed in looks that evoke period glamour with a wink of camp. Even background figures are meticulously imagined, including one party guest who looked like a vintage Barbie doll come to life, adding layers of visual delight to an already sumptuous scene.

Oscar Olivo as Frosch. Photo by Eric Woolsey.

The other showstopper is the Act III police station scene that shifts gears into full farce, set in a stylized, grungy precinct with “NYPD Blue” and “The French Connection” vibes. Here, the production leans into physical comedy and improvisational energy, with Oscar Olivo’s Frosch, delivering a riotous performance as a world-weary jailer whose antics nearly steal the show.

Robert Mellon’s Frank, the prison warden, is a comic gem, and the ensemble’s timing is razor-sharp. The scene’s loose structure allows for playful invention, and this cast makes the most of it, turning bureaucratic absurdity into comic opportunities.

The cast is uniformly strong, brimming with vocal brilliance and sharp comedic instincts. It’s not easy to pinpoint who deserves the most credit—the singers, Lucey or choreographer Seán Curran—for sustaining such energetic, physically demanding movement across the stage while maintaining vocal clarity. It’s a shared achievement that speaks to the production’s careful coordination and the performers’ versatility.

Edward Nelson’s Gabriel Von Eisenstein is a suave, self-assured figure whose downfall is as satisfying as it is hilarious. Johnathan McCullough brings suave authority to Dr. Falke, his baritone warm, polished, and effortlessly expressive. He shapes each phrase with clarity and control, balancing elegance with a knowing wink.

Robert Mellon as Frank the jail warden. Photo by Eric Woolsey.

Joshua Blue is a scene-stealing (but not too scene-stealing) Alfred, reveling in the character’s theatrical bravado and romantic delusions. His tenor is vibrant and ringing, with a golden tone that soars through Strauss’s lyrical lines. Blue’s voice combines power and warmth, and he uses it with a natural ease that makes Alfred’s over-the-top antics feel hilarious and oddly endearing. His comic instincts are sharp, but it’s the sheer beauty of his singing that elevates the performance beyond caricature.

Sophia Baete brings youthful energy and vocal clarity to Sally, Adele’s sister. Her agile, expressive mezzo and confident stage presence make her a memorable part of the ensemble.

Gregory V. Sliskovich is another comic standout as the hapless lawyer, Dr. Blind, delivering his lines with crisp timing and a keen sense of physical humor. His tenor is bright and flexible, lending a buoyant energy to the role that enhances the character’s frantic absurdity without ever losing vocal finesse.

Edward Nelson as Eisenstein, Johnathan McCullough as Dr. Falke, and Robert Mellon as Frank. Photo by Eric Woolsey,

With gorgeous singing, razor-sharp comic timing and a setting that breathes new life into Strauss’s classic, “Die Fledermaus” at OTSL is a jubilant blend of tradition and reinvention—just as Strauss might have imagined. In the week leading up to the performance, I met three people who admitted they’d never been to an opera and found the idea intimidating. I suspect many opera-goers know people like that.

This production is the perfect invitation—accessible, effervescent and irresistibly fun. And in a time when the arts need all the support they can get, buying a ticket and bringing a newcomer isn’t just a good night out—it’s an investment in the future of live performance.

Opera Theater of St. Louis’ “Die Fledermaus” runs in repertory as part of their festival season through June 29. Visit https://opera-stl.org/.

Party time at Orlofsky’s. Photo by Eric Woolsey.
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Summer of the Shark Events At Union Station Aquarium Through Labor Day

Summer of the Shark Events At Union Station Aquarium Through Labor Day

Daily Dive Shows, Touch a Shark, American Museum of Natural History Exhibit ‘Sharks’ Highlight Summer Fun

You don’t have to travel to the ocean to see sharks this year. Summer of the Shark is open in St. Louis at America’s most interactive aquarium.

Sharks on the Mississippi River? Yes! The kings of the deep have arrived in St. Louis and are staying for the entire summer.Get ready for an unforgettable aquatic adventure at the St. Louis Aquarium, celebrating the Summer Of The Shark with exciting hands-on activities, experiences and exhibits featuring these magnificent creatures.

Visitors are immersed in a world of shark-centered adventures designed to get them up-close and personal with the rulers of the ocean. Summer Of The Shark focuses the Aquarium’s attention on its resident sharks with special events every day, including:

Shark Feeding Spectacle — Thursdays at 9:30 a.m. (First 30 guests)
Shark Canyon Dive Shows — 1:15 p.m. daily
Design a Shark Crown in KidsZone — all open hours
“Shark Twain” Mascot Meet & Greet — various times daily
Shark Nursery: Touch a Mermaid’s Purse Egg — all open hours
Shark and Ray Touch Pool — all open hours
Shark Activity Cart – 9 to 11 a.m. and 2 to 4 p.m. Activities change daily
Artifacts Display — all open hours
Sharks Exhibition — all open hours

Behind -the-scenes tours are offered at 10 a.m.12 p.m. and 3 p.m. daily. A 45-minute guided tour takes visitors through the lives of the sharks and their caretakers. This add-on experience is purchased separately from the all-day Aquarium pass.

A variety of shark species live at the St. Louis Aquarium, including:

White Tip Reef Sharks
Bonnethead Sharks
Brownbanded Bamboo Sharks
Tasselled Wobbegongs
Australian Marbled Catsharks
Blacktip Reef Sharks
Nurse Sharks
Zebra Sharks
Sandbar Sharks
Blacknose Sharks
Whitespotted Bamboo SharksWobbegong Sharks

SHARKS FROM THE AMERICAN MUSEUM OF NATURAL HISTORY

Summer Of The Shark includes a deep dive with Sharks, an exhibition from the American Museum of Natural History. The St. Louis Aquarium is the first to host this amazing touring exhibition.

Visitors will learn about ancient sharks and explore new discoveries about today’s sharks. Learn about their sixth sense and much more in this special exhibit. Sharks is organized by the American Museum of Natural History, New York (amnh.org) with support from Fundación Coppel A.C. The Museum gratefully acknowledges Warner Bros Discovery for its generous support of Sharks. A selection of footage in Sharks has been provided by Discovery’s Shark Week.

WHEN YOU GO

Learn more about Summer Of The Shark at the St. Louis Aquarium at Union Station here: https://www.stlouisaquarium.com/summer-of-sharks

The St. Louis Aquarium at Union Station is located at 201 S. 18th Street in historic St. Louis Union Station. Follow the Aquarium and its sharks on social media @aquariumstl.

Aquarium tickets are available online at www.stlouisaquarium.com or in person at the ticket window. Advance tickets are recommended.

Take a Shark Staycation at the St. Louis Union Station Hotel, a Curio Collection by Hilton. Click here for hotel packages and additional information.

Beyond the Aquarium, St. Louis Union Station’s attractions include the 200-foot-tall St. Louis Wheel, the 18-hole St. Louis Mini-Golf, the St. Louis Carousel, Selfie Express train-themed photo illusions, the St. Louis Ropes Course, the A-Maze-ing Mirror Maze and outdoor carnival games. Three new rides open in the Wheel Park in August 2025. Restaurants at Union Station range from the diner-style Soda Fountain and the soccer-themed The Pitch Athletic Club to the Train Shed gastropub, quick service 1894 Cafe and the Station Grille. Family activities are scheduled every Saturday through Labor Day on the Purina Performance Plaza. St. Louis Union Station details are at www.stlouisunionstation.com.

Built in 1894, St. Louis Union Station was the biggest and busiest train terminal in the nation with service from 22 railroads at the crossroads of America. Today the family entertainment destination pays tribute to that history throughout the campus

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Sightlines: Why May 23 Is a Very Special Date in Our Family History

Sightlines: Why May 23 Is a Very Special Date in Our Family History

By Lynn Venhaus
A little history from this day, May 23: On this date in 1959, the show “Wrestling at the Chase” made its debut on KPLR (Ch. 11); it ran for 24 years.

In 1934, a law enforcement posse ambushed and killed Depression gangsters Bonnie and Clyde in Gibsland, Louisiana, ending a two-year crime spree that left 12 dead.

In 1980, Stanley Kubrick’s “The Shining” opened.  In 1969, The Who released “Tommy,” the first rock opera. In 2010, ABC drama “Lost” aired its finale after six seasons.

And in 2013, Charlie Venhaus was declared in complete remission from his rare, aggressive, t-cell, non-Hodgkins’s lymphoma after nearly seven months from diagnosis, then treatment with both chemotherapy and radiation. Cancer free! And it has not come back.

What a smile! May 23, 2013. Charlie Venhaus cancer-free!

Can I get a Hallelujah? It was brutal, and I felt helpless, but his strength, everyone’s support and the incredible health care teams lifted us through a very dark time.

It’s always a good day to remember this milestone, even if it’s very late. Always must mark today in family history because it means a lot, and with each advancing year, its meaning is deeply felt. What a journey it has been.

We are forever grateful to family, (Venhauses and Zipfels, and more), his co-workers, my co-workers, colleagues, all our tribes, neighbors, acquaintances, Charlie’s Brooklyn pals, Foley’s gang, his advertising company, old friends, new friends, classmates. It meant so very much.

No one fights alone, and he/we were blessed with so much love, prayers, and good mojo – angels among us. Of course, we dubbed you all “Charlie’s Angels.” And you were – and are.

Friends who accompanied him to doctor appointments, sat with him when he was too weak to do anything but lie in bed, who made meals, took him for a ride in the fresh spring air, called, came by, so many acts of generosity and concern. People who asked me how he was every time I saw them.

I realize not everyone is so fortunate, and the list of friends and relatives who’ve lost cancer battles gets longer every year. What a struggle so many have endured bravely. I thought telling our 70-year-old mom to let go in 2001 after her courageous battle with lung cancer would be the toughest time of our lives, but other challenges would be ahead.

I celebrate Charlie as a superhero and a fighter throughout his life — but I also must always recognize the superhero doctors and nurses – forever grateful for those staffs at Beth Israel Hospital in New York City and Siteman Cancer Center in St. Louis who took such good care of him. Everyone we encountered were truly compassionate, caring experts.

We started out very scared on this uncharted course in December 2012. Charlie called with the news on Dec. 3 that he wasn’t having outpatient surgery for polyps in his nose, that it was instead a malignant tumor. Charlie thought he had a sinus infection that wasn’t going away. A sharp ENT Dr. Madeleine Schaberg noticed something that wasn’t quite right — ordered a biopsy, and yep – cancer. Because of her early diagnosis, she helped save his life.

I traveled to NYC for his consulting doctor appointments — we saw six doctors in three days. I took many notes to share with his dad Bob Venhaus, calling him after each visit. When doctors in New York City tell you that they have never seen this cancer in a young white male, well then, you know you are in for one tough ride. He was 24.

According to the American Cancer Society, only 1 percent of people in their 20s get cancer (4 percent under 40 total!),

Charlie called it another bump in the road, and went through it with a ‘keep on keeping on’ attitude even when it was awful. Inspiring. He doesn’t like a lot of fanfare, but what a champ.

Nurse Practitioner Cathy Concert, left, and Dr. Kenneth Hu, at right. Cathy told us that it was so important that I was there, that Charlie had a lot of support. Attitude was also key.

They treated it very aggressively. He was among only 12 percent of lymphoma patients who get both chemo and radiation, and it flattened him, but wow, he fought back hard.

Radiation started in January 2013 at Beth Israel in NYC, 35 treatments. By Friday, Jan. 18, he was so debilitated, he would not be able to work. On Monday night, he called me, and it was clear he needed a caregiver, so I went to Brooklyn, stayed three weeks. At his doctor appointment with him, Dr. Hu had told him: “We’re really worried about you.” He had what appeared to be second degree burns in his throat, and thrush. He was so miserable. They upped his meds.

Then, his dad came to stay a week, and in March, Tim used his spring break week to take care of Charlie and be there for this first chemo treatment. He did not do well, for his body wasn’t ready for it.

The plan was three rounds of chemotherapy (each 3-day 8-hour infusions, followed by one day booster shot). After the one in NYC, and after Tim’s report of how infirmed he was, his dad and I talked about temporarily moving him home so we could have our families and his friends help. We coordinated a move between the doctors there and Siteman — NYC was on board with him being home and wanted Siteman to follow their treatment plan, as since this was the first time dealing with it, they basically were ‘guessing,’ and Siteman was fine with all of this. He came home March 28, and they were able to fit him in for the other two without too much delay.

When Dr. Nancy Bartlett (who told us they had only seen this kind in one young white male about a year before Charlie!) gave us the good news the afternoon of May 23, 2013, that became the best red-letter day ever. I am hopeful that because of Charlie’s case success, they could better treat others down the road.

Charlie had lost 34 pounds and all his hair. He returned to Brooklyn in June, went back to work as a media strategist weeks later, at first part-time, then eased back into a normal routine. His advertising company, PHD Media (a division of Omnicom) was absolutely wonderful to him).

He had wondered aloud if he would ever again get back to normal. But his healing was truly remarkable.

Doctors said that if it didn’t return within two years, he should be in the clear. We could finally breathe at the five-year “survivor” mark, and he ran in the NYC Marathon for the Leukemia and Lymphoma Society on Nov. 4, 2018.

Charlie and his wife Maria after running the NYC Marathon Nov. 4, 2018.

Outstanding oncologists Dr. Kenneth Hu and Dr. Ilan Shapira kept a watchful eye on him at regular tests/check-ups in NYC, but now he’s no longer a patient. Dr. Hu was a lymphoma survivor when he was a young teen.

To see what he has overcome, and become, is truly a remarkable and wondrous thing. I marvel at our minds, bodies and spirit — the healing powers that are present. Early detection and good medical care are factors, too.

There is no rhyme or reason to life sometimes, and when it knocks you down, you must get back up. We don’t know how long we get, so we might as well live life to the fullest while we can. Every day is a gift. Charlie has embraced that attitude with gusto. He continues to be resilient and determined. We can never know what the future holds, but we can move on one day at a time with optimism, grace and humility. And be there for each other.

The outpouring of affection for my son and our family is very humbling. Please know it mattered, and we noticed. And if we can help anyone else with hope and healing, we are here for you. Let’s work on ending this Big-C. Too many loved ones suffer. Thank you. Thank you. Thank you.

#Neverevergiveup.

Tim, Charlie and I at The Washington Square Arch in the park in Greenwich Village — not to far from where Charlie went through his medical procedures at then Beth Israel Hospital nearly two years earlier.
Ringing the bell at Siteman after the last chemo treatment first week of May 2013.
Charlie during his 2009 summer internship at NBC. He would move to NYC in February 2011.
Charlie on San Francisco trip in 2016.

Cover photo: Mother’s Day 2013, Giant City Water Tower in Makanda, Ill. Tim had just graduated from SIU-Carbondale the day before, and we went to the Lodge for Mother’s Day dinner. We climbed up the water tower afterwards.

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‘Mission: Impossible – The Final Reckoning’ Is An Exhilarating Epic

‘Mission: Impossible – The Final Reckoning’ Is An Exhilarating Epic

By Lynn Venhaus

Superspy Ethan Hunt is not a superhero, but Tom Cruise is built like one in talent and temperament. Perhaps his superpower is his character’s fierce and unwavering loyalty to his Impossible Missions Force ‘team,’ as exemplified in the full-throttled grand finale “Mission: Impossible – The Final Reckoning.”

Over eight movies in 29 years, he has played the maverick secret agent trying to stop an enemy force to prevent global disaster with the fierce bravado everyone expects. Now 62, he continues to demonstrate remarkable physical dexterity, performing his own stunts – and they are next level here, his best yet.

Eye-popping, jaw-dropping and breathtaking feats in the sky, water and on the ground — the derring-do is dazzling once again, for writer-director Christopher McQuarrie pushes the team farther with each chapter.

With his daredevil gravity-defying aerial sequences and underwater action in the Bering Sea, he outdoes the thrilling train escapade and stunning motorcycle dive in “Dead Reckoning, Part I.”

Preventing the world from Doomsday this time around is exciting, exhilarating and surprisingly emotional, a fitting way to kick off the summer movie season and effectively wrap up this series – if this is its swan song.

Starting in 1996, this storied espionage franchise followed the missions of an elite covert government agency, a movie adaptation of an award-winning and popular television series created by Bruce Geller that ran for seven seasons (1966-1973) on CBS.

That’s when Cruise as Hunt, Henry Czerny as Eugene Kittridge and Ving Rhames as technical wizard Luther Stickell first appeared, directed by Brian DePalma. The ensemble cast grew to include Simon Pegg as Benji Dunn beginning in “Rogue Nation.” Kittridge, the former IMF deputy director, became CIA director and showed up in the last two films.

Sequels arrived in 2000, 2006, 2011, 2015, 2018, 2023 and now. After DePalma, John Woo, JJ Abrams and Brad Bird directed the first four, McQuarrie took over with “Rogue Nation” (MI5) and has been at the helm ever since.

McQuarrie, Oscar winner for “The Usual Suspects” original screenplay, also co-wrote the script with Erik Jendresen, who was on board for the last installment. They’ve crafted a smart, suspenseful storyline that believably escalates the tension.

“Our lives are the sum of our choices,” we’re told, and after a flashback montage of the previous seven films, we are caught up to speed (literally and figuratively) since the movie a mere three summers ago.

That’s when the “Entity” materialized as a massive artificial intelligence that could wage the apocalypse because it is so advanced it manipulates reality and the truth to cause endless chaos. Hunt and the IMF team continue their search for this terrifying AI. By now, it has infiltrated intelligence networks all over the globe – with the world’s governments and a mysterious ghost from Ethan’s past on their trail.

In this version, the dire threat it represents is made clearer, and we grasp its power, so we understand the higher stakes. Esai Morales returns as the morally bankrupt Gabriel, who wants control of the Entity. He is a slippery, shadowy figure, ruthless to the core.

Like Harrison Ford as Indiana Jones, Cruise has crafted Hunt to make him his own, with his specific energy and intensity. Of course, Hunt goes rogue because he doesn’t follow rules that won’t produce a favorable result. The action gets more elaborate and the plots more high-tech focused with each chapter, and you expect Cruise to be all systems go, deliver the adrenaline rush.

With some new allies this time, Hunt has brought a fearless band together, and their warmth and humor stand out. Hayley Atwell’s Grace is a former pickpocket and thief and Pom Klementieff is former assassin Paris, who both turned on Gabriel and are now helping IMF.

Greg Tarzan Davis is agent Degas, who has switched sides from hunting Hunt, and Shea Wigham’s character arc as Briggs is best not spoiled as allegiances shift and the plot twists.

A pleasant surprise is the return of Rolf Saxon as William Donloe, a CIA analyst who was a minor character in the first film but is back in a more substantial way this go-round. His memorable wife Tapeesa is played by the charming Lucy Tulugarjuk.

Links to the past and present are threaded throughout this spectacle, which is another fine gesture.

The sprawling cast of formidable character actors includes Angela Bassett as U.S. President Erika Sloane, the former CIA director, and playing the military brass are Nick Offerman as Chairman of the Joint Chiefs of Staff General Sidney, Holt McCalleny as Secretary of Defense Serling Bernstein, and Janet McTeer as Secretary of State Walters. Tramell Tillman is a Navy ship commander and Hannah Waddingham as a rear admiral in charge of an aircraft character.

While there are physical encounters, most of the film’s details feature very precise digital cyberspace codes and gadgets, and timing is everything as the IMF team races against the clock.

The film, at 2 hours and 49 minutes, doesn’t feel draggy, but it could have been shaved a little in the mega-action set pieces. Nevertheless, fans are certain to embrace all the elements they’ve grown to enjoy over these 29 years, not the least of which is that iconic music. Hearing composer Lorne Balfe’s orchestrations on Lalo Schifrin’s unmistakable theme song is one of this franchise’s best features.

McQuarrie and Cruise have collaborated on more than this franchise, and it’s a potent pairing — on “Valkyrie” in 2008, followed by “Jack Reacher” and “Edge of Tomorrow.” McQuarrie also contributed to the “Top Gun: Maverick” script.

But this is their legacy. And if they don’t continue, this will stand alone in a significant way. You can be assured they’ll “figure it out.” “Mission: Impossible – The Final Reckoning” isn’t perfect, but it is a dandy experience.

“Mission: Impossible – The Final Reckoning” is a 2025 action adventure directed and co-written by Christopher McQuarrie. It stars Tom Cruise, Hayley Atwell, Simon Pegg, Ving Rhames, Pom Klementieff, Nick Offerman, Holt McCalleny, Angela Bassett, Shea Wigham, Greg Tarzan Davis, Hannah Waddingham, Rolf Saxon, Tramell Tillman. Janet McAteer and Lucy Tulugarjuk. It is rated PG-13 for sequences of strong violence and action, bloody images, and brief language and the run time is 2 hours, 49 minutes. It opens in theatres May 23. Lynn’s Grade: A-

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Cruise Goes All-Out in Nostalgic, High-Octane Blockbuster ‘Mission: Impossible – The Final Reckoning’

Cruise Goes All-Out in Nostalgic, High-Octane Blockbuster ‘Mission: Impossible – The Final Reckoning’

By Alex McPherson

Tense, nostalgia-heavy, and featuring mind-boggling set pieces with Tom Cruise yet again putting his life on the line for our entertainment, director Christopher McQuarrie’s “Mission: Impossible – The Final Reckoning” is a rip-roaring summer thrill ride that trades plot finesse for pure spectacle and a heavy dose of earnestness.

“The Final Reckoning” continues the story of sentimental daredevil Ethan Hunt (Cruise) and his trusty group of Impossible Mission Force (IMF) cohorts as they face off against the self-aware, rogue AI “the Entity” introduced in 2024’s “Dead Reckoning.”

The Entity has grown to be an all-knowing threat that’s destabilized governments across the globe, inspired a cult of brainwashed followers, and, in four days time, will have control of the world’s nuclear arsenals, setting the stage for catastrophic destruction. The United States government, led by President Sloane (Angela Bassett), who is surrounded by a posse of officials with itchy trigger fingers, is weighing pre-emptive strikes on the other nuclear capitals before the US loses control. 

After the motorcycle-base-jumping, train-dangling antics of “Dead Reckoning,” Ethan gained possession of a cruciform key from the Entity’s primary henchman, Gabriel (Esai Morales), that is critical to ending its reign of terror once and for all. Getting the key was just the start, though, as Ethan and his team must locate the Sevastopol, a sunken vessel at the bottom of the Bering Sea containing the Entity’s source code.

Luther (Ving Rhames) and Benji (Simon Pegg) developed a “poison pill” that, once slotted in, should neutralize the dastardly system. A particularly vengeful Gabriel, having been sidelined by his AI overlord, wants to control it for himself. 

With the help of Luther, Benji, thief-turned-love-interest Grace (Hayley Atwell), reformed villain Paris (Pom Klementieff), and other returning and new faces, hope remains, no matter how far-fetched it seems. Ethan takes every opportunity to (literally) run towards danger if it means saving the world and, most importantly, his friends.

The stakes couldn’t be higher, and the whole endeavor gets rapidly convoluted as more parties get involved and over-the-top plans are set in motion (inevitably winding up improvised with near-”Looney Tunes”-level chaos).

The talky first hour renders “The Final Reckoning” narratively clunky initially. It doesn’t fully find its groove until the main plan is set and the explosive, expertly choreographed set pieces ramp up. Even during its most haphazard moments, though, a soulful energy remains. Faults and all, “The Final Reckoning” achieves the mission of delivering pure, nail-biting, popcorn entertainment.

This potentially last “Mission: Impossible” is a more somber and self-reverential affair than most, with McQuarrie and Erik Jendresen’s screenplay taking ample time to establish the stakes of the Entity’s goals and to tie into previous entries. It also continues unabashed hero worship of both Ethan and Cruise as one of cinema’s last remaining “movie stars.” 

Indeed, it’s a messy, jam-packed opening stretch, chock full of indulgent montages and exposition dumps delivered with straight-faced goofiness by an ensemble fully on McQuarrie’s wavelength. This is complemented by fast-paced editing and cinematography that captures an anxious, sweat-drenched energy as the world teeters on the brink of annihilation. 

Emotions and Big Moments are rushed, particularly regarding one key character, and if one wanted a more contemplative pace than “Dead Reckoning,” that certainly won’t be found here; nor will much elaboration on the themes of fate vs. free will established in that film.

Much of the ambiguity surrounding the Entity in “Dead Reckoning” is gone here, too, with the evil system given a literal voice and opportunities to bluntly lay out its villainous designs. But most everything works to build tension, setting the stage for second and third acts that achieve real cinematic bliss.

Given that most of the cloak-and-dagger spycraft is sidelined from “Final Reckoning,” we expect some spectacular action filmmaking, and McQuarrie wholeheartedly delivers on that front. There are always multiple high-stakes scenarios happening at once, and McQuarrie zips between them with ease, making strong use of cross-cutting to underline the interconnectedness of each character’s role and to emphasize the ever-present countdown towards potential Armageddon.

Two sequences in particular stand out. The first is a visually striking, wordless swim sequence from a submarine to and aboard the precariously-perched Sevastopol, complete with intensely detailed sound design and a rotating set that stands toe-to-toe with Christopher Nolan’s work in “Inception.” It’s both patient and nerve-rattling, with each new growl of the lurching ship signalling fresh chaos for Ethan.

The second features the most impressive big-screen stunt work in recent memory: a frantic fight atop multiple planes doing barrel rolls in South Africa, with Ethan/Cruise hanging onto the wings for dear life as horns on Lorne Balfe’s score blare with each stomach-churning twist.

Both capture an infectious adrenaline that makes “The Final Reckoning” an absolutely essential watch in IMAX, as Hunt makes armrest-clenching, on-the-fly decisions to complete his objectives and survive, often using slapstick violence that pushes the PG-13 rating.

Nothing else in “The Final Reckoning” quite lives up to the crazy heights of these two sequences. Still, it’s great fun watching this film put its foot on the gas pedal and never let up, thanks in large part to Cruise (ripped as ever and committed to the plot’s cheesiness and heightened drama) and a reliable cast that, for the most part, understands the assignment.

Yes, the overstuffed narrative limits how much time each character gets in the spotlight — functioning more as quippy cogs in the machine of the plot than fully fleshed-out beings  — but everyone gets their moments to shine (especially Rhames and Klementieff).

“The Final Reckoning” is really Cruise’s show at the end of the day. McQuarrie’s film is at its most compelling when focusing on Cruise’s death-defying, no-holds-barred commitment to the bit. There’s plenty to critique from a storytelling standpoint, especially regarding the reliance on past films, but there’s no denying the raw power of seeing these shenanigans on the big screen — leaning into the fantasy at a time when humanity desperately needs a victory.

“Mission: Impossible – The Final Reckoning” is a 2025 action adventure directed and co-written by Christopher McQuarrie. It stars Tom Cruise, Hayley Atwell, Simon Pegg, Ving Rhames, Pom Klementieff, Nick Offerman, Holt McCalleny, Angela Bassett, Shea Wigham, Greg Tarzan Davis, Hannah Waddingham, Rolf Saxon, Tramell Tillman. Janet McAteer and Lucy Tulugarjuk. It is rated PG-13 for sequences of strong violence and action, bloody images, and brief language and the run time is 2 hours, 49 minutes. It opens in theatres May 23. Alex’s Grade: A-

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Ensemble Shines in Ambitious, Full-Hearted Directorial Debut ‘We Were Dangerous’

Ensemble Shines in Ambitious, Full-Hearted Directorial Debut ‘We Were Dangerous’

By Alex McPherson

A sincere and impressively well-acted reminder of the power of community to persevere through adversity, director Josephine Stewart-Te Whiu’s debut feature, “We Were Dangerous,” shines a warm, hopeful light through the darkness.

The film is set in 1954 and begins at New Zealand’s School for Incorrigible and Delinquent Girls, where the free-spirited and courageous Nellie (Erana James) plots an escape from the institution with her best friend, the younger but no less resilient Daisy (Manaia Hall), and her other Māori classmates.

Their class instructor, The Matron (an alternately satiric and terrifying Rima Te Wiata), aims to “correct” these girls through her three education principles: “Christianize, civilize, and assimilate.” The program attempts to restrict the girls’ free will and independence each step of the way. 

When Nellie’s escape attempt fails, just a few inches from clearing the gate, The Matron is instructed by her superiors to relocate her class to a small island previously used as a leper colony. This renders their chance of escape and risk of pregnancy moot, given that the only man there is the island’s bumbling caretaker, Barry (Stephen Tamarapa).

Nellie and Daisy’s group are accompanied by some new arrivals to the program, including the mysterious and confident Lou (Nathalie Morris), who Nellie and Daisy strike up a fast friendship with. The three of them room together in a ramshackle hut with a leaky ceiling. As the girls spend their days doing manual labor and enduring mind-numbing lessons about religion and female etiquette under The Matron’s eye, their vibrant spirits endure, and their bond strengthens, despite their bleak circumstances. 

But when the institution begins running sterilization experiments on the girls, Nellie, Daisy, and Lou must fight back against The Matron and her superiors before it’s too late.

“We Were Dangerous,” executive produced by Taika Waititi, isn’t a downbeat film,  despite the tough subject matter. Stewart-Te Whiu positions the lead characters as heroes resisting the systems trying to shape their identities, complete with a surprisingly light touch that works as its own sort of defiance against their grim reality and the morose nature of many period dramas. 

It’s definitely a choice that risks sugarcoating the timely issues on display if used in the wrong hands. Luckily, the performances and rich visuals give “We Were Dangerous” a soulful weight that elevates the sometimes archetypal nature of a screenplay that, for all its wry and rousing sensibilities, can’t quite do justice to the characters at its center.

Stewart-Te Whiu doesn’t wallow in the sadness and horror, but doesn’t underplay it either, striking a seriocomic tone that brings to mind Waititi’s work in its balancing of the harrowing and humorous. “We Were Dangerous” almost plays like a comedy at certain points, with the girls’ wit and playfulness contrasting with The Matron’s ghastly actions and the antiquated ideas of womanhood being forced upon them.  

Cam Ballantyne’s score, too, is lively and energetic, reflecting the continued hope and moments of happiness found scattered amid the abuse and drudgery they endure under The Matron’s watch. María Inés Manchego’s cinematography captures a vivid beauty alongside chilling isolation in the island’s untouched landscapes.

James brings rousing confidence and heartbreaking vulnerability to Nellie, who was forced to attend the school after being caught shoplifting in Christchurch. She had  been sent there by her family to live with a relative, but ultimately left to survive on her own.

Nellie is a surrogate big sister for Daisy, brought to life by Hall with a playful innocence belying Daisy’s trauma and determination to not have her “wild” spirit be tamed. Morris brings a mischievous energy to her performance as Lou, rejected by her well-off family and sent away to the school due to her sexuality.

James, Hall, and Morris have terrific chemistry, and their dynamic is tangible and grounded. It’s easy to buy them as a surrogate family unit, even though Stewart-Te Whiu and Maddie Dai’s screenplay rushes through their initial bonding without giving enough space for it to develop organically. 

Their connection feels a bit schematic as a result, especially during late-game plot beats that half-heartedly explore the risks and benefits of rebellion with the foot firmly on the gas pedal, building towards a near-fantastical conclusion. Indeed, the film’s 82-minute runtime is both efficient and limiting.

Stewart-Te Whiu is clearly intentional with what she focuses on — foregrounding the defiant joy and strong, distinct personalities of the girls above all else — but the film’s insistence on being inspirational also robs more traditionally dramatic character moments of the weight and consideration they deserve.

Narration by The Matron is woven throughout the plot — she explains Nellie, Daisy, and Lou’s backstories through her own point of view, flashbacks included — and while this decision successfully illustrates the contrast between The Matron’s warped worldview and reality, it also condenses these women’s stories to a semi-frustrating degree.

Still, the performances truly elevate the proceedings, revealing complexity not always afforded by the screenplay. 

Te Wiata, for example, chews scenery to a nasty, memorable pulp as The Matron, but we can see for ourselves, through subtle mannerisms, the self-hatred that percolates as a result of embodying the misogyny she was herself indoctrinated into as a young Māori teenager once searching for purpose — perhaps recognizing that it’s easier to conform than to embrace her own individuality.

Suffice to say, “We Were Dangerous” is an imperfect film, but one that features shades of greatness and that tells a worthy story while (in some respects) bucking convention. It’s disappointing that Stewart-Te Whiu opts for speed rather than necessary patience, but this remains both a serious-minded and life-affirming film that, especially in today’s troubled times, we can all take something from right now.

“We Were Dangerous” is a 2024 drama directed by Josephine Stewart-Te Whiu and starring Erana James, Manaia Hall, Rima Te Wiata, Nathalie Morris, and Stephen Tamarapa. Its runtime is 1 hour, 22 minutes, and it’s currently unrated. It opens at the Hi-Pointe Theatre May 9. Alex’s Grade: B

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Take Ten with Robert Crenshaw

Take Ten with Robert Crenshaw

By Lynn Venhaus

One encounter with Robert Crenshaw, and you can tell that he is a bright light chasing his dream. Currently on tour in the smash hit Broadway musical “Ain’t Too Proud: The Life and Times of the Temptations,” he will be coming home to perform May 9-11 at the Fox Theatre in St. Louis.

Robert said he is eager to see his family and friends — and enjoy his mom’s home-cooking. A recent guest on our PopLifeSTL Presents podcast, he shared his joy in being part of this high-energy production as well as his life story.

Crenshaw plays founding member Al Bryant and Motown songwriter Norm Whitfield in the musical. The musical explores their brotherhood, family ties, loyalty and betrayals, and includes the group’s treasured hits, including “My Girl,” “Just My Imagination,” “Get Ready,” “Papa Was a Rolling Stone” and many more.

He said he chose to pursue the arts because he’s been performing since elementary school.

“I’ve always had dreams of becoming a superstar and leaving my stamp on the world. I went to performing arts school my entire life and attended arts programs as well. I’ve always had fun being on stage! I love portraying different characters and putting my own spin on it,” he said.

“Ain’t Too Proud: The Life and Times of the Temptations” national touring cast

Recognized as a promising young artist when he was in third grade at Ames Elementary School in the Old North neighborhood, Robert began taking classes at COCA (Center of Creative Arts). He studied ballet, hip-hop, tap and jazz.

He graduated from Central Visual and Performing Arts High School, was a Muny Teen, and appeared in shows at COCA, including “Memphis” and “The Wiz,” and The Black Rep.

He was also part of The Dancing Six featuring Channce Williams, David McCall, Daryon Kent, Joshua Hall, Jacob Dorsey and Crenshaw that were part of the St. Louis Teen Talent Competition two years in a row through the Fox Performing Arts Charitable Foundation.

He credits his COCA faculty member Lee Nolting for helping to develop his talents and voice teacher Dr. Philip Woodmore as a big part of his success, as well as Ron Himes, founder of the Black Rep, who has become a mentor to him.

Describing him as a “true triple threat,” Himes commented: “Robert is living his dream now because he worked hard to be ready for the opportunity. He is super talented, humble and dedicated to growing in the craft. He’s a true triple threat with a magnetic smile.”

Robert Crenshaw, left, in “Eubie!: The Musical” at the Black Rep in 2023. Philip Hamer Photo.

At the Black Rep, Robert starred in “Don’t Bother Me, I Can’t Cope” in 2019 and in “Eubie!” in 2023. At Stray Dog Theatre, he was in the “Dreamgirls” ensemble in 2019.

He also was the youth choreographer for “A Christmas Carol” in 2022 at The Repertory Theatre of St. Louis and received an Arts For Life Best Performance Award nomination for his choreography in “Little Shop of Horrors” at Kirkwood Theatre Guild.

In my May 15, 2023, review of “Eubie!”, I wrote: “Noteworthy in the Black Rep’s last musical, “Don’t Bother Me, I Can’t Cope” in 2019, the multi-faceted Robert Crenshaw stars and designed the tap choreography. He dances with such joy, that when he’s performing a solo number, it’s extraordinary, especially in “Low Down Blues” and “Hot Feet.”

He was part of the choreography team that won the 2024 St. Louis Theater Circle Award for Best Choreography for “Eubie!” (produced in 2023) – including Heather Beal and Vivian Watt.

After a year at the Chicago College of Performing Arts, he returned home to St. Louis, then moved to New York in 2023 to follow his dream.

Performing at COCA.

For 10 months, he hadn’t landed a role yet until he was cast in the musical “Forever Motown.” Then, he cast in the national touring company for “Ain’t Too Proud: The Life and Times of the Temptations” musical, based on Otis Williams’ personal journey, and has been traveling across the U.S.

“What makes being on tour so special is that it’s one of my dream jobs. I put on a showcase where I displayed all of my talents to raise money to move to New York from St. Louis. I moved September 13, 2023, and after 10 months of auditioning, receiving callbacks, and working other jobs to survive in New York, I booked ‘Ain’t Too Proud,’” he said.

The musical, which chronicles The Temptations’ extraordinary journey from the streets of Detroit to the Rock & Roll Hall of Fame, first opened at the Imperial Theatre on March 19, 2019, and received 12 Tony nominations, including Best Musical. It won the Tony Award for Best Choreography for Sergio Trujillo’s electrifying work recreating the group’s signature dance moves.

Robert as the Tin Man in “The Wiz” at COCA, one of his favorite roles.

The first national tour began in 2021, and the second one started in 2024, showcasing the group’s unmistakable harmonies. They topped the charts with 14 of their 42 Top Ten hits reaching number one.

The story explores their heritage and influence — how they met, their successes, and how conflicts derailed people in the group.

His advice to young artists is to work hard, stay prepared and open-minded, be humble, and don’t let negativity get to you.

The Fabulous Fox’s presentation of “Ain’t Too Proud: The Life and Times of The Temptations” will take place from May 9 – 11th at The Fox Theatre. For tickets, showtimes or additional information, visit www.fabulousfox.com.

To listen to the April 23 PopLifeSTL podcast: https://soundcloud.com/lynn-zipfel-venhaus/april-23rd-2025-ft-steve-ewing-robert-crenshaw

Take Ten with Robert Crenshaw:

1. How would your friends describe you?

“My friends would say that I am hardworking, talented, humble and full of love. They would also say that I am an inspiration for so many.”

2. How do you like to spend your spare time?

“I really enjoy reading, taking classes (anything arts related), working out, and doing some kind of activity that makes me feel like I’m touching grass.”

3. What is your current obsession?

“My current obsession is Duolingo! I’ve been wanting to learn Spanish so that I could connect with other people. Another thing I’m obsessed with right now is practicing self-awareness, self-improvement, and self-love. Lastly, different foods! I want to expand my palate and try things outside of my comfort zone.”

4. What would people be surprised to find out about you?

“People are always so stunned when they find out that I am allergic to shellfish.”

5. Can you share one of your most defining moments in life?

“My most defining moment is when I put on a showcase to raise money for Central Visual & Performing Arts High School after the school shooting that took place in 2022. I graduated from CVPA, and my brother was shot in the tragedy. I collaborated with community arts organizations, the SLPS foundation, CVPA alumni and current students to raise money in support. The showcase was a little over a month after the tragedy and took place at The Center of Creative Arts (COCA). There were performances and donations from so many organizations. I called it ‘The CVPA Relief Showcase’.”

6. Who do you admire most?

“My mom and Jesus along with some mentors, teachers and peers from my village in St. Louis.”

7. What is at the top of your bucket list?

“Sit amongst other celebrities and feel/know that I belong in those circles. I would like to travel to Africa, Tokyo, and Jamaica. Create a family of my own. Be wealthy in knowledge, finances, and health. Perform a one-man show in a sold out a building.”

8. What is your favorite thing to do in St. Louis?

“My favorite things to do in St. Louis is to spend time with family and friends, take classes, and eat home cooked meals!”

9. What’s next for you?

“Let me start by saying I am open to whatever God has in store for me. My plan is to make it back to New York City and audition as much as I can. I have to get my face back in those rooms. If I spend time in St. Louis after touring it will be teaching master classes and taking a few dance classes and voice lessons before going back to NYC. I’m also searching for representation so that I have someone else advocating for me in the business.”

Benefit performance at COCA.

More Info on Robert Crenshaw:

Age: 28
Birthplace: St. Louis
Education: Central VPA, Center of Creative Arts, Chicago College of Performing Arts
Day job: Broadway National Tour: Ain’t Too Proud (AL Bryant & Norman Whitfield)
First job: Journey’s
First play or movie you were involved in or made: “The Music Man”
Favorite jobs/roles/plays or work in your medium? Seaweed in “Hairspray,” Tin Man in “The Wiz,” and Gregory Hines in “Eubie: The Musical”
Dream job/opportunity: Aaron Burr in “Hamilton,” Lead in a Broadway Musical, Movie with Denzel Washington, Kevin Hart, or star in my own.
Awards/Honors/Achievements: St. Louis Theatre Circle Award for Best Choreography: Eubie
Favorite quote/words to live by: “Don’t ever say you can’t, and if you fail, try again.”
A song that makes you happy: Anything by Michael Jackson, Chris Brown, or Kendrick Lamar.

Cover photo courtesy of Robert Crenshaw’s Instagram

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Relatable Original ‘Johnnie Taylor Is Gone’ is Comfortable, Engaging

Relatable Original ‘Johnnie Taylor Is Gone’ is Comfortable, Engaging

By Lynn Venhaus

A comfortable slice of life, “Johnnie Taylor is Gone” is part nostalgia trip and part character study with a pleasant panoply of St. Louis cultural references and distinct personalities that draw one into a recognizable old-timey stomping ground.

Gregory S Carr’s warm-hearted and engaging original play is set in a cozy neighborhood hangout, the fictional Golden Zodiac Lounge, which was patterned after a real north city gathering spot. This is where regulars discuss current events, their personal relationships and philosophies on life, all while enjoying a beer and plunking change in the jukebox.

The time is a few years into the Millennium, and change is inevitable in many ways in this natural setting. Owner Will Strong is a man who likes things the way they are, and because he is set in his ways, resists modernizing and catering to a younger clientele. He is fond of an over 30 crowd, although an update would help the bar stay solvent.

As embodied by virtuoso Archie Coleman, Strong is a caring father figure and stubborn proprietor who clings to his heritage. His prized possession is his vintage jukebox that only plays R&B classics and soul singers.

A popular artist, Johnnie Taylor, once visited the bar, and his picture hangs prominently on the wall. .He represents an era that Strong most identifies with, and he doesn’t want the soundtrack of his life forgotten. Taylor, best known for four chart-topping hits including 1979’s “Disco Lady,” died in 2000.

The Chicago blues legend Koko Taylor is also a favorite. Retro tunes are played, and people dance down memory lane, evoking fond memories. A song is often used to shift a mood, too.

In addition to the familiar patrons – everyone knows their names – there is a changing cultural dynamic.

A flashy, hip and imposing young guy, called Jay-G, also known as Jiggy, struts in, projecting major attitude, and is eager to purchase the bar and turn it into a hip-hop club. He is not subtle, putting pressure on Strong, talking big ideas and appearing to live large. As the not-as-smooth-operator as he thinks he is, Sequoi Edwards nails this part.

He’s also involved with someone that has a complicated character arc best not spoiled, but Wanda is a flighty younger woman (Arriel Cummings). Generational clashes figure into the storyline.

Standing out are two of the bar’s employees – the streetwise hostess and world-weary Annie, who can be alternately sassy and sweet, and is fully realized by Mardra Thomas, and the cheery, lovable bartender Bette, played by the cheery and lovable LaWanda Jackson, who just brightens every scene she’s in, oozing optimism and hope.

They smoothly interact with customers like they’ve been working there for years. The patrons enjoying each other’s company include Jeremy Thomas as Pace, a barfly whose wife Myrtle is always calling the landline with grocery lists and checking up on where he is, Juan Smith as opinionated fixture Bruh and Jaz Tucker as a nice-guy delivery man Bud. Talk includes sports, music, art, politics, religion and current events.

In brief but memorable turns, veteran Don McClendon looks dapper in a bright yellow suit and fancy green hat as a church pastor called Churchill and Ieshah Edwards as helpful beat cop Judy, looking out for the welfare of her turf.

The bar has such a lively feeling that you know exactly what kind of place it is, having no doubt entered the door of similar establishments, where the staff knows drink orders and there is always something to talk about, whether it’s criticizing Cardinals manager Tony LaRussa or bringing up people who live in the vicinity. That’s a charming aspect of this 2-hour, 15-minute show.

Another delight is listening to the golden oldies that play. The music is integral to the whole experience and is part of the show’s vibe. Sound designer Darrious Varner has curated an interesting list of tunes, which add authenticity. He also assembled the costumes.

While its heart is in the right place and one applauds their ambition, Aquarian Rising Productions is a fledgling professional theater group that strives to represent black voices and black experiences, and their enthusiasm is contagious.

Because they are so new, this is a very low-budget production that is obviously a labor of love. Some of the technical issues – sound and lights, especially – are problematic. It is often hard to hear characters, which is a shame because Carr has a flair for writing witty dialogue and the local references are fun to hear.

The venue is the Jefferson Avenue Mission, a former old church, so the audience sits in pews, and the small stage provides limited space for some of the action. Wiring for microphones and lights hit some snags opening weekend. Hopefully as the company grows and flourishes, the stagecraft elements will be stronger, for they’re off to a good start with quality performances and eager creatives.

The director is veteran actress and artist Thomasina Clarke, who is Jaz Tucker’s mother. Tucker not only is in the ensemble, but is the group’s founder. Clarke also wore several hats – designing a functional set for easy interaction, despite the limitations, giving everyone maximum visibility when sharing their story.

You’ll recognize these characters, and this place, feel the community spirit, and enjoy a sentimental journey. The conflicts and crises that make up the dramatic elements are quickly resolved, in some ways you don’t expect, and you’ll want to root for everyone to do better as time marches on.

Aquarian Rising Productions presents “Johnnie Taylor is Gone” from April 25 to May 4, with performances Fridays and Saturdays at 7 p.m. and Sundays at 4 p.m. at the Jefferson Avenue Mission, 2241 Jefferson, in the Fox Park neighborhood. For more information: www.jamstl.org.

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Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

Upstream’s ‘Meet Me at Dawn’ Is Bravely Acted and Profoundly Moving

By Lynn Venhaus

“Life is what happens to you while you’re busy making other plans” – “Beautiful Boy,” John Lennon, 1980

Grounded but teeming with uncertainty, an off-kilter sense that an alternate reality is emerging for a pair of lost women becomes clearer as we watch them grapple with their fate in Upstream Theater’s compelling, bravely acted two-hander “Meet Me at Dawn.”

As life partners Helen and Robyn, Michelle Hand and Lizi Watt are riveting after they wash up on a distant shore following a boating accident. Dazed and worried about each other, they attempt to get their bearings and find a way home.

But this sandy patch of seascape is not what it seems, nor are they who they appear to be, which will come into focus as their circumstances unfold. This may sound like a twisty sci-fi drama, but playwright Zinnie Harris wrote this as a lyrical meditation inspired by the myth of Orpheus and Eurydice.

This modern fable reveals its goal – tackling love, loss, and grief – during a 90-minute play without intermission. As time and space is disrupted, the performers recreate a mysterious sense of being “in between.”

Michelle Hand and Lizi Watt. Photo by ProPhotoSTL.

Through their distinctive raw and real characterizations, Hand and Watt lead us through the transitional state of “liminality.” This other world is jarring, but how they process fate is a remarkable feat.

We’re watching two actors being present and giving their all in convincing portraits, conveying a range of emotions in a profoundly moving way. The pair’s chemistry is palpable – in moments of tenderness, exasperation and fear. And they convey a dreamlike, surreal state in their body language and exchanges, not just intimacy.

Helen, a scientist who is more high-strung and very funny in mining situations for humor, complements Robyn, who is an academic and more deliberate and less impulsive when speaking, deftly handle the squabbles as well as the caring between longtime companions.

Can they figure out what is real and what is fantasy? Can they trust their memories? Their hope turns to despair, and paranoia mixes with the metaphysical. When the play comes together, you feel what they feel — pain, helpless, resignation, mourning.

Hand, an actor for 25 years whose name in a program means you will always be treated to a robust characterization and often in a thrillingly alive way, has met her match in intensity in Watt.

During the past couple of years, Watt has impressed with vivid characterizations in “The Whale,” “Copenhagen,” and “Pictures from a Revolution.”  With their expressive work, they boost their reputation as being among the best theater artists of their generation.

Photo by ProPhotoSTL

Harris, who is known for specializing in modern interpretations of classic literature, debuted this play at the Edinburgh International Festival in 2017. The Scottish playwright’s work includes “Macbeth (An Undoing),” “The Scent of Roses,” “This Restless House” and “How to Hold Your Breath.”

Perceptively directed by Larissa Lury, she understands the allegorical nature and rhythms of the play, trauma, and appreciates the quality of her dynamic duo.

The show is enhanced by the technical team’s contributions. The simple sandbank set is meticulously detailed by scenic designer Patrick Huber, atmospherically lit by lighting designer Tony Anselmo and featuring added depth through sound designer Kristi Gunther’s inobtrusive work, with sounds of the sea and sky. The women are dressed in casual wear designed by costumer Lou Bird.

Note: Some reflections may trigger emotional feelings or upsetting memories for audience members.

Photo by ProPhotoSTL

Loss is a tough fact of life, but grief is a personal journey that rips your heart out in different degrees. As one who experienced three major family deaths in five years, understanding that grief affects everyone differently, but it’s never something you “get over,” helps as you learn acceptance.

As the play alludes, everything shifts, you learn to live with trauma. What is necessary is talking about grief, because our society tends to shy away from talking about letting go and the powerlies in talking about it to heal.

This play may spark conversation, and isn’t that a wonderful opportunity? Going through something that others experience too means we’re not alone, and we can learn and grow when material resonates.

Poignant and meaningful, “Meet Me at Dawn” showcases two extraordinary actresses fearlessly not holding back in showing us their humanity in a thoughtful drama produced by Upstream Theater.

Upstream Theater presents “Meet Me at Dawn” April 11 – April 27, with performances take place at The Marcelle in Grand Center. For more information: www.upstreamtheater.org.

Photo by ProPhotoSTL
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