Award-winning local performers Kimmie Kidd-Booker and Chris Moore will be the emcees for Arts For Life’s annual Trivia Night on Saturday, Jan. 27. Tables are still available.
The event will take place at the Kirkwood Community Center, 111 S. Geyer Road, St. Louis, with doors open at 6:30 p.m. and 10 rounds of general-knowledge questions to begin at 7 p.m.
Cash prizes will be awarded to first and second place teams. There will be a 50/50 raffle, silent auction, mulligans available, and a costume contest.
This year’s theme is Ticket to Paris, as the city will host the Summer Olympics, mark the 135th anniversary of the Eiffel Tower and the 80th anniversary of D-Day. Feel free to dress up as any French character in entertainment or real life. Vive la France!
Nominations will be announced for the annual Theatre Mask Awards (plays) and Best Performance Awards (musicals) honoring excellence in community theater and youth productions during 2023.
“Don’t miss the most fun time in metropolitan St. Louis’ community theater!” said AFL President Mary McCreight.
Tables of 8 players are available, at $160 per table. Soft drinks are provided. To make a reservation, visit https://arts-for-life-2.square.site/ or www.artsforlife.org. You can also email: afltrg@artsforlife.org for more information. Mulligans will be available, at 5 for $10 or 10 for $20.
For the past 24 years, AFL has honored musical theater with the Best Performance Awards and introduced the Theatre Mask Awards to honor comedy and drama productions in 2015.
This year’s TMA ceremony will take place on Saturday, April 20, at the Royale Orleans in South County and the Best Performance Awards will be held on Sunday, June 30, in the Keating Theatre at Kirkwood High School. More information will be forthcoming.
“These events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” McCreight said.
Chris Moore
Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved and the community, with its goal of “Making a Dramatic Difference.”
AFL is dedicated to promoting public awareness of local community theatre, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
For more information, email afltrg@artsforlife.org. or visit the website.
The national tour of the Broadway musical HAMILTON will return to the Fabulous Fox Theatre as part of the 2024-2025 Broadway season, as announced Jan. 11 in celebration of Alexander Hamilton’s birthday by producer Jeffrey Seller and the Fabulous Fox Theatre.
The best way to guarantee tickets to HAMILTON is to purchase a season subscription for the Fabulous Fox Theatre’s 2024-2025 Broadway season. Season ticket holders who renew their subscription for the 2024-2025 season will get priority access to purchase tickets for the return engagement of HAMILTON before tickets become available to the general public. The 2024-2025 Broadway season will be announced at a later date.
HAMILTON will be playing the Fabulous Fox Theatre for two weeks only August 28 – September 8, 2024. Information on how to purchase groups and single tickets will be announced at a later time.
A revolutionary story of passion, unstoppable ambition, and the dawn of a new nation. HAMILTON is the epic saga that follows the rise of Founding Father Alexander Hamilton as he fights for honor, love, and a legacy that would shape the course of a nation.
Based on Ron Chernow’s acclaimed biography and set to a score that blends hip-hop, jazz, R&B, and Broadway, HAMILTON has had a profound impact on culture, politics, and education. In addition to its 11 Tony Awards, it has won Grammy®, Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors.
HAMILTON features book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire.
HAMILTON features scenic design by David Korins, costume design by Paul Tazewell, lighting design by Howell Binkley, sound design by Nevin Steinberg, hair and wig design by Charles G. LaPointe, and casting by Telsey + Company, Bethany Knox, CSA.
The musical is produced by Jeffrey Seller, Sander Jacobs, Jill Furman and The Public Theater.
The HAMILTON Original Broadway Cast Recording is available everywhere nationwide.
For information on HAMILTON, visit: HamiltonMusical.com. Follow HAMILTON on Facebook, Instagram, Twitter/X & TikTok @HamiltonMusical.
I admit it. I was skeptical of the whole ‘Barbenheimer” match-up that same week in July. But you know what? It worked — the two biggest movies of the year, and two of the most critically acclaimed. They couldn’t have been more different, and they dominated the film conversation. They’re my one-two punch. Eight of my Top Ten received Academy Award nominations for Best Picture. I was not on the bandwagon for “Poor Things,” or “Killers of the Flower Moon” (but yet I acknowledge the technical prowess, and Lily Gladstone was robbed). As part of the team at Webster-Kirkwood Times, we publish our Top Ten in alphabetical order, then on KTRS Radio, I only did my Top Ten, but here, I get to give as many films and people I want to a trophy, a shout-out. It’s my list, so without further ado, here’s my favorites. (And I really did see about 150 films.)
1. Oppenheimer
Director Christopher Nolan’s erudite character study on American theoretical physicist J. Robert Oppenheimer is a stunning achievement in sight, sound, story, and scope. A big-brained biopic, meticulously crafted like a big-stakes psychological thriller, is bold cinematic grandeur, featuring the year’s best ensemble, cinematography, editing, sound, and tremendous performance by Cillian Murphy in the titular role. He’s nearly on screen the entire time.
2. Barbie
Director and co-writer Greta Gerwig crafted an irresistible female-fantastic self-aware fantasy-comedy that brims with great gags, first-rate actors (Kenergy!), and vibrant visuals. Gerwig and co-writer Noah Baumbach’s toy story takes a closer look at a fashion doll icon in a clever and inventive way, and says so much about us through a splendid cast. Margot Robbie and Ryan Gosling anchor one of the year’s best ensembles: America Ferrera , Kate McKinnon and Michael Cera add flavor, and the bevy of cameos evoke big grins.
3. The Holdovers
Tapping into the anger and loneliness of people who find themselves alone at a New England boarding school during Christmas 1970, director Alexander Payne coaxes terrific performances from Paul Giamatti as a misanthrope teacher, Da’Vine Joy Randolph as a grieving cook, and newcomer Dominic Sessa as a student abandoned by his mother and new husband. Screenwriter David Hemingson’s comedy-drama resonates in a rich and deeply satisfying way.
4. Past Lives
A trio of pitch-perfect performances mark Celine Song’s directorial debut on how people we love shape our lives, and what we learn and still carry with us. Greta Lee, Teo Yoo and John Magaro are adults at a crossroads, and express yearning, but from distinctive viewpoints. Song’s script brings up relatable issues to ponder, especially “In-Yun,” the ties of fate that connect two people across lifetimes.
5. Anatomy of a Fall
Justine Triet’s Hitchcockian examination of a mysterious death and a troubled marriage is a riveting crime case, courtroom thriller and family drama that shifts lenses and perspectives for nearly 2 hours and 31 minutes. Set in the French Alps, Sandra Huller is riveting as the accused wife, whom you are not always sympathetic with, and Milo Machado-Graner is sensational as her 11-year old son.
6. The Zone of Interest
Constructed in such a way as to be more disturbing about what you don’t see and can only imagine based on historical accuracy. Director Jonathan Glazer focuses on the mundane daily life of Nazi mastermind Rudolph Hoess (Christian Freidel) and his family for an unsettling look at the past and a chilling cautionary tale for today. The Hoesses live next door to Auschwitz in their dream home while he is the head commander of the concentration camp. How the Germans normalized the atrocities is haunting.
7. Maestro
Career-best performances from Bradley Cooper as America’s first superstar conductor Leonard Bernstein and Carey Mulligan as his wife, actress Felicia Montealegre, in an intricate portrait of life, art and love. They throw themselves into these roles with a heartfelt and powerful intensity. It’s an uncommon but charismatic exploration, and this passion project has stunning camera work, costumes, production design, sound, hair/makeup and one of the year’s finest scenes: Mahler’s Symphony No. 2 in the Ely Cathedral. 8. American Fiction
A scathing social satire about the current cultural obsession about reducing people to stereotypes is manifested in a remarkable directorial debut by Cord Jefferson. Jeffrey Wright is outstanding as a frustrated novelist-professor who uses offensive tropes in a book written with a pen name and that not only gives him the praise that had eluded him but also enlarges the hypocrisy involved. The sharp jabs against the publishing world and Hollywood entertainment that perpetuates tired cliches delivers some knockout punches, but there is a universal family dynamic as a major part of the journey too that emotionally connects.
9. Air
An exceptional all-star ensemble and Alex Convery’s savvy script with a keen sense of time and place makes this a fascinating underdog story. The tightly-constructed film, based on the game-changing story of Nike landing Michael Jordan, gives the real people their due for their efforts in a sturdy crowd-pleaser deftly helmed by Ben Affleck.
10. Are You There God? It’s Me, Margaret
In her adaptation of the iconic young adult novel, writer-director Kelly Fremon Craig doesn’t hit a false note. With unforced wit and oodles of charm, this empathetic coming-of-age story resonates with every little detail. Abby Ryder Fortson delivers the year’s best juvenile performance.
The Rest of the Best of 2023: All of Us Strangers American Symphony Boston Strangler The Color Purple Dream Scenario Dumb Money Godzilla Minus One Guy Ritchie’s The Covenant The Iron Claw John Wick Chapter 4 The Last Repair Shop May December A Million Miles Away Nyad Origin Perfect Days Society of the Snow Still: A Michael J Fox Movie The Teachers’ Lounge Tetris
Best Performances by an Actor
Cillian Murphy “Oppenheimer”
Bradley Cooper “Maestro”
Paul Giamatti “The Holdovers”
Jeffrey Wright “American Fiction”
Colman Domingo “Rustin”
Andrew Scott “All of Us Strangers”
Teo Yoo “Past Lives”
Koji Yakusho “Perfect Days”
Paul Dano “Dumb Money”
Nicolas Cage “Dream Scenario”
(Matt Damon “Air,” Christian Friedel “The Zone of Interest,” Jamie Foxx “The Burial,” Gael Garcia-Bernal in “Cassandro,” and Zac Efron “The Iron Claw” honorable mention)
Best Performances by an Actress
Lily Gladstone – “Killers of the Flower Moon”
Carey Mulligan – “Maestro”
Margot Robbie – “Barbie”
Aunjanue Ellis-Taylor – “Origin”
Sandra Huller – “Anatomy of a Fall”
Greta Lee – “Past Lives”
Natalie Portman – “May December”
Annette Bening – “Nyad”
Leonie Benesch “The Teachers’ Lounge”
Teyana Taylor “A Thousand and One”
(Alma Poysti “Fallen Leaves,” Cailee Spaeny “Priscilla,” Michelle Williams “Showing Up,” Laurie Metcalf “Somewhere in Queens” honorable mention)
BEST SUPPORTING ACTOR
Ryan Gosling “Barbie”
Robert Downey Jr. “Oppenheimer”
Charles Melton “May December”
Robert DeNiro “Killers of the Flower Moon”
Dominic Sessa “The Holdovers”
Glenn Howerton “BlackBerry”
Paul Mescal “All of Us Strangers”
Jamie Bell “All of Us Strangers”
Dar Salim “Guy Ritchie’s The Covenant”
John Magaro “Past Lives”
(Sterling K. Brown “American Fiction,” Eddie Marsan “Fair Play,” Jon Bernthal “Origin,” Hugh Grant “Wonka,” Matt Damon “Oppenheimer,” Jacob Elordi “Saltburn” and Sebastian Stan “Dumb Money” honorable mention)
BEST SUPPORTING ACTRESS
Da’Vine Joy Randolph “The Holdovers”
Danielle Brooks “The Color Purple”
Jodie Foster “Nyad”
Viola Davis “Air”
Rachel McAdams “Are You There God? It’s Me, Margaret”
Sandra Huller “The Zone of Interest”
America Ferrara “Barbie”
Emily Blunt “Oppenheimer”
Julianne Moore “May December”
Claire Foy “All of Us Strangers”
(Juliette Binoche “The Taste of Things,” Rosamund Pike “Saltburn,” Erika Alexander “American Fiction,” Cara Jade Myers “Killers of the Flower Moon” honorable mention)
BEST DIRECTOR
Christopher Nolan “Oppenheimer”
Greta Gerwig “Barbie”
Justine Triet “Anatomy of a Fall”
Jonathan Glazer “The Zone of Interest”
Chad Stahelski “John Wick Chapter 4”
Cord Jefferson “American Fiction”
Alexander Payne “The Holdovers”
Celine Song “Past Lives”
Andrew Haigh “All of Us Strangers”
Takashi Yamazaki “Godzilla Minus One”
(J.A. Bayona “Society of the Snow,” Ben Affleck “Air,” Kelly Fremon Craig “Are You There God? It’s Me, Margaret,” Bradley Cooper “Maestro,” Sean Durkin “The Iron Claw” and Davis Guggenheim “Still: A Michael J. Fox Movie”)
ENSEMBLE
Oppenheimer
Barbie
Air
The Holdovers
The Iron Claw
The Color Purple
Rustin
All of Us Strangers
Origin
American Fiction
SCREENPLAY – ORIGINAL
Greta Gerwig and Noah Baumbach “Barbie”
David Heminson “The Holdovers”
Justine Triet and Arthur Harari “Anatomy of a Fall”
Celine Song “Past Lives”
Alex Convery “Air”
Kristoffer Borgli “Dream Scenario”
Nicole Holofcener “You Hurt My Feelings”
Samy Burch, Alex Mechanik “May December”
İlker Çatak, Johannes Duncker “The Teachers’ Lounge”
Bettina Gilois, Hernán Jiménez, Alejandra Márquez Abella “A Million Miles Away”
Ray Romano, Mark Stegemann “Somewhere in Queens”
SCREENPLAY – ADAPTED
Christopher Nolan “Oppenheimer” (based on the book “American Prometheus” by Kai Bird, Martin J. Sherwin)
Cord Jefferson “American Fiction” (based on the book “Erasure” by Percival Everett
Andrew Haigh “All of Us Strangers” (based on the Taichi Yamada novel)
Jonathan Glazer “The Zone of Interest” (based on the Martin Amis novel)
Kelly Fremon Craig “Are You There God? It’s Me, Margaret” (based on the book by Judy Blume)
“Dumb Money” Rebecca Angelo, Lauren Schuker Blum (based on the book by Ben Mezrich)
CINEMATOGRAPHY
1. Hoyte de Hoytema “Oppenheimer” 2. Rodrigo Prieto “Killers of the Flower Moon” 3. Matthew Libatique “Maestro” 4. Jonathan Ricquebourg “The Taste of Things” 5. Rodrigo Prieto “Barbie” 6. Erik Messerschmidt “The Killer” 7. Claude Mirando “Nyad” 8. Jamie D. Ramsay “All of Us Strangers” 9. Simon Beaufils “Anatomy of a Fall” 10. Dan Laustsen “John Wick Chapter 4”
(Pedro Luque “Society of the Snow.” Haris Zambarloukos “A Haunting in Venice,” Linus Sandgren “Saltburn” honorable mention)
BEST EDITING
Oppenheimer, Jennifer Lame
The Killer, Kirk Baxter
Anatomy of a Fall, Haris Zambarloukos
The Zone of Interest, Paul Watts
John Wick: Chapter 4
Still a Michael J. Fox Movie
Barbie, Nick Houy
American Fiction, Hilda Rasula
The Iron Claw, Matthew Hannam
The Holdovers, Kevin Tent
John Wick Chapter 4, Nathan Orloff
Missing, Austin Keeling, Arielle Zakowski
(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features
PRODUCTION DESIGN
1.Asteroid City, Adam Stockhausen 2. Barbie, Sarah Greenwood 3. Wonka, Nathan Crowley 4. The Holdovers, Ryan Smith 5. Maestro, Kevin Thompson 6. Taste of Things, Toma Baqueni 8. Priscilla, Tamara Deverell 9. Oppenheimer, Ruth De Jong 10. Killers of the Flower Moon, Jack Fisk (Suzie Davies “Saltburn,” John Paul Kelly “A Haunting in Venice,” Arthur Max “Napoleon,” François Audouy “Air,” Steve Saklad “Are You There God? It’s Me, Margaret” and Shona Heath, James Price “Poor Things”)
COSTUME DESIGN
1. Barbie 2. The Color Purple 3. Maestro 4. Killers of the Flower Moon 5. Priscilla 6. Are You There, God? It’s Me Margaret” 7. Oppenheimer 8. Napoleon
MUSIC SCORE
1. Oppenheimer 2. The Boy and the Heron 3. Spider-Man: Across the Spider-Verse, Daniel Pemberton 4. The Holdovers 5. American Symphony, Jon Batiste 6. Indiana Jones and the Dial of Destiny, John Williams 7. A Haunting in Venice MUSIC SOUNDTRACK
1. Barbie 2. Air 3. Maestro 4. The Holdovers 5. Flora and Son 6. Dumb Money 7. Wonka
VISUAL EFFECTS
Oppenheimer 2. Godzilla Minus One 3. John Wick: Chapter 4 4. Spider-Man: Across the Spider-Verse 5. Society of the Snow 6. Wonka 7. Guardians of the Galaxy
STUNT TEAM
1. John Wick Chapter 4 2. Mission: Impossible – Dead Reckoning Part One 3. The Iron Claw 4. Indiana Jones and the Dial of Destiny
ANIMATED FEATURE
1.The Boy and the Heron 2. Nimona 3. The Peasants 4. Spider-Man: Across the Spider-Verse 5. Robot Dreams 6. Elemental 7. Teenage Mutant Ninja Turtles: Mutant Mayhem 8. Ernest and Celestine: A Trip to Gibberitia 9. They Shot the Piano Player 10. Leo
DOCUMENTARY FEATURE
Still A Michael J. Fox Movie 2. American Symphony 3. Beyond Utopia 4. 20 Days in Mariupol 5. It Ain’t Over 6. The Lady Bird Diaries 7. King Coal 8. Stamped from the Beginning 9. Aurora Sunrise 10. Bad Press (The Eternal Memory, Little Richard: I Am Everything, Immediate Family, The Disappearance of Shere Hite, Chasing Chasing Amy, Sly)
COMEDY
1. Barbie 2. Dream Scenario 3. The Holdovers 4. Are You There God? It’s Me Margaret 5. They Cloned Tyrone 6. What’s Love Got to Do With It? 7. Dumb Money 8. You Are So Not Invited to My Bat Mitzvah 9. Theater Camp 10,. Quiz Lady 10. Shotgun Wedding
ACTION
John Wick Chapter 4 2. Mission Impossible – Dead Reckoning, Part One 3. Guy Ritchie’s The Covenant 4. Godzilla Minus One 5. The Killer 6. The Equalizer Part 3 7. Gran Turismo
BEST INTERNATIONAL FEATURE
1. The Zone of Interest 2. Anatomy of a Fall 3. The Teachers’ Lounge 4. Society of the Snow 5. Perfect Days 6. Afire 7. The Peasants 8. Godzilla Minus One 9. Fallen Leaves 10. The Taste of Things
BEST SCENE
1.America Ferrara’s monologue on the impossible standards set for women in “Barbie” 2. Bernstein Conducting Mahler’s Symphony No. 2 “Resurrection” in the Ely Cathedral in “Maestro” 3. Observers commenting on trio at the bar in “Past Lives” 4. Trinity test in “Oppenheimer” 5. Staircase fight in Paris in “John Wick Chapter 4” 6. Fight replay at the trial in “Anatomy of a Fall” 7. Tilda Swinton restaurant scene in “The Killer” 8. Joe talking to his son on the roof in “May December” 9. Finale in “The Zone of Interest” 10. Matt Damon predicts the future in “Air”
BEST DOCUMENTARY SHORT
The Last Repair Shop
The ABC’s of Book Banning
Deciding Vote
The Barber of Little Rock
BEST JUVENILE PERFORMANCES
Dominic Sessa, “The Holdovers”
Abby Ryder Fortson, “Are You There God? It’s Me Margaret”
Let’s be honest here. If you’re reading this, you’ve probably already seen Greta Gerwig’s “Barbie.” This box office sensation (superior to Christopher Nolan’s “Oppenheimer,” by the way) is a sight to behold — packed to the brim with eye-popping visuals and amusing-to-hilarious jokes, featuring excellent performances from Margot Robbie, Ryan Gosling, and America Ferrera (among others in this star-studded cast) in a story whose emotional storyline leaves a lasting impression. Gerwig’s film tackles a ton of topics, delivering an incisive takedown of the patriarchy, a universal ode to self-actualization and empowerment, while also being a self-reflexive critique and celebration of the Barbie brand itself. Skeptical viewers should absolutely give this film a watch – “Barbie” is one of the most confident, well-crafted films of this year, or any year.
9. “Are You There God? It’s Me, Margaret.”
I held off watching director Kelly Fremon Craig’s “Are You There God? It’s Me, Margaret.” until just recently, but it’s absolutely essential viewing. Elevated by sensitive, lived-in performances from Abby Ryder Fortson, Rachel McAdams, Benny Safdie, and Kathy Bates, Craig’s adaptation of Judy Blume’s 1970 novel is a relatable coming-of-age dramedy that takes an empathetic approach to all its characters. Growing up is complicated, messy, and full of unknowns, regardless of age, but the film emphasizes the importance of staying true to yourself and being your own person. Funny, heartbreaking, and ultimately uplifting, it’s a timeless story that’s been given a fresh coat of paint, in one of 2023’s most enjoyable films.
8. “Skinamarink”
A claustrophobic, intensely immersive experience from start to finish, and one of the year’s most polarizing films, director Kyle Edward Ball’s “Skinamarink” is a feat of experiential storytelling. The film centers around two children trapped in their family home as doors and windows mysteriously disappear. Their parents are nowhere to be found, with only Legos and public domain cartoons on a blindingly-bright analog TV to comfort them. As the situation grows increasingly trippy and terror-inducing, Ball eschews a clear-cut narrative for subjective manifestations of viewers’ own monsters lurking in the darkened spaces of empty hallways and ceilings. We rarely leave the kids’ point-of-view due to agonizingly suspenseful, static-laden editing and cinematography that dares us to fill in the voids with our own fears, maintaining a constant sense of anticipation as we wait for silence to be broken. “Skinamarink” is a demanding watch, for sure, and not for those with short attention spans, but there’s truly nothing like it.
7. “Menus-Plaisirs – Les Troisgros”
The only documentary in my Top 10 list this year, director Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros” is an ode to cooking, to art, and the act of creation. It’s also four hours long, and I recommend watching it in two two-hour sessions when it becomes available. Wiseman’s film transports viewers into several restaurants in the idyllic French countryside run by the Troisgros family, letting viewers observe the meticulous brainstorming and preparation that goes into running such high-end establishments. Wiseman positions us as flies on the wall, sans narration or music, and creates a downright hypnotic spell. It’s fascinating and inspiring to watch artists at work, and seeing the passion that main chef Michel and his sons César and Léo have for the work. Viewers travel from the kitchen to various producers (including local winemakers, cheesemakers, and cattle farmers) as experts explain their crafts, as well as spending time with (occasionally pompous) restaurant patrons for whom the food is prepared. Through its patient rhythms and tactile cinematography, “Menus-Plaisirs” is captivating and inspiring, motivating me to embrace my own interests.
6. “Godzilla Minus One”
Emotional, invigorating, and full of rip-roaring set pieces while still having plenty on its mind, director Takashi Yamazaki’s “Godzilla Minus One” is one of the year’s biggest surprises. Kaiju movies aren’t necessarily known for the humans involved, but Yamazaki’s film takes time to present endearing, three-dimensional characters facing off against an unprecedented threat. Themes of PTSD, survivor’s guilt, and joining forces for a nation’s existence take center stage alongside sequences of incredible visual artistry and suspense. Ryunosuke Kamiki’s damaged pilot-turned-minesweeper Koichi Shikishima remains a compelling protagonist for this crowd-pleasing piece of popcorn entertainment that honors its rich legacy and doesn’t overplay its hand, balancing its weighty themes with some of the year’s most spectacular action.
Emotionally raw and artfully constructed with an astounding trio of central performances by Greta Lee, Teo Yoo, and John Magaro, director Celine Song’s “Past Lives” is a thought-provoking meditation on love, dreams, regret, and bittersweet acceptance of the present. Song’s direction is immaculate, giving scenes time to breathe, and Keith Fraase’s editing weaves together characters’ stories in a way that gives the film a dreamlike, ethereal quality. This deceptively gentle, semi-autobiographical story of connections renewed is both personal and universal. Song offers profound reflections on the immigrant experience that everyone can relate to: confronting what-ifs and paths not taken in a manner that shuns melodrama for pure, honest, empathetic truths that acknowledge the past while leaving the door open for an even brighter future.
4. “The Zone of Interest”
Jonathan Glazer’s horrific, experimental, and deeply moving film “The Zone of Interest” takes a disturbing look at the family of Nazi commandant Rudolf Höss (Christian Friedel), who live next door to Auschwitz in their dream home. Only a wall separates them from the horrors therein. Gunshots, screams of agony, and roars of furnaces ring throughout the Höss residence, while Christian’s wife Hedwig (Sandra Huller) tends the large garden and their children play in the yard, everyone ignoring the atrocities just beyond sight. Glazer’s film, greatly enhanced by Mica Levi’s outstanding score and haunting sound design, forces viewers face-to-face with the monstrous complicity of the Höss family, ultimately turning the camera back at us in its final stretch. Formally daring and enveloping, “The Zone of Interest” is unforgettable, lingering in the mind long after the credits roll and encouraging us to reflect on what we’ve shielded ourselves from for the sake of normalcy. Sometimes, films come along that have the power to shift paradigms and ways of being, and this is definitely one of them.
3. “Fallen Leaves”
Legendary Finnish filmmaker Aki Kaurismäki gives us another life-affirming gem with “Fallen Leaves,” a story of two lonely souls finding purpose and happiness with each other in a cold, seemingly uncaring world. Deploying Kaurismäki’s signature brand of dry, deadpan humor (with one of the year’s best scripts) that never loses sight of the characters’ humanity and capacity for change, it’s a lovely film — endlessly rewatchable and chock full of small yet meaningful moments of compassion that shine through amid bleak circumstances both near and far. “Fallen Leaves” isn’t a happy watch per say, but a hopeful one, with magnetic performances and Kaurismäki’s brilliantly efficient direction urging us to not succumb to despair and to embrace those we hold dear.
Methodical, darkly comedic, achingly stylish, and yielding satisfying rewards for viewers willing to dig beneath the surface, “The Killer” is a mesmerizing masterwork from director David Fincher. This hyper-violent, slice-of-life portrait of an unnamed assassin (played with finely-calibrated precision by Michael Fassbender) experiencing an existential crisis might seem simple at first glance, but there’s far more going on here than meets the eye. “The Killer” is ultimately a deconstruction of toxic masculinity, a sardonic takedown of the gig economy, an indictment of our consumerist, always-online society, and a weirdly gratifying peek into an assassin’s day-to-day routines. It’s also streaked with irony, as viewers observe this “well-oiled killing machine” combusting from the inside-out; Andrew Kevin Walker’s screenplay delivers sharp jabs to our protagonist’s ego as his internal monologue tries to convince him everything is under control. Add to all this an incredible score by Trent Reznor and Atticus Ross, a whole bunch of songs by The Smiths, a scene-stealing cameo from Tilda Swinton, and an all-time great fight scene, there’s no doubt that Fincher’s latest ranks among the year’s best.
Director Chad Stahelski’s nearly-three-hour thrill ride “John Wick: Chapter 4” takes action filmmaking to new heights, presenting set piece after set piece of bone-crunching stunt work and dazzling cinematography. Keanu Reeves gives one of his best performances to date as the titular Baba Yaga, taking on “The High Table” in a last bid for freedom. Not even this year’s “Mission: Impossible – Dead Reckoning Part One” rivals the balletic carnage on display here, matched by a storyline with stakes, heart, and great supporting turns from Donnie Yen, Shamier Anderson, and Scott Adkins. The last hour, in particular, is absolutely immaculate — the most skillful action filmmaking since 2015’s “Mad Max: Fury Road.” What “Chapter 4” lacks in thought-provoking themes it more than makes up for with sheer fun factor. It’s a modern classic in the action genre that deserves more recognition, and as such, ranks at the top of my all-powerful, anyone-who-reads-this-should-watch-these-movies-immediately list.
10 Honorable Mentions (I could keep going but needed to stop somewhere): “They Cloned Tyrone,” “Poor Things,” “Talk to Me,” “20,000 Species of Bees,” “Showing Up,” “BlackBerry,” “American Fiction” “The Holdovers,” “Robot Dreams,” “Mission: Impossible – Dead Reckoning Part One.”
A scathing social satire about the current cultural obsession that reduces people to stereotypes is manifested in “American Fiction,” which is a remarkable directorial debut by Cord Jefferson.
Monk (Jeffrey Wright) is a frustrated novelist who is fed up with people profiting from ‘black’ entertainment that relies on offensive tropes. So, to prove his point, he uses a pen name to write an outlandish ‘black’ book of his own, which propels him to the heart of hypocrisy and the madness he claims to disdain.
Jefferson, who has toiled on some tony television series – “Succession” and “Watchmen” included, has cleverly adapted Percival Everett’s 2001 book “Erasure,” which criticizes the narrow view of black-focused entertainment like Sapphire’s novel “Push,” which was adapted into the film “Precious,” as authentic.
His sharp jabs against the publishing world and Hollywood entertainment that perpetuates tired cliches delivers some knockout punches, but there is a universal family dynamic as a major part of the journey too that emotionally connects.
Jeffrey Wright gives one of his best performances as Thelonius “Monk” Ellison, angry and alienating, who decides to fight back – if you ‘can’t beat them, join them’ – and dumbs down his writing in a book “My Pafology,” as Stagg R Leigh, an ex-con who’s on the run.
That not only gives him the praise that had eluded him but also enlarges the hypocrisy involved. As he tells his publisher, Arthur, nicely played by ace character actor John Ortiz: “The dumber I behave, the richer I get.”
In puncturing the stereotypes through thoughtfully written characters that are part of Monk’s personal orbit, Jefferson gives us a generational story that everyone can relate to because they appear as real people just trying to figure out life.
The supporting cast is exceptionally deep – creating nuanced turns are Sterling K. Brown as Monk’s irresponsible brother Cliff who has now come out as queer, Tracee Ellis Ross as his stressed-out lawyer sister Lisa and Leslie Uggams as their mother Agnes, who is beginning to show signs of dementia.
Tracee Ellis Ross, Leslie Uggams
Lisa has been taking care of their mom, and Monk’s other siblings are harboring resentment about his lack of commitment to his family. Granted, he is in L.A., but now back in Massachusetts, where he’s staying at his childhood home, full of memories and triggers. This is a family of intellectuals whose lives are enriched through art and culture.
Erika Anderson creates another layer as a single woman lawyer romantically interested in Monk, but whose eyes are wide-open to his flaws.
Through his uneasy relationships with his family, we understand that Monk, often self-righteous and condescending, needs to change and could be ripe for a reckoning.
Issa Rae is buzzy author Sintara Golden who pushes all of Monk’s buttons with her critical darling but pandering book, “We’s Lives In Da Ghetto,” that the public has embraced for what they believe is black suffering,
Jefferson’s script is smartly written, but there is a lot to digest over the 2-hour runtime. Besides the blistering social commentary, the family story has multiple layers. This cast really delivers the film’s heart as these imperfect individuals go through changes, not forgetting the past relationships while forging new ones.
In a sweet subplot, the family housekeeper, Lorraine, beautifully played by Myra Lucretia Taylor, reunites with the beach town’s law enforcement officer Maynard (Raymond Anthony Thomas).
Laura Karpman’s jazz-inflected score delicately punctuates the exchanges and confrontations, and the film’s other elements are solid — cinematography by Cristina Dunlap, production design by Jonathan Guggenheim and editing by Hilda Rasula.
The film’s message is not unlike what Spike Lee attempted in 2000 with “Bamboozled,” only instead of television, this is set in academia and book publishing in today’s ‘influencer’ world.
The wrap-up isn’t as satisfying as it should be, but this material is clever and the performances so superbly rendered. “American Fiction” has enough thought-provoking material to keep us mulling over the body of work, and appreciate what it’s trying to say.
“American Fiction” is a 2023 social satire written and directed by Cord Jefferson. It stars Jeffrey Wright, Tracee Ellis Ross, Issa Rae, Sterling K. Brown, John Ortiz, Adam Brody, Leslie Uggams, Myra Lucretia Taylor, Raymond Anthony Thomas and Erika Anderson. It is Rated: R for language throughout, some drug use, sexual references, and brief violence. It opened in local theaters Jan. 5 after first debuting at the St. Louis International Film Festival in mid-November. Lynn’s Grade: A-
Twice in the past month the Fox Theatre has hosted musicals based on films with the heavy stamp of the genius that was Robin Williams. Divorcing these properties – “Aladdin” and “Mrs. Doubtfire” – of Williams’s imprimatur is no mean feat, and both succeed in exactly the same way: by casting the lead roles with performers who bring their own distinctive and distinctively different talents. This is true, of course, of most performances (i.e., comparing one actor’s Hamlet to another’s), but it is even more of a consideration with the film-to-stage adaptations.
“Mrs. Doubtfire” is the second of the two recent productions, and although it is slightly less successful than the Disney property, it is still a fun and entertaining way to spend approximately 2 ½ hours in the post-holiday sugar-crash. I was especially looking forward to Rob McClure’s performance in the title role as Daniel Hillard and his alter ego, the hip old granny, Euphegenia Doubtfire – a performance that’s received consistently good marks during this production’s tour.
Opening night at the Fox, McClure was replaced by Alex Branton, who usually plays in the Ensemble and as the Director. It’s hard to know what I may have missed by the absence of McClure, but doubt now. It is to Branton’s credit (and talents) that his two-fer performance was such a delightful sweep through this charming, cross-dressing story of divorce, desperation and the dynamics of family – filled with 20 musical numbers, zingy one-liners and a plenitude of pop-up dances.
To paraphrase a Mrs. Doubtfire-ism, the key to solid production is laughter, and Branton and his fellow performers deliver a satisfying patter of well-executed physical comedy and inventive (if not evenly memorable) musical numbers. “Mrs. Doubtfire” is directed by Jerry Zaks, with music and lyrics by brothers Wayne and Karey Kirkpatrick and a book by Karey Kirkpatrick and John O’Farrell.
As the increasingly harried Daniel/Euphegenia, Branton was impressively frantic as he pivoted from moments drama to slapstick, song-and-dance and even onstage costume changes. Branton’s ability to seamlessly and believable toggle between the demands of this role is one of the show’s bona fide strengths. One of the best Branton moments is the up-tempo, pop inflected “Easy Peasy,” during which he learns to prepare a meal with the help of an energetic ensemble of back-up cooks. The number had the same lively vibe as the “Hot Chocolate” song in the movie “The Polar Express.” “Easy Peasy” is one of the best numbers choreographed by Lorin Latarro.
“Mrs. Doubtfire” is more than a one-housekeeper show. Joining Branton is Maggie Lakis (McClure’s real-life spouse) as Miranda, Daniel’s exasperated wife/ex-wife. Aaron Kaburick (reprising his Broadway role and is a native of Carlinville, Ill.) is Frank, Daniel’s hair stylist brother. It seems redundant to describe Frank, who shouts whenever telling a lie (which is often), as comic relief in a musical filled with comedy, but that’s exactly Kaburick’s achievement.
Nik Alexander plays Andre, Frank’s husband, and provides one of the best performances of the evening. Together with Frank, Daniel, Andre and the Ensemble, Alexander delivers a clever, show-stopping wonder with “Make Me a Woman.” Equally strong in her own way was Giselle Gutierrez as Lydia, the eldest daughter. Gutierrez displayed confidence and mature poise while delivering “Just Pretend,” a nuanced, poignant father-daughter duet.
As Miranda’s hunky himbo love interest, Stuart, Leo Roberts’s uneven acting and muffled dialogue (there were also numerous mic’ing issues during the show) were more than offset by his booming performance of “Big Fat No” – quite unexpected in a very good way.
“Mrs. Doubtfire” closes with “As Long As There Is Love,” a song that resonates with the show’s message of inclusion and a modern, expanded notion of what constitutes a family.
The song is not the strongest in the show, but it would have served as the appropriate ending. There’s an extraneous, unnecessary epilogue scene after the song, with Mrs. Doubtfire using hand puppets to reinforce the song’s theme of families coming in all sizes, shapes and genders.
This ending required another Mrs. Doubtfire-ism: “I Admire That Honesty, Natalie, That’s A Noble Quality. Never Lose That, Because It Often Disappears With Age, Or Entering Politics.”
Performances of “Mrs. Doubtfire”” at the Fabulous Fox run through January 7. Show times vary. Tickets on sale now at MetroTix.com or by calling 314-534-1111. For more information, visit www.fabulousfox.com
A strong sense of community, sisterhood and triumph over adversity runs through the big, splashy movie musical adaptation of “The Color Purple.”
What an inspiration Alice Walker’s Pulitzer Prize winning 1982 novel was 41 years ago, and its historic significance has not diminished. It told Celie’s powerful story through letters to her sister and children, which isn’t the easiest type of source material to adapt for film, nor are the horrors that she has endured. But a different presentation is a new way to see how one woman’s journey to self-realization resonates.
A determined Celie Harris (Fantasia Barrino) faces many hardships in life, but through the years, finds extraordinary strength and hope, and learns self-acceptance.
Purple symbolizes strength, transformation, power, wisdom, bravery, and all meanings can be applied in this version.
Celie’s tough path started in 1909 in rural Georgia. She’s a poor, black 14-year-old girl who has delivered two babies, impregnated by the man she thinks is her father. They are taken away from her.
Against her will, she has been given to a widower Albert “Mister” Johnson, who emotionally and physically abuses her. She must serve him and his unruly children. As the heartless husband perpetuating a long cycle of suffering, Colman Domingo doesn’t soften the villainous aspects. However, after he is cursed, you do see a gradual change.
Celie’s endurance through deep-rooted cruelty and oppression is heart-tugging, and Barrino depicts her sorrows, love and indomitable spirit with courage and grace.
Fantasia, an American Idol winner who performed the role for eight months on Broadway, portrays Celie’s faith as unwavering through tough times, and how she relied on her beloved sister Nettie (Halle Bailey) and her church to raise her up. Her kindness will eventually lead to good things.
Things change, through the people she meets, but she also changes people. The nurturing Celie meets the glamorous and sophisticated nightclub chanteuse Shug Avery, and they have a deep bond even though the singer has an ongoing affair with Mister and a marriage to Grady (Jon Batiste). Taraji P. Henson is a flamboyant and fiery Shug, and sashays admirably through “Push the Button,” In a role added for the movie, David Alan Grier plays her father, Rev. Avery.
One of Mister’s grown children, Harpo (Corey Hawkins) , marries Sofia, and Danielle Brooks is marvelous as the strong-willed free spirit, known for her independence and speaking her mind, with her phrase: “Hell, no!” even a song title that’s a showstopper. She cannot be ‘tamed,’ and her outspokenness will bring her harm. Brooks reprises her Broadway role and is the dynamo here.
As the story has evolved from book to movie to musical to movie musical, the familiar main points haven’t changed, although how much time is devoted to turning points has varied.
For whatever reason a movie that had been smoothly running along feels rushed and haphazard in its last act, because of choppy storytelling and erratic pacing. But overall, director Blitz Bazawule makes the theatrical elements of a stage play cinematic.
Dan Lausten’s cinematography, Paul Denham Austerberry’s production design and Francine Jamison-Tanchuck’s costumes — 40 years of style — are vibrant components of the ultimately uplifting and very spiritual essence of this work.
The dynamic ensemble deeply feels their experiences, but the film finds its emotional center in the musical numbers. The score is an appealing mix of gospel, jazz, ragtime, blues, and African beats, with the Broadway songs by Brenda Russell, the late Allee Willis, and Stephen Bray that bring out the purpose, yearnings and period of these early 20th century lives. Sixteen songs are from the stage musical and there are several new ones: “Keep It Movin'” (written by Halle Bailey) and “Superpower.”
Mega-talented Kris Bowers composed the film’s score, and Fatima Robinson’s choreography is joyous.
Steven Spielberg directed the first adaptation – a moving 1985 film, which famously was nominated for 11 Oscars, but didn’t win any. Spielberg is among the producers of this version, so is Quincy Jones, who scored the original, and so is Oprah Winfrey, who was Oscar-nominated as Sofia.
Jones and Winfrey helped launch the 2005 musical on Broadway, which was revived in 2015, and this is a combination of the two. While this version, adapted by Marcus Gardley from Marsha Norman’s book, doesn’t shy away from Celie’s harsh life, its sisterhood focus sweetens the story.
Over the course of several decades, what the women learn, how they grow and overcome obstacles will tug at our hearts, so that the mercy shown in the second act leads to triumph– and somewhat of a redemption for Mister.
The heart and soul of any version is Celie, and it’s no fluke that both actresses who played Celie on Broadway — LaChanze in the original 2005 production and Cynthia Erivo in the 2015 revival — won Tony Awards (Director John Doyle’s re-imagining also won the Tony Award for Best Revival). When Fantasia sings the powerhouse “I’m Here,” she puts an exclamation point on a sensational debut.
Yes, it’s gut-wrenching, but it’s also about healing, resilience, and the mighty power of love. Throughout our history, we have learned that we should never forget what’s happened before, those teachable moments that make us better people.
The ensemble is top-tier in every way. Singers Ciara and H.E.R. are elder Nettie and Squeak respectively, and Louis Gossett Jr. has a memorable turn as Ol’ Mister. Even the brief parts contribute a sense of faith, hope and charity that church communities share.
If you believe, as I do, that if you spread light and love in the world, and are a good person, then the universe responds in kind. That is ultimately why Celie’s story is relatable. She never gave up her belief in goodness, and finally realized her worth as a human being.
While musicals are a hard sell as movies these days, “The Color Purple” has enduring appeal for what it says and what it means. The cast makes this version shine, for they bring emotional truth to each role.
“The Color Purple” is a 2023 musical directed by Blitz Bazawule and starring Fantasia Barrino, Colman Domingo, Danielle Brooks, Corey Hawkins, Taraji P. Henson, Halle Bailey, Ciara, Jon Batiste, Gabriella Wilson (H.E.R.), Louis Gossett Jr., David Alan Grier. It is rated PG-13 for mature thematic content, sexual content, violence and language, and runs 2 hours, 20 minutes. It opens in theaters Dec. 25. Lynn’s grade: B+
While it has all the makings of an old-fashioned feel-good sports drama, perhaps we’ve seen too many rousing underdog team stories so that “The Boys in the Boat” pales in comparison to other revered crowd-pleasers (“Rudy,” “Hoosiers,” “Remember the Titans”).
This latest example of scrappy athletes overcoming obstacles is based on a bestselling nonfiction book by Daniel James Brown, “The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936 Berlin Olympics,” which was published in 2013.
At the height of the Great Depression, an underdog team of rowers at the University of Washington struggle and sacrifice, eventually competing in the ”world is watching’ Hitler Summer Olympics.
Their true story is remarkable – eight guys from lower-middle-class families overcome obstacles, endure the uncertainty of the Great Depression, and find glory at the Nazi Olympics, triumphing while Hitler’s Third-Reich propaganda was in full force.
But the script by Mark L. Smith, adapting Brown’s book, hits the predictable beats in such an uninspired way that it feels generic. Smith must be a streaky writer, for he crafted the wilderness epic “The Revenant” but also the confusing and clumsy storytelling in “The Midnight Sky” and the forgettable “The Marsh King’s Daughter” earlier this fall.
This is the second time Smith has worked with Clooney as a director, first with the aforementioned “The Midnight Sky” in 2020.
This is Clooney’s ninth film in the director’s chair, and while I’m sure the movie has enough components to move some people, it seems too familiar and flat. There is little that is special about it.
His last, in 2021, “The Tender Bar,” was a heartfelt coming-of-age story also based on a book. He showed such great promise with “Good Night, and Good Luck” in 2005 and “The Ides of March” in 2011, that you’d think a story tailor-made for Hollywood treatment would be a perfect fit.
He does work well with young actors, but the script lets them down because their characters are largely underdeveloped. The eight-man rowing shell doesn’t have any star power either, and I’m sure that was intentional, to make them a team in every sense of the word.
Callum Turner, as poor boy Joe Rantz, has the most compelling story arc, although predictable. He’s on his own, sleeping in a car, and can’t pay his tuition, so when he finds out rowers are given places to stay and a job, he’s in.
Rantz becomes the de facto leader of the motley crew, and you just know they will beat the odds (besides, you already know the outcome of what happened 87 years ago). The handsome Turner (Theseus Scamander in the “Fantastic Beasts” movie franchise) is likable as Joe, but a subplot with girlfriend Joyce (Hadley Robinson) seems perfunctory.
Joel Edgerton is their coach Al Ulbrickson, a no-nonsense guy who believes in his team but has a gruff manner. He wants them to achieve “swing,” when teammates are in perfect union so that the symmetry feels like poetry.
By the time they are on their improbable trajectory, the film builds up some energy and it’s stirring when they beat Ivy Leaguers for the Olympic spot, and of course, the whole USA vs. Hitler match-up in Germany goes for the obvious.
While often clunky in storytelling, the conventional sports saga has a beautiful look – the sun on the rippling water, young muscular lads exerting themselves in competition, and the imposing Olympic-size landscape. Cinematographer Martin Ruhe, who has worked with Clooney several times (including those Nespresso commercials), captures the action well. And Alexander Desplat’s score swells with emotion at the right times.
A documentary “The Boys of ’36,” is currently streaming on PBS, and was first broadcast on “American Experience” in 2016. It may flesh out some of the story that the fictional account fails to deliver.
A beat-all-the-odds real-life story deserved a better movie than filmmakers put together. They needed more than a rah-rah message of “we’re all in the same boat.” (OK, groan).
“The Boys in the Boat” is a 2023 Biography, Drama, Sports film directed by George Clooney and starring Joel Edgerton, Callum Turner, and Hadley Robinson. It is rated: PG-13 for language and smoking and runtime is 2 hours, 4 minutes. Opens in theaters Dec. 25, and will eventually stream on Amazon Prime. Lynn’s Grade: C
When my children were young, back in the days of VHS, I endured countless hours of Disney’s Aladdin playing as the main feature (“Sit, Daddy, and watch with me!”) and as background noise while I performed my parental duties (Dad! Quit vacuuming! We’re trying to waaatch!).
Even then, the segments featuring Robin Williams as the Genie held up to numerous viewings in the same way I can still watch and rewatch clips of him on the Tonight Show or elsewhere without experiencing the law of diminishing return. Like many of his other performances, Williams’s Genie was a tour de force that imprinted that film with a force so majeure that I turned off the Hoover – and only his voice was onscreen.
I didn’t then, nor do not now, much care for the story that knits together Aladdin’s other characters. The Aladdin/Jasmine love story, the bland villainy of Jafar and the father-doesn’t-know-best efforts of the Sultan closely hew to so many other caricaturistic Disney characters that I’m left feeling more than a little meh. The mileage of youngsters will, of course, differ, vary and supersede my own.
But, still, there’s something about that that Genie. It’s all about the Genie. And thus, my evaluation of the success of the stage adaptation hinges on who plays the Genie – and how. In the case of the second touring production (of the 2011 Broadway musical) that flew across the Fox Theatre stage for about as long as a good magic carpet ride (December 12-17), Marcus M. Martin delivers an outsized, turn-it-to-11 performance that deserves its place in some sort of Genie Hall of Fame.
Martin’s performance left me thinking, “Robin Williams, who?” He was antic and frantic, equal parts Falstaff and Madea, with the moves of Fat Albert crossed with a dancer from Les Ballets Trockadero de Monte Carlo. Martin has been given most of the best quips and quotes in the show – delivered with the same transgressive brio of Jim Carrey in The Mask: “Somebody stop me!”
Martin could probably work his magic naked on a bare stage, but, of course, that wouldn’t happen with a family-friendly Disney property. So, his performance (and that of all the other characters) was made so much the better and more dazzling thanks to the direction and choreography of Casey Nicholaw and costume designs by Gregg Barnes.
This lavish production had a colorful, “spare no expense” sheen throughout, especially the set design by Bob Crowley and projections by Daniel Brodie. A particular standout was the properly monikered Cave of Wonders with so many (and so many clever types of) treasures that would put Smaug’s Lair to shame – all blazingly illuminated by Natasha Katz’s lighting design.
“Aladdin” includes all of the songs of the original film as well as new songs — all beautifully orchestrated by Danny Troob. I was curious to see how the film’s iconic “A Whole New World,” the love ballad between Aladdin (played by an engaging Aaron Choi) and Jasmine (played by an equally engaging Senzel Ahmady), would be presented. In the film, this magic carpet ride high above the city was relatively easy to achieve. The laws of physics don’t apply in animation.
The staged version did not disappoint. Though perhaps not as impressive as the helicopter scene in Miss Saigon, this production uses a dark night sky and a meandering, dimly lit mechanical “carpet” upon which the two lovers sing their duet. It was as subtle and beautiful as the Cave of Wonders was brash and brilliant.
Choi and Senzel had a believable chemistry together, as did Aladdin’s gang admirably portrayed by Jake Letts as Babkak, Nathan Levy as Omar and Colt Prattes as Kassim.
Disney’s Aladdin ran December 12-17 at the Fox Theatre, 500 North Grand Boulevard.
Disney Theatrical Productions under the direction of Thomas Schumacher presents Aladdin, the North American tour, music by Alan Menken, lyrics by Howard Ashman and Tim Rice, book and additional lyrics by Chad Beguelin, starring: Adi Roy (Aladdin), Marcus M. Martin (Genie), Senzel Ahmady (Jasmine), Jake Letts (Babkak), Colt Prattes (Kassim), Ben Chavez (Omar), Anand Nagraj (Jafar), Aaron Choi (Iago) and Sorab Wadia (Sultan) directed and choreographed by Casey Nicholaw
Overflowing with cheer and kindness, “It’s a Wonderful Life: A Live Radio Play” is as comforting as a mug of hot cocoa and as heartwarming as the cherished 1946 film.
Festively decorated inside and out for the holidays, The Repertory Theatre of St. Louis is the bearer of glad tidings with this crisp and polished production, an announced substitution for the previously scheduled “A Christmas Carol,” which had been presented in 2021 and 2022.
But this was more than a performance – it was a change in direction and a celebration of community. The Rep went public with their financial woes in mid-October, starting a “Rally for the Rep!” campaign to raise $2.5 million by year’s end to continue the 57-year-old regional professional theater in the new year.
A Dec. 17 benefit, an online auction, and other fundraising efforts are being promoted, and this production is the first opportunity for The Rep to welcome patrons back to the Loretto-Hilton Center since the news broke.
They have added some ‘zhuzh’ to the welcoming atmosphere. Company Manager Michael D. Ward donated for the decoration, design and setup of the interior and exterior, and collaborated with the front of house staff to set those charming scenes.
Besides the merry mood, opening night also was a statement. You could feel the goodwill from the audience, and in the lobby afterwards, where trays of chocolate chip cookies were placed, and people snapped photos near the John Goodman cardboard cut-out. Goodman, the world-renowned actor who is a hometown treasure, will headline the Dec. 17 benefit.
Photo by Jon Gitchoff
Everything about this show gleamed – the company of all local performers’ glee was palpable and the nostalgic setting of KSTL’s studio harkened back to the Golden Age of Radio.
This play-within-a-play is a savvy adaptation by Joe Landry, reworking his play that modified the movie that’s now a holiday staple. The twist to the timeless tale is that it’s being performed by characters who work at the radio station.
This version was first produced last year by the Alabama Shakespeare Festival, whose artistic director Rick Dildine was previously affiliated with the St. Louis Shakespeare Festival. And The Rep is producing this show in association with ASF and is made possible in part by the support of The Berges Family Foundation.
Kate Bergstrom has directed both, displaying a deft touch for staging the action for optimum viewing and maximum ‘feels.’ Stage Managers Emilee Buchheit and Anna Baranski energetically stage-managed the show to keep the 2-hour show running smooth.
The ensemble shines – in individual roles and as a collective in the workplace. Anchoring the show is Michael James Reed, playing actor Jake Laurents, who is also a military officer serving in World War II. He’s a terrific George Bailey, conveying the distress of a man whose faith and hope has been eroded, but also a caring neighbor and friend in his daily interactions.
Melissa Harlow, Michael James Reed. Photo by Jon Gitchoff
Laurents/Reed plays a family man and banker whose life in Bedford Falls is not what he had imagined for himself, but circumstances led to him to bloom where he was planted.
As problems mount up, and he wishes he had never been born, it’s up to his guardian angel, Clarence, to show him what the town would have been like without him — and the many good deeds he has accomplished.
Upon closer observation, the source material is quite dark — a man is desperate, ready to throw in the towel, feeling as if he’s failed. But looking back at the impact his life has made is a beautiful observation about connection. And we can all relate.
For the screenplay, movie director Frank Capra, three-time Oscar winner (“It Happened One Night,” “Mr. Deeds Goes to Town,” and “You Can’t Take It with You”) collaborated with married screenwriting duo Frances Goodrich and Albert Hackett, Oscar-nominated for “The Thin Man” and “Father of the Bride,” among their filmographies.
Their source was a 1943 short story, “The Greatest Gift,” written by Philip Van Doren Stern, which was inspired by Dickens’ “A Christmas Carol.”
Daisy Held as a Sound Engineer. Photo by Jon Gitchoff
The movie, while earning five Oscar nominations in 1947, including Best Picture (lost to “The Best Years of Our Lives”) and another for Capra and James Stewart, was a box office flop and critics were lukewarm. It wasn’t until 1977, when its copyright lapsed and broadcasters were able to show it royalty-free, that it gained a following. Now it’s a perennial.
Today, no matter how many Christmas movies Hallmark churns out, “It’s a Wonderful Life” continues to top lists of favorite holiday movies. The Rep’s production reinforces why everyone loves it. Besides, who doesn’t want to believe in guardian angels?
The talent-rich 10-person ensemble is dialed in, seamlessly working together as radio employees and actors conveying the Bedford Falls denizens. Three are St. Louis Theater Circle winners (Michael James Reed, Eric Dean White and double-winner J Samuel Davis).
It’s fun to experience that part of America’s past, when a physical radio was an essential part of everyday life and the dominant home entertainment during the 1930s and 1940s. You’ve seen these settings in old-time movies and TV, and scenic designer An-Lin Dauber has recreated a vibrant studio where you can see — and hear — the sound engineers make the magic.
Eric Dean White, J Samuel Davis. Photo by Jon Gitchoff
With his mellifluous voice, Eric Dean White strikes a pleasant tone as a seasoned radio announcer. He’s amusing when he delivers commercials for Schnucks, Crown Candy Kitchen, Ted Drewes, and others – delighting the audience.
DeAnte Bryant is a charmer as Harry Heywood, who is humorous, caring and concerned as the lovable Clarence, who has waited 200 years to get his wings. The brilliant local actor J. Samuel Davis is Dr. Richard Ross, doubling roles — compassionate as St. Joseph and conniving as greedy Mr. Potter, the corrupt power-hungry kingpin often stopped in his chicanery by George.
Melissa Harlow is actress Sally Applewhite who plays good-natured Mary, who eventually marries George and raises a family. Carmen Garcia is the sweet Rosa Ramos, who is playing both George’s kind mother and Mary’s busybody mom. Their fashionable frocks are part of Dauber’s vintage costume design, with Jordan Fell associate costume designer.
Smartly dressed in tailored attire as ‘career girls’ are Aria Maholchic who plays spirited actress Lana Sherwood, Jailyn Genese as the efficient Stage Manager and Daisy Held as the Sound Engineer.
The biggest crowd-pleaser was winsome TJ Staten Jr., stealing scenes as Lead Songbird and Sound Engineer. Making his debut at The Rep, the McCluer High School graduate, as Troy Staten, won the 2021 St. Louis Teen Talent Competition sponsored by the Fox Performing Arts Charitable Foundation.
TJ Staten Jr. Photo by Jon Gitchoff
Lighting designer Christina Watanabe bathed the production in a poignant glow that enhanced the emotional depth, particularly when snowflakes fell. Moving from the cozy studio to the wintry town setting was an impressive transition.
The sound work was particularly noteworthy, because creating the sound effects to go across the airwaves isn’t as easy as it sounds. Special mention to Michael Costagliola as sound/foley designer and Andrew Ronver, the associate sound designer.
Another artisan helping establish the period was wig designer Dennis Milam Bensie.
It wouldn’t be a holiday radio show without singing, and music director Ron McGowan helped make the season bright, leading the ensemble in snappy seasonal favorites. When it was time for “Auld Lang Syne,” the audience joyfully chimed in with the ensemble. (Was anyone else misty-eyed?)
A sincere effort to inspire, touch, and engage, “It’s a Wonderful Life: A Live Radio Play” was a dandy celebration of what should be important this time of year.
Storytelling is vital to bringing us together, and this opportunity to remind us to believe in our purpose, be mindful of what’s around us, and never lose faith in humanity is evergreen.
It is a wonderful life – and I hope you leave this show with the promise of better days ahead, even if a happy holiday is elusive.
The Repertory Theatre of St. Louis presents “It’s a Wonderful Life: A Live Radio Play” Dec. 1-23 at the Loretto-Hilton Center, Webster University, 130 Edgar Road, Webster Groves. For tickets or more information, visit www.repstl.org or call the box office at 314-968-4925. For more information about Phase One of the fundraising campaign, visit www.rallyfortherep.org
Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time. Audio-Described Performance: Thursday, December 21 at 7pm – the show will be described for patrons who are blind or have low vision. ASL Performance: Saturday, December 23 at 2pm – the show will be signed for the deaf or hard of hearing. Open-Captioned Performance: Sunday, December 17 at 2pm – an electronic text ticker displays words being spoke or sung onstage
(And if you are hankering to watch the movie, NBC will show it Christmas Eve, the E! Entertainment Channel will show it at 4 p.m. and 7 p.m. on Dec. 20. Bravo will show it at 6:30 p.m. and 9:30 p.m. on Dec. 15. It is also streaming on Amazon Prime with a subscription.)
