Bread and Roses Missouri and A Call to Conscience Interactive Theater for Social Change (C2C) are collaborating to present Social Justice Shorts.
Scheduled for May 17-19, 2024 at the Greenfinch Theatre & Dive, Social Justice Shorts is a one-act play festival featuring thought-provoking new narratives centered around themes such as racial equality, reproductive rights, poverty, gun violence, transgender rights, and more.
This dynamic event brings together 11 playwrights from across the country and features local St. Louis writers Joan Lipkin, Zahria Moore, Andy Perez, and M. Lucas Fleming.
“Bread & Roses and C2C believe in the power of storytelling to ignite change and amplify marginalized voices,” says Emily Kohring, Executive Director of Bread and Roses Missouri. “Social Justice Shorts provides a platform for playwrights to address pressing societal issues and inspire meaningful dialogue within our community.”
“C2C’s mission is to stir the conscience of our community and facilitate social change. The chosen plays facilitate a broad spectrum of viewpoints and foster discussions on significant societal matters that are in line with the company’s mission. Considering the present social and political climate, this festival presents an opportunity for the audience to actively engage and effect change.” says Fannie Lebby,
Rehearsal of social justice shorts. From left, Cheeraz Gormon, Alex Jay, and Jordan Braxton.
“It serves as a rallying cry for individuals to unite, advocate or their interests, and work towards the betterment of their community!!! To quote Augusto Boal: ‘The theater itself is not revolutionary: it is a rehearsal for the revolution.’ ASHAE! ASHAE!!!”
Social Justice Shorts represents a continuation of both organization’s commitment to using the arts as a catalyst for social transformation. Through this festival, the organization aims to foster empathy, dialogue, and action on issues that affect us all.
Performances: Friday, May 17 at 7:30 pm & Saturday, May 18 at 4 p,m, “The Pen” by Diana Burbano “Eliminate the Backlog” by Rhea MacCullum “Mizzou Made” by Zahria Moore “Hotel Sterling” by Corey Pajka “Clark & Howard” by Andy Perez
Saturday, May 18 at 7:30 p.m. & Sunday, May 19 at 4:00 p.m. “Panic” by M. Lucas Fleming “Jimmy was Eight” by Linda Lau and Rae Mansfield “The Immaculate Contraception” by Jane M. Lee “That Painting at the Metropolitan Museum of Art” by Joan Lipkin “Neighbors by the Sea” by Emma Goldman Sherman “The Tetons” by Christopher Woods
Tickets: https://www.greenfinchstl.com/tickets
ABOUT BREAD AND ROSES MISSOURI Bread and Roses Missouri emerged as a transformative force at the intersection of art and activism, rooted in the ethos of social justice and community empowerment. Originating as a project of Missouri Jobs with Justice (MO JwJ), Bread and Roses Missouri pioneered a platform for unity among community activists and union members through the medium of art. Led by visionary trailblazer Joan Suarez, Bread and Roses Missouri quickly evolved into an independent non-profit entity in 2015, charting a path toward deeper engagement with the community.
Cover photo: Rehearsals for Social Justice Shorts. (L) Director Zahria Imani Moore and Stage Manager Maria L. Straub. Actors (L to R) Christina Rios, Jocelyn Padilla, and Alex Jay.
Editor’s Note May 22: “Just One Look” returns to the Blue Strawberry on Wednesday, June 26, at 7:30 p.m. Tickets are on sale now, and can be reserved at BlueStrawberrySTL.com or by calling 314.256.1745.
By Lynn Venhaus
Originally scheduled for three performances, the Linda Ronstadt tribute show “Just One Look” has been playing for more than a year.
Now 19 performances (and counting) later, the original cabaret will be on stage for a return engagement on Wednesday, May 15, at the Blue Strawberry. Kelly Howe reprises her critically acclaimed performance.
The Midnight Company first mounted the show in March 2023. Creative Director Joe Hanrahan wrote and directed the piece, framed as an interview and career retrospective, with Howe singing Ronstadt’s most iconic songs.
“The response has been absolutely bonkers. People have seen it three and four times. They’re not only sending friends, they’re coming back with friends. And the audiences are consistently great, hooting and hollering. I’ve never really been a part of anything like it. It’s great! I’m having more fun with every show,” she said.
“I love singing these songs. Lucky she has incredible taste in music, so we really couldn’t go wrong in choosing if we tried. She really chose great great songs, as we talk about in the show,” Howe said.
Ronstadt ruled the pop charts and filled stadiums in the 1970s and 1980s. The reigning rock goddess of her era, she later sang Gilbert and Sullivan in “The Pirates of Penzance” on Broadway and the Great American Songbook in collaborations.
Her worldwide album sales totaled more than $50 million, she won 10 Grammy Awards, and received the National Medal of Arts and Humanities, plus was inducted into the Rock and Roll Hall of Fame in 2014.
Her songbook featured collaborations with some of the biggest names in music, and her personal life included long-term relationships with, among others, California Governor Jerry Brown when he was running for president, and filmmaker George Lucas best known for the “Star Wars” universe.
In “Just One Look,” Hanrahan portrays a veteran rock ’n roll journalist who finally gets to interview his unrequited love, Ronstadt, though she’s now retired to her hometown of Tucson, suffering from Parkinson’s disease. During the course of the show, they remember her debut in Los Angeles, and Howe becomes the younger Linda, recalling her storybook career and singing her great songs.
“Both Kelly and I have a deep appreciation for the great music Linda Ronstadt delivered. Both her rockers and her ballads are among our favorite songs. We aim to remind people who she was, and to honor her work and her life,” Hanrahan said.
Howe recreating a version of Ronstadt’s album “Hasten Down the Wind.”
After Ronstadt’s long success on the pop music charts, she went on to triumphs on Broadway with Gilbert and Sullivan, three albums of the Great American Songbook with Nelson Riddle, Mariachi and lullaby albums, and much more. She had three number 1 hit albums, and 10 albums in the top ten.
She recorded over 30 albums, and appeared as a guest on 120 albums by other artists – from Philip Glass to a duet with Homer Simpson. There was a number 1 single, 3 number 2s, 10 top ten singles, 21 reaching the top 40, and two number 1 hits on the Country charts.
Ronstadt’s hits included “Different Drum,” “Blue Bayou,” “Desperado,” “It’s So Easy,” the title song of this show and many more.
“When Joe and I first talked about doing a show like this, we didn’t know at first who it would be about. We both thought of Linda Ronstadt separately. He’s a big fan, and I’ve always been a big fan of hers too. She was still coming out with huge hits when I was a kid. I can’t remember not knowing who she was or wanting to sing like her,” she said.
“In preparation for the show, I really dug into her music more than I had before. She is just incredible. One of the greatest singers of all time. And one of the coolest people too. I love her. I didn’t imagine I’d get to play Linda Ronstadt when I grew up, but I’m sure glad I did! It’s a cool gig, man,” she added.
Howe is an award-winning performer herself. She was nominated twice for Outstanding Supporting Performer in a Drama, Female or Non-Binary Role, by the St. Louis Theater Circle — for this year’s awards in March for her role as a grieving mom in “See You in a Minute” from Contraband Theatre, and for her role as a factory worker in “Sweat” presented by the Black Rep in 2021.
She has also been in “Tommy” as Mrs. Walker at Stray Dog Theatre and the title character in “Rodney’s Wife” at The Midnight Company, as well as part of two Aphra Behn Festivals from SATE. Kelly earned her BFA in theatre from Stephens College then moved to New York City where she worked as an actor, vocalist, and occasional producer for a decade before coming home to St. Louis.
The Just One Look Band is led by Music Director/Pianist Curt Landes, who has played with Chuck Berry, Albert King, Glenn Campbell, John Hartford and the St. Louis Symphony Orchestra, and has appeared at numerous national and local music festivals.
Tom Maloney is on guitar and bass. He was the music director for an international Johnnie Johnson tour. He’s played with everybody from Jerry Vale to Homesick James, and co-wrote and produced Jeremiah Johnson’s #1 song on the Billboard Blues Chart, HiFi Drive.
And Mark Rogers will handle percussion and provide backup vocals. Mark co-founded many local bands, including Street Corner Symphony, Walnut Park Athletic Club and The Heaters. He proudly claims that he’s used the same drum set since 1968, and and the same milk can as a drum stool since 1973.
Kelly Howe as Mrs. Walker in “Tommy” at Stray Dog Theatre in 2019.
This partnering with Blue Strawberry wasn’t the only collaboration that Midnight has mounted several over the past year.
“Jim Dolan of The Blue Strawberry and I have discussed incorporating a theatrical element into classic cabaret, and with the Linda Ronstadt show, we’re aiming to create that,:” Hanrahan said last March.
“Blue Strawberry is excited to be working with Joe Hanrahan and Midnight to present this show. As a longtime fan of Joe and Midnight’s work, we are honored to be a part of this production,” Dolan said.
The Midnight Company’s performance of “Just One Look” takes place at 7:30 p.m. on Wednesday, May 15, at The Blue Strawberry, 356 N. Boyle. For more information, visit: bluestrawberrystl.com
“Rodney’s Wife” at The Midnight Company in 2022.
Take Ten Questionnaire With Kelly Howe
1.What is special about your latest project? Well, my current project “Just One Look: A Tribute to Linda Rondstadt” has been running for more than a year. It was originally scheduled for three performances, 18 sold out performances and a quick stint at City Winery later, we’re still going. So, I’d say it’s definitely special. It’s certainly fun.
2. Why did you choose your profession/pursue the arts? I’m not sure I’d call it a choice. Since the first time I was on stage as a kid, there wasn’t really any other option. It’s kind of just part of who I am.
3. How would your friends describe you? This is funny, I don’t know! Nice like, kind of funny, good in the kitchen, Beatles obsessed…that basically sums me up lol.
4. How do you like to spend your spare time? I like to see plays! Lucky this town is lousy with them! I also love to travel. Anywhere and everywhere. Wish I could do it more.
5. What is your current obsession? I just finished watching “Ripley” on Netflix. It was very well done, very compelling. But most of all beautiful to look at. A trip to Italy has been on my list for a while, but the show has made it more a priority. My current obsession is figuring out when and how I can get my old man and me to Italy. Itinerary TBD.
6. What would people be surprised to find out about you? I hate mayonnaise, ketchup and yellow mustard. Pickles too. I’m basically anti-condiment.
7. Can you share one of your most defining moments in life? I was in the St. Louis Children’s Choir as a kid. When I was in the 8th grade we went on a trip to Russia, Czechoslovakia (it was called at the time), and Austria. It was amazing. I think being exposed to such different cultures at such an early age really defined who I am in many ways. Travel is the best education there is, in my opinion.
8. Who do you admire most? Hmmm, I am filled with admiration for a lot of folks about town…I’d have to say my parents though, and my husband. Two I was lucky enough to be born to, one I chose. They are definitely the people I aspire to be most like.
9. What is at the top of your bucket list? I have a long list of places I still have to see. My bucket list is populated with travel destinations. Plenty of roles I’d like to play too, too many to list.
10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward? Man, this is a lot. I was tending bar before the pandemic started, I will never forget the night I closed the bar when everything shut down. So crazy. Jack Patrick’s survived the pandemic and is still one of the best spots in town! But I didn’t feel comfortable continuing that work in the pandemic, I’m a bit compromised. I did not like the isolation though! It was very difficult. I spent most of it tutoring a 10 year old…tutoring is generous, I was more like her school chum as she was isolated and doing online learning. She is very smart and needed little help, but the time spent with her was a great gift. We read a lot. It was definitely helpful to be around such positivity and optimism, the optimism and wonder of a 10 year old was good medicine when all else seemed lost.
It felt like theatre was over. Zoom plays and the like were happening, but of course nothing compares to live in-person performance, and when we were in it, it felt like that was gone forever. What I’ve learned working on some early post-pandemic productions, and how the community has fought back since is that theatre, art and artists are resilient. We can creatively adapt and move forward, because if you make art, if you make theatre, there’s really no other choice in the matter. Life is so much less beautiful without it. So we must keep on keepin’ on.
11. What is your favorite thing to do in St. Louis? Man, I love St. Louis. It’s hard to choose a favorite thing. There is endless theatre to see. The food scene is top notch. There are the baseball Cardinals! STL City, The Blues. If you’re hip to the goings on in town, it’s hard to be bored.
12.What’s next? “Old Times” with The Midnight Company. A Pinter play! I’m really excited for this one. Sarah Holt is directing. Joe Hanrahan, Colleen Backer, and myself will appear. I’m really excited to work with Sarah and Colleen. I know I love working with Hanrahan. July 11 – 27.
More Information On Kelly Howe:
Birthplace: Centralia, IL Current location: South St. Louis City Family: me and my old man, Kyle Education: BFA in theatre from Stephens College Day job: Swade Cannabis Dispensary (drug dealer) First job: St. Louis Bread Company, one of the first! First play or movie you were involved in or made: Peace Child The Musical at Stages. Pretty much sealed the deal for me. Favorite jobs/roles/plays or work in your medium? I was lucky enough to perform SWEAT for Lynn Nottage with The Black Rep. We were a part of The William Inge Festival that honored Lynn Nottage that year. Hard to beat that one. Dream job/opportunity: Man, I just wanna keep getting hired for stuff. I’m not so picky. Ha. Awards/Honors/Achievements: Lots of nominations, no awards. Yet. Favorite quote/words to live by: All you need is love! A song that makes you happy: Yikes, so many. Beyoncé’s cover of “Blackbird” has so far made me cry every time I’ve heard it. Happy tears from the beauty and weight of it.
St. Louis Actors’ Studio Releases Book “Unlikely Japan and Other Plays”
St. Louis Actors’ Studio (STLAS) and esteemed film director, screenwriter and playwright Neil LaBute have published a new book, “Unlikely Japan and Other Plays: Ten One-Acts from Ten Years of the LaBute New Theater Festival.” Since 2014, STLAS has worked with LaBute to produce the annual festival bearing his name celebrating new works by emerging professional and high school playwrights, as well as a new piece penned each year by LaBute himself.
In honor of a decade of this successful collaboration, the book features ten one-act plays by LaBute, created and staged exclusively each summer by STLAS at The Gaslight Theatre in St. Louis. The festival has also had successful runs in New York City at the 59E59 and Davenport Theatres.
“The ten shorts contained in this volume are quite diverse, from comedy to drama, from dialogue to monologue, and all written with a passion for the actors who would go on to breathe life into the many characters on display. It has been a great pleasure for me to work with William Roth and STLAS for ten years on this project and to spend time creating a collection of short plays, a form that is always a challenge but one that I both love and admire,” said Neil LaBute.
In subsequent printings, STLAS hopes to publish many more short plays by a variety of participating authors.
“I so value my 12-year creative relationship with Neil. Lending his name and talents to foster new works in the theater is just another example of his generosity and commitment to the arts, and we could not be more proud to host this ongoing event,” says William Roth, Founder and Artistic Director at St. Louis Actors’ Studio.
The book is currently available in electronic form for Kindle on Amazon. The print version will be available beginning on May 24 via Amazon and direct order from St. Louis Actors’ Studio. Email help@stlas.org to order direct.
LaBute and Roth will do a reading and book signing event at The Drama Book Shop in New York City on Wednesday, June 12 at 7:30 p.m.
The 10th Annual LaBute New Theater Festival is set to take place July 12-28, 2024 at The Gaslight Theater with featured plays to be announced in the coming weeks. Stay tuned to stlas.org for updates and ticket information.
About St. Louis Actors’ Studio
St. Louis Actors’ Studio was founded to bring a fresh vision to theatre in St. Louis. Housed in The Gaslight Theater in historic Gaslight Square, STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. St. Louis Actors’ Studio, through the use of ensemble work, will explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre. For more information, visit stlas.org.
John Pierson, associate artistic director at STLAS, Neil LaBute and William Roth, artistic director STLAS. Provided photo.
A special presentation of the digitally remastered 1920 silent German horror movie “The Cabinet of Dr. Caligari” will be scored by organized Gerry Marian this weekend at the Chase Park Plaza Cinemas.
The 74-minute film will be shown at 11 a.m. Saturday and Sunday, May 11 and 12 in the main auditorium. Tickets are $5.
Theatre Manager Robert Hunt said they hope to schedule similar type events. At Halloween, they will show Lon Chaney’s version of “The Phantom of the Opera.”
Gerry Marian, house organist at the Chase Park Plaza Cinemas. Photo provided.
We’re trying to do two or three of these silent movie performances a year, with Gerry performing his own scores. He did ‘Mark of Zorro’ in February, and it was a great success. In the past, he’s done ‘Phantom of the Opera’ and ‘Nosferatu,’ he said.
Marian, who has been the staff organist at the Chase Cinemas for 25 years, entertains with live music in Theatre 3 usually Wednesday through Sunday before matinees.
“I love it. It’s part of my life. It makes people happy. They remember times in their past, good memories,” he said. “I think it adds something to the movies. We get good feedback.”
Marian was a protégé of legendary Stan Kann, who was the resident organist at the Fox Theatre in St. Louis for 22 years. Marian was his assistant for 10 years.
Marian, who grew up in St. Louis and graduated from Southwest High School, started playing the organ when he was 14. He said modern technology has improved the sound quality so that he is able to provide an audio experience evocative of grand movie palace organs.
The Cabinet of Dr Caligari.
A movie buff, Marian looks forward to providing something different with a classic of early cinema.
Considered the first horror movie and an outstanding example of German Expressionist cinema, “The Cabinet of Dr. Caligari” is about an unhinged hypnotist (Werner Krauss) who uses a brainwashed sleepwalker (Conrad Veidt) to commit murders.
A young man and his fiancé recall a horrible experience with the mysterious doctor at the annual fair in Holstenwall. Francis and his friend Alan visit the exhibit, The Cabinet of Dr. Caligari, where the doctor wakes up Cesare, a somnambulist. Cesare tells Alan he will be dead before dawn. Sure enough, after his body is found, Francis starts investigating. He spies on both the doctor and Cesare.
Robert Weine directed the film, which features a dark, twisted visual style. The set design features sharp-pointed forms, curving lines, landscapes in unusual angles, shadows, and streaks of light.
For more information, visit https://www.stlouiscinemas.com/movie/The%5FCabinet%5Fof%5FDr%5FCaligari%5F1921
Fun, charming, and heartfelt, albeit insubstantial, director David Leitch’s “The Fall Guy” is purely entertaining – letting us watch two hot leads sizzle up the screen in an action rom-com that’s an ode to stunt teams and behind-the-scenes workers.
Leitch’s film, very loosely based on the 1980s TV series of the same name, centers around Colt Seavers (Gosling), an outwardly confident yet insecure stunt double for the superstar Tom Ryder (Aaron Taylor-Johnson, suitably obnoxious), who lies about doing his own stunts. Colt is in a fling with camera operator Jody Moreno (Emily Blunt), and everything seems great:
Colt can do what he loves, impress Jody, and feel cool. At least, until it all falls apart. Colt breaks his back while redoing an aerial stunt — Tom claims that Colt’s face was visible on Take One — which makes him question his life choices. Colt (perhaps because of his bruised ego), pushes Jody away, and wants to abandon the profession altogether. Jody is heartbroken, and Colt begins working as a valet at a Mexican restaurant.
Eighteen months later Colt, stuck in a rut and regretting his decisions, is contacted by the high-strung, Diet-Coke-addicted Gail Meyer (Hannah Waddingham), Tom’s film producer. Gail informs Colt that Jody is directing her first film — a mishmash of “Dune” and “Mad Max” called “Metalstorm” — and Jody wants Colt to come aboard. Colt is thrilled, seeing this as a chance to get back together with Jody. He heads to Sydney, Australia, to begin filming.
Upon arrival, however, Colt discovers that Jody never actually asked for him. On the contrary, she’s highly resentful, at one point taking out her anger by making Colt repeat a painful stunt until her bloodlust is satisfied. But there’s still a flirtation between them, a flicker of the love that used to be, that shines through in their alternately combative and affectionate banter.
Before long, Gail reveals to Colt that Tom has gone missing and tasks Colt with finding him before time runs out and production shuts down on “Metalstorm.” This could be Colt’s chance to save Jody’s movie, redeem himself in her eyes, and rekindle their bond. Thus, the stage is set for an adventure that succeeds most if viewers sit back, let the increasingly convoluted plot wash over them, and go along for the crowd-pleasing ride.
Indeed, “The Fall Guy” is a breezily diverting experience, with pop culture references galore and an obvious appreciation for filmmaking and the people who work tirelessly behind the scenes to make it all a reality. It’s also an opportunity to bask in the star power of Gosling and Blunt, whose dynamic gives the film a sexy burst of energy that buoys a plot that becomes a little too unwieldy for its own good by the chaotic final act.
Aaron Tyler-Johnson as mega-star Tom Ryder.
Leitch’s film tries to simultaneously be a cheesy romantic comedy, a self-effacing send up of blockbusters, and a tribute to the tireless efforts of stunt crews, but it ultimately short-changes all of these threads, becoming far less than the sum of its parts. But damn, is it a likable ride nonetheless.
Over the years, Gosling has proven himself as a versatile actor, and “The Fall Guy” gives him yet another opportunity to shine. His performance as Colt won’t win any awards – Leitch doesn’t bother much with backstory or give Colt’s “serious” moments time to breathe without balancing them with self-aware humor or broad slapstick comedy. However, Gosling’s brand of goofy charisma works well here, as Colt becomes the lead star of his own action film.
Gosling’s always a joy to watch, whether engaging in Leitch’s creatively-staged action sequences (a psychedelic nightclub beat-down and a battle within a garbage-truck-turned-wrecking ball are the standouts), preparing for a particularly grueling stunt on a film set, or crying his heart out to Taylor Swift’s “All Too Well” while reminiscing about his former fling with Blunt’s Jody. Much of the character’s appeal rests on Gosling’s shoulders, though, with him delivering sporadically eye-rolling dialogue with infectious sincerity.
Blunt is given less to work with here – and is largely sidelined for most of the film’s cluttered second act – but she has great chemistry with Gosling. Jody’s a passionate, career-focused woman, but can only hide her continued yearning for Colt for so long. Colt and Jody’s back-and-forth dialogue and will-they-won’t-they dynamic (elevated by Leitch’s perhaps overly self-assured direction) never loses its appeal, regardless of the story’s predictability.
Less successful is the satirical industry exposé element of the plot, which becomes too cartoonish, and almost becomes a parody of itself. It’s disappointing, in a way, since Leitch makes a lot of effort to immerse us in the thick of the “Metalstorm” film set early on, emphasizing all the coordination necessary to craft the perfect scene.
There’s an obvious reverence for the process that’s satisfying and immersive, but “The Fall Guy” ultimately doesn’t do much with this set-up. The peek-behind-the-curtain approach becomes window dressing for a film that leans into extremes, distracting us from otherwise relevant commentary on greed, fame, and AI.
And that’s perfectly fine. As a summer blockbuster, “The Fall Guy” delivers, chock full of suitably crunchy fight sequences (Leitch’s background in stunts and action films is on full display), thrilling chases, quip-filled, reference-heavy dialogue, and a central romance that’s earnest and sentimental, carefully tuned for date-night-viewing.
But there are no stakes, which sits strangely, since the nature of stunt work involves performers putting themselves at risk for our entertainment.
There’s a lack of emotional engagement outside of watching beautiful people in a goofy lark that’s watchable without being especially memorable. Supporting turns from Winston Duke, Stephanie Tsu, and a dog that only responds to commands in French are amusing, but underdeveloped.
Footage of Leitch’s actual stunt crew on the film plays over the credits, too, and one can’t help but wish “The Fall Guy” paid more attention to the sacrifice and bravery that goes into the craft — rather than devolving into 80s-inspired ludicrousness.
The film remains consistently funny, however, and never boring. It deserves to be watched on the big screen with a lively crowd as a safe, reliable, mainstream experience accompanied by a large bucket of popcorn.
“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Alex’s Grade: B
By Lynn Venhaus Its basket overflowing with clever Easter Eggs, “The Fall Guy” is an enormously entertaining action-packed valentine to moviemaking that gives stunt men a long overdue standing ovation.
Loosely adapted from the popular 1980s television series that starred Lee Majors as a Hollywood stuntman who doubled as a bounty hunter, “The Fall Guy” is a fast and furious action thriller mixed with a charming romantic comedy that works on both levels.
Man of the Hour Ryan Gosling continues his hot streak, crushing it as the likable goofball Colt Seavers who is the stunt double for an obnoxious marquee movie star.
He fell hard for a woman camera operator now making her first big-budget film, Jody Moreno (Emily Blunt, warm and wonderful), but a set accident changed his perspective on what he made a career doing.
Now back in action, his battle-scarred hero journey and their relationship are complicated, so no spoilers from me, because it’s just too much fun discovering well-placed zingers, sight gags that pop, and a dizzying number of slick twists.
They’re making a ‘serious’ space cowboys-aliens movie called “Metal Storm,” and the script is filled with many references to popular movies, homages to epic stunts of the past, and tips of the hat to the dedicated people who make up the proficient crew.
Because of the extra effort and care here, the movie is a fun excursion while getting wrapped up in the action and the romance. – sincere and heartfelt.
I hope that unicorns, post-it notes and a dog named Jean-Claude make you laugh as much as I did.
With their effortless charm and palpable chemistry, recent Oscar nominees Gosling and Blunt drive this across the finish line as one of the most enjoyable big-screen experiences of the year.
You can tell they were having so much fun filming this movie within a movie because it easily transfers into a crowd-pleaser.
The supporting cast is also first-rate, with Aaron Taylor-Johnson amusing as the insufferable narcissistic actor Tom Ryder, whose careless ways and excessive partying are about to blow up his image, and not in a good way.
Taylor-Johnson, who’s been memorable in “Kick-Ass,” “Nocturnal Animals,” and as Tangerine in “Bullet Train,” is not afraid to play unlikable, and he’s a total cad here, if a bit cartoonish.
His producer Gail Meyer, played by the savvy Hannah Waddingham, who won an Emmy as team owner Rebecca on “Ted Lasso,” goes into damage control. She is broadly drawn as an on-the-nose caricature of a domineering Hollywood insider.
The always likable Winston Duke is the stunt coordinator Dan, and he is Colt’s longtime pal, sharing a warm connection. Stephanie Hsu, fresh off her Oscar-nominated role in “Everything Everywhere All at Once,” is Alma, one of the movie’s efficient creative team, and so is Zara Michales as tech whiz Venti, and they’re lively additions to the plot. Theresa Palmer shows off striking moves as Ryder’s girlfriend and as an actress in the film.
The writer and director are inspired and experienced at delivering this crowd-pleasing adrenalin rush of a contemporary blockbuster while also incorporating sentimental throwbacks to beloved movies and television. It’s also very funny.
Director David Leitch, who was a stunt man for Brad Pitt and Matt Damon (those Bourne movies), and directed the vastly underrated “Atomic Blonde,” worked with screenwriter Drew Pearce on his “Hobbs & Shaw” movie that was part of the “Fast and Furious” franchise. Leitch’s transition to director first happened with his stunt pal Chad Stahelski on the original “John Wick” movie. And the rest, as they say, is history.
Pearce also wrote “Iron Man 3” and the story for “Mission: Impossible – Rogue Nation,” and has the smarts to pull off a snappy story with nifty hairpin turns and the character-driven humor.
First and foremost, though, the movie celebrates those unsung heroes who keep on ticking after being thrown off buildings, set on fire, inside car rolls, and performing incredible stunts. This should help push the needle towards establishing an Oscar for stunt work, which is long overdue. (Side note: The St. Louis Film Critics Association added a stunt category to its annual awards last year).
You may think you see stunts that resemble scenes from James Bond, “Dune,” “Mission: Impossible” and other tentpole movies, and you would be correct. The writer and director skillfully add plenty of winks and smiles.
Aaron Taylor-Johnson as Tom Ryder
In a movie with dazzling set pieces, it’s nice to see a credit for stunt designer, and that’s Chris O’Hara, supposedly the first credit of its kind on screen. Another meta touch in the movie-within-a-movie is an emphasis on the others who work hard in service of the marquee names.
The movie also benefits from a terrific soundtrack that incorporates classic rock, TV theme songs, and Taylor Swift’s “All Too Well.”
With Gosling and Blunt propelling this brisk-paced movie with their star power, captivating story and thrilling stunt work, “The Fall Guy” kicks off the summer movie season with panache. It incorporates everything I like about going to the movies. You must stay for the credits because there are more delightful visual treats to see.
“The Fall Guy” is a 2024 action thriller comedy romance directed by David Leitch and starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham, Stephanie Hsu, Winston Duke and Teresa Palmer. It is rated PG-13 for action and violence, drug content and some strong language. It opened in theatres May 3. Lynn’s Grade: A It is now streaming on Amazon Prime Video as of Jan. 2, 2025.
The original TV series “The Fall Guy,” which ran for five seasons, from 1981-1986.
Epic in scope and intimate in execution, Tesseract Theatre Company’s “The Inheritance” Part I is a monumental achievement that leaves one exhilarated and eagerly anticipating Part 2.
A rich tapestry of yearning, desire, melancholy, fear, joy, hope, community, and love is written vividly and perceptively by Matthew Lopez.
This Tony and Olivier-Award winning play is surprising in its wit and depth of feeling as we’re hit with this tsunami of talent meeting moment after moment.
This magnum opus on what it’s like to be gay in America is boldly directed by Stephen Peirick and seamlessly acted by a passionate ensemble that radiates charm and conviviality.
It takes place decades after the AIDS epidemic while three generations of gay men grapple with those past tragedies, and the legacies of shame, secrets, and loss, especially at a time when hard-fought rights are available, yet shifting political tides make them vulnerable.
What does it mean for the future? Intertwining a sprawling cast of 13, Lopez examines healing, survival, what home means and a class divide, inspired by E.M. Forster’s 1910 novel “Howards End.”
Because Forster examined class differences and hypocrisy in British society in the early 20th century, so does Lopez project his characters in the early 21st century.
Alex C Moore plays Morgan and Walter. Photo by FF.
Moments of grace and laughter abound as the knotty entanglements of life unfold. Lopez tackles the complexities we all face, connecting characters, ambitions and eras in a swirling, dizzying, fantastical way. It is specific to the LGBTQIA+ experience, but allies will be able to relate.
Where to begin with this marathon of a show that defies conventions and embraces universal truths?
Employing an uncommon structure, Lopez nimbly name drops in a dishy soap-opera way, using familiar – and amusing — pop culture references, while being profound about generational experiences with textured, novelist flourishes.
The production’s 7-hour runtime may be daunting, but do not be intimidated by its two parts. Yes, it is a commitment, but the rewards are vast, especially when everyone involved has given their all, and it shows.
Part 1, which is from Summer 2015 to Spring 2017, is 3 hours and 10 minutes. The first act is 75 minutes, followed by a 15-minute intermission, then the second act is 55 minutes, followed by a 10-minute intermission, and final piece of Part 1 is 52 minutes.
Part 2, which is set from Spring 2017 to Summer 2018, is 3 hours and 15 minutes with one intermission and a brief pause. I look forward to returning to find out what’s happening with these people.
Keeping the momentum was obviously Peirick’s goal, and it is riveting from start to finish, never sagging.
However, the way the multi-layered show is structured is an investment, as it has many moving parts and themes that intersect. Sure, it’s imperfect, but hello…
It takes a broad canvas and narrows it down, starting in a classroom, where out-and proud gay men in their 30s are instructed by E.M. Forster, known as “Morgan,” to shape their own stories.
Gabriel Paul as Toby and Chris Kernan as Eric. Photo by FF.
Yes, the legendary author Edward Morgan Forster, who lived from 1879 to 1970, and besides “Howards End,” wrote the novels “A Room with a View” and “A Passage to India,” all later adapted into Merchant and Ivory films.
This is a conceit that is a master stroke, and not far-fetched. While the contemporary characters here chastise Morgan for hiding his sexuality publicly as a gay man – homosexual acts in private weren’t decriminalized until he was 83 – he is a guiding light.
According to biographical data, in 1963, Forster wrote: “How annoyed I am with society for wasting my time by making homosexuality criminal. The subterfuges…that might have been avoided.”
While that is not forgotten, he never gave up on love and believed all his life that “the true history of the human race is the history of human affection.”
So, it’s no wonder that this play is based on his 343-page “Howards End,” demonstrating empathy and understanding, and especially with the full-circle motto: “Only connect.”
In “The Inheritance,” Morgan’s advice comes from a place of love and wisdom. In a preternatural performance, Alex C. Moore navigates the role like a captain on a ship, respected and in command. He’s an imposing, mesmerizing figure in dual roles.
“One may as well begin with Toby’s voice mails to his boyfriend,” he says with confidence, and the students appear to begin making up the work as they go along.
Toby at the disco. Photo by FF.
The interconnectedness of the characters is engrossing. Political activist Eric Glass is cultured and likes bringing people together. He’s mindful of making a difference in the world and his heritage. Chris Kernan plays him as committed but easygoing.
His boyfriend, aspiring playwright Toby Darling, is reckless and hedonistic, drawn to the limelight and lives in the moment. Gabriel Paul’s performance bristles with electricity — he’s a hot spring of emotion, giving off Icarus vibes.
They are the main couple, but the secondary pair are two older, longtime companions – Walter Poole and Henry Wilcox – wealthy gentlemen with social graces and an enviable lifestyle. Jon Hey as the capitalist billionaire Henry and Moore, as Walter, the caretaker/partner, ingratiate themselves as learned men of money and manners.
In another dual role, a captivating Tyson Cole is Adam, a flirtatious and adventurous rich kid who disrupts Eric and Toby’s lives.
For all of Toby’s faux bravado, there is an undercurrent of turbulence and mystery, particularly when Toby is drawn to a street hustler, Leo, also played by Cole. Paul’s intense Toby, as troubled as he is, driven by fame and his libido, is a remarkable achievement in complexity.
Cole superbly manages to play both his roles surreptitiously, distinguishing them in subtle ways. In his Prague monologue, he shows exceptional bravery.
Lopez has created a circle of friends that feels like a warm cocoon, in a way that Mart Crawley’s play “The Boys in the Band” couldn’t in 1968, or wasn’t, in its 2018 revival. They are a Greek chorus, not unlike Bobby’s married friends in the Sondheim musical “Company.”
It’s that dichotomy – outside in a not-so-kind world, and inside their sanctuary that is contrasted so sharply.
Through overlapping dialogue, the actors establish characters and their place in Eric and Toby’s orbit, while Kernan anchors this landscape. Eric has fostered a supportive environment, and now his life is topsy-turvy in both unexpected and anticipated ways.
He traverses the slab stage to center it as his family homestead, and then deals with all the aggravations of ‘being.’
Photo by FF.
A sweet friendship between Walter and Eric develops, and their conversations are lovely reminders of the people we meet on our journey, and how they influence our thoughts and deeds.
Howards End was the name of a country house in the novel, and a similar property is prominent in this play. It takes on different emotional and sentimental meanings, which is another interesting aspect, and best not be spoiled in a review. Its impact is earned in ending Part I.
Peirick’s scenic design expands on the blossoms of a significant cherry tree, and he has placed artwork based on several photos he took during his NYC travels on the walls, pointedly referencing the Bethesda Fountain at Central Park.
One of my favorite flavors of this show is that New York City is also a character, for it’s as much a love letter to the island as it is a contemplation on the big picture.
Lopez’s dialogue reminds one of NYC’s lure, of its magical quality as the center of the universe, its unparalleled cultural offerings, and its encapsulation of hopes and dreams.
“Every summer, waves of college graduates wash up on its shores to begin the struggle toward success and achievement,” one character says, and as the mother of two sons who did just that, it resonated.
Of course, people will compare this to the landmark “Angels in America: A Gay Fantasia on National Themes,” whose two parts “Millennium Approaches” and “Perestroika” opened on Broadway in 1993. After all, its themes are metaphorical and symbolic as it explored AIDS and homosexuality in the 1980s.
“The Normal Heart” by Larry Kramer is another touchstones – addressing the rise of the HIV/AIDS epidemic in New York City between 1981-1984.
These bellwethers inform and add emotional depth to this exercise, for advocacy isn’t confined to the past, a crucial message.
Tyson Cole is Adam and Leo. Photo by FF.
Warning to the audience: Because part of the show takes place in 2016 with social liberals re-enacting election night shock (and for some, horror), that could conjure up some “things.”
Depictions of relationships include frank dialogue and stylized moves for sexual encounters. Adam’s lengthy explicit monologue about a euphoric erotic experience in a gay bathhouse in Prague leads to a terrifying realization of the danger of unprotected sex, and immediate action with PrEP (pre-exposure prophylaxis, medicine taken to prevent HIV).
The supporting players are lively and animated, and transform into whatever they are tasked with, which adds to the show’s unique appeal. For instance, Kevin O’Brien shifts into two parts as one of Henry’s spoiled entitled sons and Eric’s fiery progressive activist boss Jasper.
Kelvin Urday and Nic Tayborn are funny as an anxious singular-focused couple expecting a baby through a surrogate. Jacob Schmidt and Sean Seifert are young Walter and Henry. Stephen Henley is the other spoiled entitled son of Henry. Donald Kidd is Tristan and Margery Handy is Margaret, and they both factor into Part 2.
While the subject matter is serious, levity is present, including a whole discussion on whether camp is necessary as an ostentatious example of gay-ness.
This massive undertaking has involved the outstanding skill sets of many local technicians – lighting designer Tony Anselmo, sound designer Jacob Baxley, technical director Kevin Sallwasser, assistant director Dani Mann, stage manager Rachel Downing, production manager Sarah Baucom and dialect coach Mark Kelley – and their accomplishments are noteworthy.
Part I is an extraordinary piece of theatre, enhanced by its fully alive cast and the creative team’s commitment to telling truths in this special way. “Only connect” is a good motto to leave a theater with, where you just saw brilliance shine.
The Inheritance cast. Photo by FF.
This production is for mature audiences. May contain mature themes, language, nudity, sexuality, violence, satire and/or progressive ideas.
Tesseract Theatre Company presents “The Inheritance, Parts I and 2” April 26 – May 5 at the Marcelle Theatre, 3310 Samuel Shepard Drive.Part 1 is presented Friday and Saturday, April 26 and 27, at 7:30 p.m., with a Sunday matinee at 2 p.m. April 28. Part 2 is presented Thursday and Friday, May 2 and 3, at 7:30 p.m., with a Sunday matinee at 2 p.m. on May 5. Both Parts 1 and 2 are presented on Saturday, May 4, with Part 1 at 2 p.m. and Part 2 at 7: 30 p.m.
For tickets, visit: https://www.metrotix.com/events/detail/the-tesseract-theatre-company-the-inheritance
Production Team Includes Director Paige Price and Scenic Designer Kate Rance
Stages St. Louis is proud to unveil the stellar ensemble cast for its upcoming production of “Steel Magnolias.” This beloved story, known for its memorable characters and heartfelt message, will grace the stage from May 31 – June 30 in The Ross Family Theatre at the Kirkwood Performing Arts Center.
In “Steel Magnolias,” you will take a trip south to the town of Chinquapin, Louisiana and join the ladies at Truvy’s Salon in Chinquapin, Louisiana. There anyone who’s anyone not only comes to get their hair cut and styled, but also leaves with free advice…whether asked for or not. Along with her eager assistant Annelle, Truvy pampers a collection of clients with both style and gossip: M’Lynn and her soon-to-be-married daughter Shelby, the wisecracking and crotchety Ouiser, and the well-to-do Clairee. Together these touching, heartfelt, outspoken, and hilarious ladies forge friendships as strong as steel that help them through both the good times and the bad.
The 2024 Season also includes the smash-hit Disney’s Newsies and concludes with the dazzling Ragtime.
AMY LOUI (M’Lynn) is thrilled to make her STAGES debut. Amy has played every STL Equity stage but one. Regional theaters include Greenbrier Valley Theatre, Copper Mountain Rep, Herringbone Productions Hawaii, STAGES Houston. Recent roles: All My Sons (Kate), Silent Sky (Henrietta), Sweat (Tracy), My Name Is Asher Lev (all women). Nominated for multiple Kevin Kline/Theater Circle Awards, Amy is also a producer and voice talent. Love to all steel magnolias out there – the world needs you. www.amyloui.com
TAYLOR QUICK (Shelby) is overjoyed to be making her STAGES debut! Credits: understudy Anya / Young Anastasia, Anastasia (1st Broadway National Tour); Peggy, 42nd Street (Maltz Jupiter); Millie, Thoroughly Modern Millie (Goodspeed); Sandy, Grease (Fulton); Amalia, She Loves Me (Link Theatre); Liesl, Sound of Music (Fulton, MSMT); Laurey, Oklahoma! (Ogunquit); Penny, Hairspray (Maltz Jupiter); Flaemmchen, Grand Hotel (Lyric Stage). Film: God’s Not Dead 2. Soloist: Broadway at Long’s Park (Lancaster Symphony). Distinguished Young Woman AR 2012. Love to family, Ben, and DGRW. Rejoice Always. @taylorlquick
ZOE VONDER HAAR (Ouiser) has been a STAGES Company member for over 35 years and 75 shows. STAGES: Clue (Mrs. Peacock), Gypsy (Mama Rose), Hello Dolly (Dolly), Always Patsy Cline (Louise). MUNY: Into the Woods (Jack’s Mother), Kinky Boots (Stage Manager), My Fair Lady (Mrs. Higgins STL REP: Sunday In the Park (Mother), Follies (Hattie), Urinetown Ms. Pennywise). FARMERS ALLEY: It Should Been You (Judy), The Cake (Della). Zoe teaches/directs/choreographs at Washington University and St. Margaret of Scotland school.
KARI ELY (Clairee) celebrates 30 STAGES seasons. Favorites include: I DO, I DO, A LITTLE NIGHT MUSIC, THOROUGHLY MODERN MILLIE, GYPSY and CRAZY FOR YOU. Most recent: Thelma in Wedding Band (Black Rep), and two World Premiere plays: THE GOOD SHIP ST. LOUIS (Upstream) and COMFORT (Actors’ Studio). Next up: playing Big Momma opposite her real-life husband Peter Mayer in CAT ON A HOT TIN ROOF (Tennessee Williams Festival). Kari thanks you for supporting live theatre!
JILANNE MARIE KLAUS (Truvy) has acted nationally and internationally on stage and screen for over three decades and is delighted to be joining STAGES St. Louis. After stints in New York and Los Angeles, she returned to the St. Louis stage last year as Ethel in Barefoot in the Park, which earned her a Theatre Critics’ Best Supporting Actress nomination. She would like to thank her family for being as excited about her work as she is.
ABIGAIL ISOM (Annelle) is thrilled to return to STAGES St. Louis, where she made her professional debut in 2006 as Tootie in Meet Me in St. Louis, alongside her parents. Recent credits include Equus (Jill Mason) and Doubt (Sister James) at The Fulton Theatre, as well as Windfall (Hannah Higley), directed by Jason Alexander at Bay Street Theatre. She thanks Gayle Seay, Paige Price, and everyone at STAGES. Love to her friends, family, and Caroline. abigailisom.com @abigailisom
LARI WHITE (Standby) is ecstatic to be returning to STAGES this year. You may have seen her last year as Yvette in Clue. Other roles include Mairead in Lieutenant of Inishmore for which she won a St. Louis Theatre Circle award. Lari is also a multi-instrumentalist under the moniker Kiing Lair. To catch up on all of her projects visit larimaewhite.com. Much love to her family, friends, Archie, and Brock.
LEXY WITCHER (Standby) is a Kansas-born, St. Louis-based performer, and she is thrilled to work with such an amazing cast, crew, and team! Select St. Louis credits: Wayward (First Run Theatre), Carol Kwiatkowski; A Midsummer Night’s Dream (St. Louis Shakespeare), Hippolyta; and Doubt: a parable (Prism Theatre), U/S Sister James. Lexy has also worked with Blue Gate Musicals and various live entertainment venues. Many thanks to Gayle, Paige, Alicia, my family, Zach, and King.
MEME WOLFF (Standby) has performed in theatres across the USA and Canada and is thrilled to be working at STAGES again. Some favorite roles include Boston Marriage (Anna), Who’s Afraid of Virginia Woolf? (Martha) and The Wizard of Oz (Glinda/Auntie Em). Additional work includes Marconi Award winning commercial voice-overs, announcer duties for KSDK-TV and KETC-TV and hosting radio programs on KTRS and KLOU. Some in between jobs include sign language interpreter and dolphin trainer.
PRODUCTION TEAM
“I am thrilled to unveil the extraordinary creative team behind our upcoming production of STEEL MAGNOLIAS,” Artistic Director Gayle Seay said. “Their talent and dedication promise to bring this beloved story to life in ways that will captivate and resonate with our audiences. We invite everyone to join us on this journey as we ‘Experience the Story’ through their remarkable vision and artistry.”
Paige Price will make her debut with STAGES as the director for STEEL MAGNOLIAS. Price brings over 30 years of experience in the industry as a former professional performer, director, producer, and artistic director. On Broadway, she starred in the original casts of SATURDAY NIGHT FEVER, DISNEY’S BEAUTY AND THE BEAST, AND SMOKEY JOE’S CAFÉ. Most recently, she co-produced THE COTTAGE (Broadway 2023) and she is a lead producer on the newly premiered comedy, JUDGEMENT DAY starring Jason Alexander.
The story will come to life with the artistry of Scenic Designer Kate Rance, who returns after creating the iconic set for STAGES’ 2023 production of AIDA. Joining her will be Lighting Designer Sean Savoie, an accomplished electrical veteran returning for his 10th season with STAGES St. Louis.
Costume Designer, Brad Musgrove, has designed 25 productions at STAGES, winning the St. Louis Theatre Circle award for the productions of; ANYTHING GOES, IN THE HEIGHTS, AND CLUE. With great enthusiasm, STAGES welcomes Tony Award winning Sound Designer Nevin Steinberg (Broadway: THE NOTEBOOK, SWEENEY TODD 2023 Revival-Tony Award, HADESTOWN- Ton Award, HAMILTON) and Wig Designer, Daniel J Paller (MARY POPPINS, Tuacahn Center for the Arts, 12 NIGHT/ROMEO AND JULIET, Oregon Shakespeare Festival).
Production Stage Manager Monica Dickhens returns after working on STAGES productions of PATSY CLINE, A CHORUS LINE AND MILLION DOLLAR QUARTET. Her National Tour Credits include: THE COLOR PURPLE, SISTER ACT, AMERICAN IDIOT, LEGALLY BLONDE, CAMELOT (Lou Diamond Phillips), PETER PAN (Cathy Rigby) and JESUS CHRIST SUPERSTAR (Carl Anderson). She will work alongside Production Manager, Kimberly Klearman Peterson (Director of Production, Ballet West in Salt Lake City, Production Manager, Touhill Performing Arts Center).
Tickets for the 2024 Season are on sale now. For more information, please follow STAGES Facebook and Instagram or visit STAGESStLouis.org.
An ultra-violent wild and woolly “Boy Kills World” benefits from a strong cast, wit, and flashy moves, but is hurt by its lack of restraint.
While destined to be a cult classic among genre fans, it’s just too much excess in every way to take it seriously as a narrative feature when it’s clearly a gonzo video game.
Had first-time director Moritz Mohr and his screenwriting partners Tyler Burton Smith, a video game writer, and Arend Remmers, toned down the sickening and savage splatter-fest, it could have been entertaining in a “John Wick” meets “Scott Pilgrim vs. the World” way.
It’s based on Mohr’s same-titled short film that he wrote. With its high-body count, severed limbs and gushing blood, it’s a tough watch.
The action thriller is set in a dystopian future, where the deranged matriarch of an evil dynasty stages “The Culling,” a brutal organized thinning of the dissident herd. Think “The Hunger Games” and “The Purge.”
Emulating Hong Kong action films in a cartoonish and comic-book way, our hero, simply named Boy, is driven by vengeance. As a youth, he witnessed his mother and sister killed in the annual televised spectacle. He is trained by a mentor and grows up to become a martial art killing machine. Think “Kill Bill.”
In this post-apocalyptic world, Hilda Van Der Koy (Famke Janssen) executes people who are a ‘threat’ to their way of life.
Now grown, Bill Skarsgard is the buff assassin who is deaf and mute from the torture he endured. He has repressed his vivid imagination to become an instrument of death.
His part is narrated by H. Jon Benjamin, who voices Bob on “Bob’s Burgers,” and that’s an inspired move. So is the boy talking to his sister’s ghost — Mina is played charmingly by Quinn Copeland.
The mysterious shaman Yayan Ruhian has prepared him for a showdown with this insane totalitarian regime, which besides Janssen, includes Michelle Dockery (“Downtown Abbey”!!!), Sharlto Copley as her idiot husband game show host Glen and a very funny Brett Gelman, of “Stranger Things,” as hard-drinking Gideon.
Jessica Rothe, who made a good impression in “Happy Death Day 2 U,” is their ruthless soldier assassin called “June 27.”
Boy’s resistance group pals are played by Andrew Koji and Isaiah Mustafa, and they have a stand-out scene slicing and dicing in a “winter wonderland’ TV set.
“Do you know how hard it is to get a cereal company to sponsor mass murder?” Melanie screams after things go horribly awry.
Mohr confidently and cheekily directed this fever dream in an over-the-top style that will appeal to all short-attention-span viewers. He unleashes torrents of carnage, like a demented Nickelodeon employee dousing folks with slime, only here it’s buckets of fake blood.
Dawid Szatarski, a fight coordinator who has worked on such films as “Kingsman: The Secret Service” and “Wonder Woman,” designed the fight choreography, and it is a barrage of fast moves and gruesome injuries, captured by stylish camerawork from cinematographer Peter Matjasko, with crisp editing by Lucian Barnard.
The stunt work is exceptional, as expected. If the film weren’t so off-putting with its gore for gore’s sake, it could have had some lasting merit, especially with some of the inspired characters, but it’s just exhaustive fighting from start to finish for 1 hour, 55 minutes.
The plot takes a sharp hairpin turn midway that may not work for viewers, but this film’s audience is there for the mayhem. The director has jumbled a bunch of styles from different films, given it a graphic novel sheen, and presented this slaughter with the mind-numbing and relentless action of a video game.
Produced by Sam Raimi, this work premiered at last fall’s Toronto International Film Festival.
“Boy Kills World” is a 2023 action thriller directed by Moritz Mohr and starring Bill Skarsgard, Famke Janssen, Sharlto Copley, Brett Gelman, Jessica Rothe, Yayan Ruhian and Michelle Dockery. It is rated R for strong bloody violence and gore throughout, language, some drug use and sexual references, and runtime is 1 hour, 55 minutes. It opened in theatres April 26. Lynn’s Grade: C-.
That one little word changes everything in how we perceive “Don’t Wait for the Marlboro Man,” a cryptic collision of lifestyles and values that is interestingly framed in a small space teeming with tension.
The acting trio’s performances are strong, and the production values are too as this enigmatic story unfolds. Director Philip Boehm translated a play written by Olivier Garofalo about two distinctive personalities who meet in a hospital waiting area, from German to English, for its U.S. premiere by Upstream Theater.
An air of mystery pervades because the narrator Eric J. Conners, matter of fact and authoritative, seems to indicate a larger force at work, possibly spiritual and other-worldly in nature.
It is a view askew. But we can only surmise what is real and what is imagined. The two acting partners don’t ever give us a hint, just indicate it may not be so clear-cut by their halting speech patterns and unnatural stylized movements.
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That may be because Boehm said the original script did not punctuate any dialogue, leaving it up to the actors to determine what to do, along with the director, in a collaborative spirit.
Superb Caitlin Mickey plays the driven, controlling Sarah, who has rushed to the hospital from her office after receiving the news of her fiancé’s motorcycle accident. With her cell phone in hand, she is working while waiting for news.
In struts a peculiar fellow, Pedro, and whipsmart Isaiah Di Lorenzo excels at playing oddballs. He is her boyfriend’s motorcycle buddy that she knows nothing about, which immediately puts her on edge. Who is this shaggy dude who brought a grocery sack of snacks and shares information about her, but she’s never heard of him?
She appears to wonder what else doesn’t she know, and what more does he know, but isn’t saying? This establishes an off-kilter sense of action – and reaction.
The pair circle each other warily. Can they trust each other, or will they keep pretending to do this unsettling dance as minutes tick by? They take turns being anxious and apprehensive.
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He has a fondness for ants. She recalls happier times with her partner. His eccentricities agitate her, and her chilly demeanor annoys him. DiLorenzo is always at his best being physical, and Mickey’s skillset is a good foil. The unconventional nature of this play adds to their wordy swordplay.
The sound design by Michael Musgrave-Perkins and Boehm is particularly effective, lending a real but frenetic quality to the proceedings. A vending machine’s noises are contrasted with the medical machine beeps that monitor vital signs, and it’s lulling as we acclimate to the waiting area’s purpose: passing time. But also, eerie.
As the two chat, they touch on personal freedom, social responsibility and risks. The characters are complex, and as the play progresses, their behaviors raise more questions than answers.
Sarah hates motorcycles and disapproved of her beau’s hobby. They don’t seem compatible. But maybe they were attracted by ideology and not by inclination.
Pedro appears to be open-minded but may not like her at all and she acts close-minded but maybe she isn’t so rigid.
Doubtful, but these two are thrown together by happenstance. (Or are they?) And should it matter?
The pieces of the puzzle don’t seem to fit – or maybe they do. It’s up to you, and how you suppose what happened before, during and after figure into this tale.
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The story gives one plenty to ponder once you leave the well-appointed space. Described as a “cold hallway in a hospital with fluorescent lighting,” Mike Loui’s set design is well-suited for the characters’ movements. Steve Carmichael’s lighting design and the intriguing sound design add to the details.
Michele Friedman Siler’s costumes astutely outfit the characters’ personalities – Mickey in a blazer and DiLorenzo in leather jacket, jeans, and bandana, with nifty safety goggles.
“Don’t Wait for the Marlboro Man” is a rumination on life and death that’s well-acted and executed. The characters are drawn together by a man in critical condition. One could overthink it but shouldn’t. Our mortality has an endgame that we all must face, and this taps into that finality.
Upstream Theater presents “Don’t Wait for the Marlboro Man” April 12-14, 18-21, and 25-28 at the Kranzberg Arts Center, 501 N. Grand. All show are at 8 p.m., except Sundays (April 14 at 7 p.m., April 21 at 2 p.m. and April 28 at 2 p.m.). For more information, visit www.upstreamtheater.org
