A lightweight, enjoyable treat that leans into sports movie cliches while adding some wrinkles, director Taika Waititi’s “Next Goal Wins” doesn’t try to be high art, but succeeds where it counts, and offers a breath of fresh air in our cynical times.
Inspired by the 2014 documentary of the same name, and introduced by a priest played by none other than Waititi himself, the film follows disgraced coach Thomas Rongen (Michael Fassbender) on a journey of personal growth. He’s sent by the American Soccer Federation – led by Alex Magnussen (Will Arnett), who’s dating Rongen’s ex-wife Gail (Elisabeth Moss), also on the Board – to coach the American Samoan national soccer team to FIFA World Cup qualification. It’s really about punishment for his hot-headed behavior and a nudge to “help himself” while floating in career purgatory. When the Board delivers the news to Rongen, he experiences the five stages of grief, explained via a crude PowerPoint presentation by Waititi-regular Rhys Darby.
Unfortunately for Rongen, his newly assigned team doesn’t have the best track record. They infamously lost to Australia 31-0 in a 2001 World Cup qualifying match: the worst defeat in international soccer history. The team lacks drive and organization, rendering Rongen’s assignment quite an uphill battle. The former coach, lovably goofy and earnest Tavita (Oscar Kightley), who works various odd jobs around the island, merely wants Rongen to help the team score one goal. “One goal,” Tavita repeats, as he slowly backs away from Rongen at a beachside restaurant, “One goal.”
It’s all infuriating for the temperamental, alcoholic, and close-minded Rongen – a fish-out-of-water in an unfamiliar culture with traditions and ideals that buck against his hard-assed attitude. In his view, nobody on the team takes soccer, or him, seriously, especially Jaiyah Saelua (Kaimana), a transgender woman whose identity Rongen refuses to accept and respect, while the rest of the team does.
It’s little surprise that Rongen’s hatred gradually fades away as he learns more about American Samoan culture and bonds with the players. Their patience, compassion, and kindness help Rongen conquer his demons and open his heart, which in return helps the team come together and try their best, no matter the outcome, delivering plenty of zany jokes along the way.
Indeed, “Next Goal Wins” follows a familiar template that yields few real surprises. Thanks to strong performances, Waititi’s signature brand of awkward-funny humor, and some emotional moments that (despite their predictability) hit with earnest impact, though, it’s an eminently enjoyable watch. Waititi’s preference for jokes over “dramatic” moments lessens their potency, and the focus on Rongen is less compelling than Jaiyah’s experiences, but “Next Goal Wins” still manages to score that elusive goal, no matter its faults.
Fassbender (coming fresh off his awards-worthy turn in David Fincher’s “The Killer”), fits the gruff, damaged Rongen well – often seeming at odds with the beaming, idiosyncratic people surrounding him on the island. Like Fincher’s nameless hitman, it’s another performance from Fassbender that mocks his character’s “masculine” refusal to be vulnerable and acknowledge his faults, consumed by his work and suffering past trauma to the detriment of everyone around him (except those laughing at his childish behaviors). Rongen’s arc is easy to foresee, but it’s heartwarming, particularly his eventual bond with Jaiyah, the film’s real MVP.
Rongen’s initially awful treatment of Jaiyah is difficult to watch – a scenario that, despite the film’s largely comedic atmosphere, seems plausible and disquieting. It’s thanks to Jaiyah’s refusal to view Rongen in black-and-white absolutes, though, that helps them connect. She won’t write him off or give up her dreams to play soccer. Kaimana brings warmth, pathos, and groundedness to her portrayal, leading to several tear-inducing scenes later on when the empathy she exhibits to others is returned. Her story is inspirational, and the most winning aspect of Waiti’s film.
The rest of the team (including performances from a pitch-perfect David Fane as assistant coach Ace, and Uli Latukefu as former goalie Nicky Salapu, haunted by past failures during the Australia match) aren’t given anywhere near as much depth as Rongen and Jaiyah. Waititi instead paints them in broad strokes – there for pun-filled, pop-culture-heavy punchlines over three-dimensionality.
It’s an unfortunate choice, perhaps due to the film’s 104-minute runtime, which speeds through the story without lingering on gags or otherwise poignant beats. Rongen’s arc notably falls prey to Waititi and Iain Morris’s rushed screenplay – a short heart-to-heart can make him change his tune to an unbelievable, if crowd-pleasing, extent, and a late-movie plot twist with his character is easy to foresee.
This applies to the meat and potatoes of what Rongen and the team are actually doing, too. “Next Goal Wins” is less focused on the game of soccer itself (or the players’ reasons for participating in the first place), and more on the thawing of Rongen’s tough exterior and the formation of community and friendship above all else. Viewers shouldn’t expect many thrilling sequences of last-minute saves and goals. In fact, Waititi seems to actively resent it, shifting attention to relationships and team-building with comparatively small-scale (but important) stakes in the final stretch.
We’re left with an imperfect, tonally inconsistent sports film that aims to put a smile on one’s face and raise awareness of a culture’s, and team’s, continued striving and resilience. On those merits, “Next Goal Wins” wholeheartedly succeeds. It’s no masterpiece (and one yearns for the daring Waititi of “Jojo Rabbit” and “Hunt for the Wilderpeople”), but sometimes films like this are needed, just to restore one’s faith in humanity a little bit more, because every bit counts.
“Next Goal Wins” is a 2023 Sports Comedy directed by Taika Waititi and starring Michael Fassbender, Elisabeth Moss, Will Arnett, Oscar Kightley, Kaimana, and David Fane. It’s rated: PG-13 for some strong language and crude material and runs 1 hour, 43 minutes. It opened in theatres Nov. 17. Alex’s Grade: B.
Think a second tier “Ted Lasso” meets a “Cool Runnings” vibe in this rough-around-the-edges underdog sports comedy-drama that is based on a true story.
The now infamous American Samoa soccer team, known for a historically brutal 2001 FIFA match they lost 31-0 to Australia, seeks redemption — and a goal — in 2014 or they’ll be booted out of the football federation.
Aimed at the heart with emphasis on quirky, director and co-writer Taika Waititi focuses on the likability of the Pacific Islanders involved with the soccer team, and the colorful inhabitants of American Samoa, a U.S. territory in the South Pacific Ocean.
It’s a mixed result. Waititi and co-screenwriter Aian Morris follow the template of the 2014 documentary of the same name, but naturally embellished for a narrative.
Set in 2014, many people still have not gotten over the 2001 humiliation and are doubtful about the next World Cup qualifying match as the team hasn’t scored a goal since. Football Federation President Tavita, wonderfully played by charmer Oscar Kightley, is determined to get the team across that hurdle, so he hires a hothead Dutch-born coach Thomas Rongen (Michael Fassbender), who has been fired for egregious behavior, four weeks away from the game.
Naturally, he’s a fish out of water – faced with the ultimatum to leave or take the American Samoan job. His surly demeanor is at odds with the happy-go-lucky islanders, and does he even like soccer? He drinks too much, yells too much, and cares far too little.
Following the familiar beats of goodness triumphing over meanness, like every true-story sports movie, “Next Goal Wins” is a crowd-pleaser but average paint-by-numbers movie.
New Zealander Waititi is known for his offbeat work in “What We Do in the Shadows” and “Hunt for the Wilderpeople” won an Oscar for “JoJo Rabbit,” and has directed a couple mega budget “Thor” movies.
Michael Fassbender and Jaiyah
Most surprising is seeing the intense Michael Fassbender cast as the down-on-his-luck maverick coach Thomas Rongen, who is tasked with turning the world’s worst soccer team around as World Cup Qualifiers approach. American Samoa is ranked last, and if they do not win, will be booted.
Fassbender, two-time Oscar nominee for “Steve Jobs” and “12 Years a Slave,” is known for serious roles. He is an odd choice, but this rage-aholic coach is a high-strung guy, so playing cantankerous, screaming so much his veins stand out, is within his specific set of skills.
The character is designed to be redeemed, of course, and he gets his big speech, although throws a couple curves in, to explain some of his behavior. Fassbender is never going to be warm and fuzzy, or funny, for that matter, but you do root for him to get out of his own way.
In the spirit of “The Mighty Ducks” and “Bad News Bears,” the team players espouse the ‘old college try’ philosophy, and fit the kooky mold Waititi was going for, along with providing a strong sense of community.
The likable Jaiyah, a transgender player, portrayed by a winsome Kaimana, is horribly disrespected by Rongen, and that relationship development is a focus of the plot, but the others aren’t given much to work with – Beulah Koale as Tavita’s son, Semu Filipo as police officer Rambo, and Uli Latukefu as the former goalie Nicky Salapu stand out.
Armani, the kid helping Rongen, is another source of comic relief, and Waititi uses the young actor Armani Makaiwa wisely.
In supporting roles are Elisabeth Moss as Rongen’s divorce-headed wife, Will Arnett, who replaced Armie Hammer, as football federation board’s Alex Magnussen, and Rachel House as Tavita’s wife Ruth.
Showcasing the natural beauty of the island makes for a pleasant backdrop, with beaches, reefs and stunning cliff outlooks. And the characters’ relaxed way of life adds to the authentic depiction.
If you’re looking for heartwarming, you can find it here. However, if you are seeking a rousing underdog sports film that’s a cut above the usual, seek out the Oscar-winning documentary “Undefeated.”
“Next Goal Wins” is a 2023 Sports Comedy directed by Taika Waititi and starring Michael Fassbender, Elisabeth Moss, Will Arnett, Oscar Kightley, Kaimana, and David Fane. It’s rated: PG-13 for some strong language and crude material and runs 1 hour, 43 minutes. It opens in theatres Nov. 17. Lynn’s Grade: C.
In a culturally enriching evening that seamlessly melded tradition and innovation, Trinity Irish Dance Company delivered a performance of depth and resonance in St. Louis at the Touhill, presented by Dance St. Louis under the guidance of Michael Uthoff, its artistic director and unerring cultural curator.
Let’s dispense, from the get-go, the obvious association that, if you’re anything like me, you might make when you see the words “Irish dance.” You immediately think of That Other, perhaps more well-known, dance company. No need to drop that name.
Having attended both, I much prefer Trinity. That’s to throw no shade on that other group. Both draw inspiration from traditional Irish step dancing that has been performed for hundreds of years. Choosing one over the other would be to provide short shrift to the genre and would ignore the fact that some of the same dancers have performed in both.
It would be like choosing a favorite among your children, or comparing The Pogues with The Chieftains (or U2 with the Joanie Madden or the Boomtown Rats, for that matter) or “The Commitments” with “My Left Foot.” So choose your vibe.
Abi Graham-Luke, Ali Doughty, Anna Gorman, Kelsey Parry, Michael Fleck; Trinity Irish Dance Company, 2020
Given the option, I would choose Trinity, even though both present Irish dance at its most skilled – agile footwork, stiffened with formality from the waist up with synchronized precision while transitioning from lines to circles to diamonds. And for the record, I own albums from all of the musicians listed above and love both of those movies.
Trinity distinguishes itself in several ways. The performance is modernized with theatrical lighting effects and features an onstage band that accompanies the dancers with wonderful musical selections and music-only interludes.
The band was composed of Brendan O’Shea, the composer on guitar and vocals, Jake James on fiddle and bodhran, Christopher Devlin on guitar and vocals and Steven Rutledge on percussion. One of the musical highlights was a folk-based “Listen,” by O’Shea is delightful. Another was the fiddle work of James, who performed an intriguing “duet” with a fairy-like dancer (not identified in the program).
Trinity’s contemporary approach results in dance pieces that are awe-inspiring. Helmed by founding artistic director and choreographer Mark Howard, collaborating with associate artistic director and co-choreographer, Chelsea Hoy, this pioneering company has been innovating for more than 30 years. The company celebrates individuals, especially the women in the mostly female company that are bringing dynamic works to life with incomparable style.
The program of 13 pieces included a diverse repertoire that showcased the evolution of Irish dance. The performance, choreographed by artistic director Mark Howard, artfully blended traditional elements with contemporary influences. The audience was keyed into Trinity’s unique approach at the beginning of the evening as a spectral voice-over expresses a desire to break free from the constraints of rules, conformity and over-produced formulas.
Trinity’s dancers demonstrated remarkable technical skill and emotional depth throughout the evening, from the rhythmic intensity of “Soles” to the poignant storytelling of “Thank You for Hearing Me,” and from the hopeful optimism of “A New Dawn” to the mysterious allure of “Black Rose.” Each piece offered a unique perspective on the beauty and complexity of Irish dance.
The dynamic energy of “Sparks” and the meditative grace of “Communion” were complemented by the introspective exploration of “Listen” and the nostalgic resonance of “Johnny.” The spirited vitality of “Push” and the modern reinterpretation of “American Traffic” added layers of depth and dimension to the evening’s program. The performance culminated with the triumphant finale of “An Sorcas,” aka “The Circus” – an effective bookend to the opening piece, “Tokyo.”
It’s hard to choose among the 13 pieces to highlight one that stood out among the others. One of my personal favorites was “Johnny,” a piece Howard created for “The Tonight Show” in 1991. I also marveled at “Communion,” a piece created by Howard with Sandy Silva in 2014.
The dancers perform barefoot, blending Irish dance with body percussion reminiscent of African American stepping. In “Push,” an exhilarating series of solos, they demonstrate their ability to push the boundaries of technique, multiplying heel clicks in the air to create a sound reminiscent of the break at the start of a pool game.
Dance St. Louis is one of the oldest and one of only four nonprofit dance presenters in the country and is focused on fostering a vibrant dance community. Reflecting on the organization’s mission, Uthoff has said, “At Dance St. Louis, we strive to bring diverse and innovative dance experiences to St. Louis, enriching our community with a range of perspectives and styles.”
Mission accomplished – again – with the presentation of Trinity Irish Dance Company. Through their artistry and innovation, they brought the richness and vibrancy of Irish dance to life in a way that resonated deeply with all who were fortunate enough to witness it. Next up is Ailey II on March 1-2, also at the Touhill.
On Thanksgiving weekend, SLSO strings perform Antonio Vivaldi’s The Four Seasons and Astor Piazzolla’s The Four Seasons of Buenos Aires at three locations throughout the region, featuring Concertmaster David Halen and Associate Concertmaster Erin Schreiber
On December 1, conductor David Danzmayr leads the orchestra in Ludwig van Beethoven’s Symphony No. 2, along with Jessie Montgomery’s Strum and Ralph Vaughan Williams’ Oboe Concerto featuring SLSO Principal Oboist Jelena Dirks
The second of five Live at The Sheldon concerts, curated by SLSO violinist Angie Smart and SLSO cellist Bjorn Ranheim, features SLSO strings players in music by Jessie Montgomery, Christian Quiñones, and Franz Schubert, plus the world premiere of a new work by University of Missouri student Harry González, December 6
On December 8, Kevin McBeth leads the SLSO and the SLSO IN UNISON Chorus in the annual Gospel Christmas concert, featuring baritone Wintley Phipps
The SLSO performs the scores to two films while the movies play on the Stifel Theatre big screen: Home Alone (December 9-10) and Back to the Future (December 28-29)
On December 12-17, the SLSO performs its traditional Mercy Holiday Celebration with a selection of holiday tunes, led by Stuart Malina and featuring vocalist Scarlett Strallen in her SLSO debut, in St. Charles and downtown St. Louis
The surprise-filled New Year’s Eve Celebration rings in 2024 with conductor Norman Huynh and vocalist Jimmie Herrod in his SLSO debut
The St. Louis Symphony Orchestra has announced details of its holiday concerts—a wide range of symphonic concerts performed across six venues throughout the region. Concerts include classical favorites, chamber music, films with scores performed live, and concerts that celebrate the holiday season. Two vocalists will make their SLSO debuts: musical theater veteran Scarlett Strallen and America’s Got Talent finalist Jimmie Herrod.
Tickets are on sale now and may be purchased at slso.org or by calling the Box Office at 314-534-1700. A full concert calendar is available at slso.org or on the SLSO’s mobile app available for iOS or Android. A broadcast of the December 1 classical concert will be aired on December 2 on 90.7 FM KWMU St. Louis Public Radio, Classic 107.3, and online. Audiences can attend a Pre-Concert Conversation, an engaging discussion about the music and artists on the program, one hour prior to each classical concert.
While the expansion and renovation of Powell Hall continues, the SLSO will perform holiday concerts at several venues throughout the region: St. Joseph Catholic Church Cottleville (November 24), Manchester United Methodist Church in Manchester (November 25), The Sheldon in Grand Center (November 26 and December 6), the Touhill Performing Arts Center at the University of Missouri–St. Louis (December 1), Stifel Theatre in downtown St. Louis (December 8-10, 16-17, 28-29, 31), and the J. Scheidegger Center for Performing Arts at Lindenwood University (December 12-13). Shuttle service will be available for concerts at the Touhill at UMSL and Stifel Theatre starting at $15 per seat. There will be two shuttle pick-up locations for performances at Stifel Theatre: Plaza Frontenac and St. Louis Community College–Forest Park. Shuttles for performances at the Touhill Performing Arts Center at UMSL will depart from Plaza Frontenac, and free parking is available on the UMSL campus.
The Eight Seasons of Vivaldi and Piazzolla
Friday, November 24, 7:30pm St. Joseph Catholic Church Cottleville 1355 Motherhead Road, Cottleville, MO 63304
Saturday, November 25, 7:30pm Manchester United Methodist Church 129 Woods Mill Road, Manchester, MO 63011
Sunday, November 26, 3:00pm The Sheldon 3648 Washington Ave, St. Louis, MO 63108
David Halen, violin Erin Schreiber, violin
Antonio VivaldiThe Four Seasons
Astor Piazzolla (arr. Desyatnikov)The Four Seasons of Buenos Aires
The SLSO brings the melodies of the changing seasons to life in three performances on Thanksgiving weekend. The timeless charm of Antonio Vivaldi’s The Four Seasons transports listeners to the northern Italian countryside, brilliantly contrasting with the passionate soundscape of Argentina in Astor Piazzolla’s The Four Season of Buenos Aires. From Vivaldi’s iconic Spring to Piazzolla’s intense Winter, the SLSO’s own gifted violinists, Concertmaster David Halen and Associate Concertmaster Erin Schreiber, weave a seasonal musical tapestry. Tickets for general admission are $30.
David Danzmayr
Beethoven’s Second Symphony
Friday, December 1, 10:30am CST* Friday, December 1, 7:30pm CST Touhill Performing Arts Center at the University of Missouri–St. Louis 1 Touhill Circle, St. Louis, Missouri, 63121
David Danzmayr, conductor Jelena Dirks, oboe
Jessie Montgomery Strum
Ralph Vaughan Williams Oboe Concerto (First SLSO performances)
Ludwig van Beethoven Symphony No. 2
Presented by the Thomas A. Kooyumjian Family Foundation.
*Refreshments courtesy of Kaldi’s Coffee and Eddie’s Southtown Donuts.
Conductor David Danzmayr returns to the SLSO for two concerts on December 1 that pair the familiar with the new. Danzmayr pushes Ludwig van Beethoven’s Second Symphony close to the edge, revealing the magic behind one of the composer’s lesser-known symphonies. SLSO Principal Oboist Jelena Dirks’ goal is to sing through her instrument. She has every opportunity in the songful, break-your-heart musical world of Ralph Vaughan Williams’ Oboe Concerto, performed by the SLSO for the first time in these concerts. Strum by Jessie Montgomery, the in-demand American composer of this moment, salutes American folk music.
St. Louis Symphony Orchestra: Live at The Sheldon Wednesday, December 6, 7:30pm CST The Sheldon Concert Hall 3648 Washington Ave., St. Louis, Missouri, 63108
Angie Smart, curator and violin
Bjorn Ranheim, curator and cello
Andrea Jarrett, violin
Shannon Farrell Williams, viola
Aleck Belcher, double bass
Jessie MontgomeryStrum
Harry González New Work (World premiere)
Christian QuiñonesPasemisí, Pasemisá
Franz Schubert String Quintet in C major
Curated by Angie Smart (SLSO violin) and Bjorn Ranheim (SLSO cello).
The performance of Harry González’s work is presented in partnership with the Mizzou New Music Initiative.
Sponsored by the Sinquefield Charitable Foundation.
The second in a five-concert chamber series in partnership with the SLSO’s Grand Center neighbor, The Sheldon, celebrates the virtuosity of SLSO string players on December 6. Curated and led by violinist Angie Smart and cellist Bjorn Ranheim, a quintet of SLSO string players performs a rich array of music by Jessie Montgomery and Christian Quiñones, as well as Franz Schubert’s Quintet in C major. In a unique partnership with the Mizzou New Music Initiative at the University of Missouri, the musicians also give the world premiere of new music by Harry González, a student composer. The St. Louis American called this new series “the hottest ticket in town.”
A Gospel Christmas
Friday, December 8, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Kevin McBeth, conductor
Wintley Phipps, vocals
St. Louis Symphony IN UNISON Chorus | Kevin McBeth, director
Leroy Anderson A Christmas Festival
Jeffrey Ames (orch. Dunsmoor) A Festive Praise
Traditional “Walk Together Children”
Traditional (arr. Wilberg) “The Virgin Mary Had a Baby Boy”
Traditional (arr. Lawrence) “O Come, O Come, Emmanuel”
G.F. Handel (arr. Warren/Jackson/Kibble/Hey/Chinn) “Hallelujah” from Handel’s Messiah: A Soulful Celebration
Traditional (arr. Smith) “Go Tell It On the Mountain”
Traditional (arr. Stoddart/Turner) “Here’s One”
Alfred Burt (arr. Smith) “Some Children See Him”
Jill Jackson (arr. Clydesdale) “Let There Be Peace On Earth”
Traditional (arr. Davis) Deck the Halls
Brandon A. Boyd (orch. Joubert) “Sign Me Up”
Traditional (arr. Johnson/Davis) “Children, Go Where I Send Thee”
Franz Gruber (arr. Tyzik) “Silent Night”
Cliff Duren Star of Wonder Medley
Traditional (arr. Clydesdale) “Kum Ba Yah”
Adolph-Charles Adam (arr. Smith) “O Holy Night”
Traditional (arr. Keveren) “Amazing Grace”
Supported by Bayer Fund.
The SLSO IN UNISON Chorus returns for a beloved tradition on December 8, the Gospel Christmas concert with the SLSO, led by Chorus Director Kevin McBeth at Stifel Theatre. Joining the IN UNISON Chorus is baritone Wintley Phipps, whose silky-smooth voice highlights the soulful stylings of holiday music. Supported by Bayer Fund since 1994, the IN UNISON Chorus performs and preserves music from the African diaspora.
Jason Seber
Home Alone in Concert
Saturday, December 9, 7:00pm CST Sunday, December 10, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Jason Seber, conductor
Webster University Chorale | Trent Patterson, director
John Williams Home Alone
Back by popular demand, the SLSO performs John Williams’ iconic score to Home Alone live to the hilarious and heartwarming holiday classic at Stifel Theatre on December 9-10. When the McCallisters leave for vacation, they forgot one thing: Kevin! Discover an experience the whole family can share. Limited tickets are available for this holiday favorite.
Mercy Holiday Celebration
Tuesday, December 12, 7:30pm CST Wednesday, December 13, 7:30pm CST J. Scheidegger Center for the Arts at Lindenwood University 2300 W. Clay St., St. Charles, Missouri, 63301
Saturday, December 16, 2:00pm & 7:30pm CST Sunday, December 17, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Stuart Malina, conductor
Scarlett Strallen, vocals (SLSO debut)
Cally Banham, English horn
Samuel Coleridge-Taylor (arr. Baynes) Christmas Overture
George Wyle (arr. Clydesdale) “It’s the Most Wonderful Time of the Year”
James Pierpont (arr. Waldin) “Jingle Bells”
Pyotr Ilyich Tchaikovsky (arr. Ellington/Strayhorn; orch. Tyzik) Selection from The Nutcracker Suite
Irving Berlin (arr. Maness) “White Christmas”
Richard Rodgers (arr. Bennett) “My Favorite Things” from The Sound of Music
Adolphe Adam (arr. Clydesdale) “O Holy Night”
Various (arr. Stephenson) A Charleston Christmas
Traditional (arr. Tyzik) Chanukah Suite
Tom Lehrer (arr. Malina) “Chanukah in Santa Monica”
J. Fred Coots (arr. Holcombe) “Santa Claus in Coming to Town”
Sergei Prokofiev “Troika” from Lieutenant Kijé Suite
Leroy Anderson Sleigh Ride
Felix Bernard (arr. Harper; orch. Blank) “Winter Wonderland”
Various (arr. Waldin) “The Christmas Song/Have Yourself A Merry Little Christmas”
Various (arr. Stephenson) A Holly and Jolly Sing-Along!
Presented by Mercy.
The SLSO and conductor Stuart Malina bring the music of the holiday season to the stage at Stifel Theatre and Lindenwood University in St. Charles for a cherished holiday tradition—the Mercy Holiday Celebration. Full of favorite carols and sounds of the season, this year the orchestra will be joined by special guests, Broadway and West End veteran vocalist Scarlett Strallen and SLSO English horn player Cally Banham. Even Santa makes time for these festive concerts December 12-13 (Lindenwood) and December 16-17 (three concert at Stifel Theatre)!
Back to the Future in Concert
Thursday, December 28, 7:00pm CST Friday, December 29, 7:00pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Norman Huynh, conductor
Alan SilvestriBack to the Future
Recharge your flux capacitor…and get ready to celebrate the unforgettable 1985 classic, Back to the Future, with the SLSO performing Alan Silvestri’s score live as the film plays on Stifel Theatre’s big screen on December 28-29. Back to the Future topped the box office chart, spawned two wildly successful sequels, and stamped an enduring imprint on pop culture. Join Marty McFly (Michael J. Fox), Doc Brown (Christopher Lloyd), and a time traveling DeLorean for the adventure of a lifetime.
Jimmie Herrod
New Year’s Eve Celebration
Sunday, December 31, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, Missouri, 63103
Norman Huynh, conductor
Jimmie Herrod, vocals (SLSO debut)
Repertoire announced from the stage.
Send 2023 off in style at the SLSO’s annual bash—the New Year’s Eve Celebration concert. Frequent guest conductor Norman Huynh leads this musical party filled with surprises. Although the repertoire is a secret, it’s sure to be a fun-filled evening with the SLSO and guest vocalist Jimmie Herrod, a Pink Martini and America’s Got Talent alumnus. This one-night-only concert takes place at the stylish Stifel Theatre on December 31.
About the St. Louis Symphony Orchestra
Celebrated as one of today’s most exciting and enduring orchestras, the St. Louis Symphony Orchestra is the second-oldest orchestra in the country, marking its 144th year with the 2023/2024 season and its fifth with Stéphane Denève, The Joseph and Emily Rauh Pulitzer Music Director. Widely considered one of the leading American orchestras, the Grammy® Award-winning SLSO maintains its commitment to artistic excellence, educational impact, and community collaborations—all in service to its mission of enriching lives through the power of music.
The transformational expansion and renovation of its historic home, Powell Hall, slated to be completed in 2025, builds on the institution’s momentum as a civic leader in convening individuals, creators, and ideas, while fostering a culture welcoming to all. Committed to building community through compelling and inclusive musical experiences, the SLSO continues its longstanding focus on equity, diversity, inclusion, and access, embracing its strengths as a responsive, nimble organization, while investing in partnerships locally and elevating its presence globally. For more information, visit slso.org.
Jelena Dirks, oboe
About the University of Missouri–St. Louis Touhill Performing Arts Center
Designed by the renowned architectural firm I.M. Pei, Cobb, Freed and Partners, the Blanche M. Touhill Performing Arts Center is a landmark performance facility on the campus of the University of Missouri-St. Louis (UMSL). The Center hosts an average of 120 events, 200 performances, and 90,000 visitors per year.
The Touhill staff manages several collaborative relationships and programs that, along with campus and community partners, bring together a diverse season of dance, theatre, music, festivals, and special events.
About Stifel Theatre
Stifel Theatre is a historic, 3,100 seat theatre in the heart of downtown St. Louis. Originally opened in 1934, Stifel Theatre’s stage has welcomed some of entertainment’s greatest performers and was the primary venue for the St. Louis Symphony Orchestra from 1934-1968. Following a $78.7 million restoration, this historical gem has been restored to its original splendor and undergone state-of-the-art upgrades.
Stifel Theatre plays host to a wide variety of events, including concerts, comedies, theatricals, family shows, holiday productions, and more.
Women of privilege but not power in a male-dominated world has been a theme in other Sofia Coppola films, and “Priscilla” fits that mold in its look at the heavily documented superstar life of The King of Rock ‘n Roll, but from his sheltered bride’s perspective.
More style than substance, “Priscilla” could be considered a companion piece to last year’s flashier, bolder “Elvis,” and presents snapshots of the Presleys’ relationship, only hinting at deeper issues instead of delving into them.
That keeps the pair at arm’s length, meaning we don’t invest emotionally – although the performers convey believable characters. Portraying the sweet, naïve Priscilla Beaulieu, Cailee Spaeny is a stunner in a breakthrough role. As the sultry superstar, Jacob Elordi, as he has done as the bad-boy jock in “Euphoria,” implies a complexity to the singer-matinee idol that isn’t explored.
Yet, the movie is named after the homesick schoolgirl who was thrust into an intoxicating whirlwind romance that she was incapable of understanding because of her not-fully-formed emotional development (and his). After all, he was 24 and she was 14 when they met while he was stationed in the Army in Germany and her stepfather was an officer. If you fast forward 60 years later, and the couple never would have survived today’s harsh social media scrutiny.
Whether intentionally or not, Elvis doesn’t come across in the best light if we’re looking through a modern lens. Did he groom her and take advantage of an underage girl? Or were feelings pure and the connection on a different level?
But, of course, their era was a very different time in gender politics. They were married from 1967 to 1973, first meeting in 1959. After Elvis’s death in 1977,at age 42, Priscilla took over the reins of his legacy, and became generally regarded as a savvy businesswoman. She also had an acting career, most notably in “The Naked Gun” movies and on TV’s “Dallas.”
Elvis Presley Enterprises, which represents the trust and the physical estate Graceland, denied using his music catalogue for the film. Priscilla is the co-founder and former chairperson, and serves as an executive producer of this film. Music supervisor Phoenix is left to needle-drops of the time period.
In a moody, evocative way, benefitting from cinematographer Philippe Le Sourd’s lens, writer-director Coppola has created a fairy-tale fantasy, where an impressionable girl lives a surreal teenage dream. Elvis treats the dainty teenager like a doll, making sure she dresses in a certain way and creating her look according to his specifications.
Coppola has mined this point of view before, as the phrase “women in a gilded cage” has been used to describe her previous films – “The Virgin Suicides,” “Somewhere,” and “Marie Antoinette.” Coppola can and has defied expectations, for she followed up a widely panned acting turn in “The Godfather Part III” as Michael Corleone’s daughter Mary in 1990 with “The Virgin Suicides” in 1999, eventually winning an Academy Award for Best Original Screenplay for 2003’s “Lost in Translation.”
Similar to what happens to Cinderella and the handsome prince (“I was raised to be charming, not sincere”) when reality sets in during the second act of “Into the Woods,” we view a paradise lost. You can feel Priscilla’s crushing loneliness while she attends an all-girls Catholic high school in Memphis and “keeps the home fires burning” at Graceland while he was touring or making movies or hanging with his TCB entourage. The suffocating oppression is as obvious as Xanadu in “Citizen Kane” yet the film barely touches the surface of the corrupting over-indulgence.
The production design by Tamara Deverell, who has worked on several of Guillermo del Toro’s films, is meticulous in its gaudy, retro stylings of Graceland and the high life in Las Vegas. Costume designer Stacey Battat has created marvelous vintage looks for every character, but her work dressing Priscilla is exquisite in its array of colors, textures, and tiny details.
Spaeny, who played the teen who went missing in “Mare of Easttown” and has been in minor roles, shows how that isolation manifests in her character, and how she transforms from a blank slate into what Elvis wanted and expected in a wife.
At 6’ 5”, Elordi is a striking Elvis, and conveys a more human side of the legend we think we know. While a lavish lifestyle is depicted, he portrays the King as a country boy trying to navigate the pitfalls of fame whose ego has a hard time shaking off slights. He’s attempting to live up to an image he thinks he should – wine, women, song – while compartmentalizing his home life.
It would have been interesting to address more of Priscilla’s side, as she finally gets enough gumption to leave, but the film ends abruptly – just as Priscilla is coming into her own as a person. She was 28 then.
The source material is Priscilla’s memoir “Elvis and Me” from 1986, which recalls the intimate details of their private life while living a very public lifestyle. The movie indicates nuggets of truth behind the tabloid rumors, and refers to, but glosses over, his peccadillos.
But the biggest omission is getting a sense that the two had an unbreakable bond that continued after his death, which Priscilla has maintained.
While fascinating, “Priscilla” is an incomplete work, and needed more to fill in the blanks.
“Priscilla” is a 2023 biographical drama-romance, written and directed by Sofia Coppola and starring Cailee Spaeny, Jacob Elordi, Ari Cohen and Dagmara Dominczyk. It is rated R for drug use and some language, and runs 1 hour, 50 minutes. It opened in theaters November 3. Lynn’s Grade: B-
By Lynn Venhaus A working artist who explores femininity in visuals ranging from collages to short films, Taylor Yocom is one to watch — and on the move, so it seems fitting that Lambert International Airport has displayed her art — an installation “My mom said to always have flowers around.”
Flowers are a focus, a fashion statement, and part of her signature style. Her recent 19-minute film, “These Flowers Are For You,” won Best Experimental Film at the St. Louis Filmmakers Showcase in July, and is among the short films being screened at the St. Louis International Film Festival.
It has been doing well on the festival circuit. In fact, last week, her film screened in three places, from Iowa to Iceland — at the Flat Earth Film Festival in Iceland and the Des Moines Underground Film Festival in addition to SLIFF (Sunday, Nov. 12, 7:15 p.m., as part of the shorts program “Showcase I,” Alamo Drafthouse 3).
Describing it as her most ambitious film to date, it depicts Yocom’s experience of being matched as a bone marrow donor. She narrates her emotional journey and artistic process of grappling with the ethics of making work for, and about, a stranger.
2020-03-11—Portraits of Sam Fox School of Design & Visual Arts staff members.
Her previous short films touch on issues of femininity, the idea of craft and artistic labor amid a pandemic, and revisiting a project recollecting Maria Schneider’s sexual harassment on the set of “Last Tango in Paris” — “Just because!” – 3 minutes, which screened at the Citygarden; “Flowers/distance” – 8 minutes; “That floral wallpaper” – 13 minutes; and “In Paris, I tango for Maria (take 2) – 9 minutes.
The art at Lambert — in the Southwest Airlines Terminal, was on a 60-foot pink wall, and installed in April 2022.
Taylor was born in Des Moines, Iowa, and holds a BFA in Photography from the University of Iowa and an MFA in Visual Arts from Washington University’s Sam Fox School of Design & Visual Arts.
Her work has been exhibited and screened in venues across North America, including Indie Memphis, FilmDiaryNYC, The Kansas Union Gallery, and the Montreal Feminist Film Festival. She has artist books and zines in collections across the country, including Rutgers University, the MOMA Library and Washington University. Her residencies include ArtFarm Nebraska and Internationale de Arts in Paris.
For more information, visit her website: www.tayloryo.com
Take Ten Q and A with Taylor Yocom
(Editor’s note: This was written during the St. Louis Filmmakers Showcase last summer)
1. What is special about your latest project?
My latest film is about my journey of being matched as a bone marrow donor, the artistic documentation of that journey, and my own self reflection of the ethics of making work about a stranger. I was matched to donate to a woman who had leukemia like my maternal grandma that I never got to meet. Going through this process and making this film was an unexpected way to get closer to my mom and learn about her experience with her mother during her final days. 2. Why did you choose your profession/pursue the arts?
I am currently an artist and filmmaker working in photography, collage, fibers, and film. I always was “crafty” as a kid and started to really take art seriously when I navigated towards photography and art in college. I would spend Friday nights at my typewriter and stack of magazines, making collages, and would bring my film camera to parties. Taking classes for fun turned into a minor, which turned into a major, and then I went to grad school for my MFA in Visual Art at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
3. How would your friends describe you?
Upbeat, always working on a project, most likely wearing a floral dress and talking about my cat too much.
4. How do you like to spend your spare time?
“I built my own loom and now enjoy weaving and watching ‘Sex and the City’ on repeat at my studio.
5. What is your current obsession?
This $7 bag of very good gummy bears I got on sale at Schnucks! On a more serious note, I’m diving into learning about jacquard weaving and just devoured the book “Thread Ripper” by Amalie Smith.
6. What would people be surprised to find out about you?
I was on the debate team in high school.
7. Can you share one of your most defining moments in life?
I was registering for classes during freshman year and thought “why not?” and took the last slot for an art class,
8. Who do you admire most?
Ah, so many! Within the arts I would definitely choose Moyra Davey, the filmmaker and artist. She has a very smart, poetic yet research-driven practice and lives in the art-writing-film world in an impactful way.
9. What is at the top of your bucket list?
Make a feature-length film.
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?
I was very privileged to be able to work from home during that time with minimal financial impact, so I want to acknowledge that not everyone had that luxury. As for the arts, for me, I took it as an opportunity to slow down and focus on the act of making. I think there was more of an appreciation for art-for-arts-sake and the power of beautiful and moving objects to create meaning in our lives. 11. What is your favorite thing to do in St. Louis?
I love getting lost in the galleries at SLAM and also visiting Moonshine the horse in Tower Grove Park.
12. What’s next?
I received a RAC grant to go to Vancouver to learn Jacquard weaving! I am working on patterns I’ve drawn that are based on floral patterns I’ve found in vintage periodicals at the Dowd Illustration Research Archive here. I’ll be making them into tapestries!
Photo by Kalaija Mallery
More About Taylor Yocom
Age: 30 Birthplace: Des Moines, Iowa Current location: St. Louis: Education: MFA in Visual Art at the Sam Fox School of Design & Visual Arts at Washington University in St. Louis, BFA in Photography from the University of Iowa First movie you were involved in or made: In Paris, I tango for Maria (take 2) was my first short film Favorite jobs/roles/plays or work in your medium? I love films by Agnes Varda. Awards/Honors/Achievements: Bustle Upstart Awardee in 2016, Residency at Cite Internationale des Arts in 2018 Favorite quote/words to live by: Anything from Julia Cameron A song that makes you happy: Dancing Queen by Abba
“My mom said to always have flowers around” artwork by Taylor Yocom in installation at Lambert International Airport Terminal 2, April 2022.
An 18-year-old girl in a car. Life looms large at that age, so much ahead, not much in the rear-view mirror. Is she ready to embark on her journey?
The expertly produced “The Mad Ones” from Tesseract Theatre captures those feelings –that yearning for experiences and the exhilaration of the possibilities about the road ahead, but also wanting to leave the past behind. And regrets, we’ve all had a few.
The show, first produced in 2017, formerly known as “The Unauthorized Biography of Samantha Brown,” focuses on that moment when you prepare to leave home – off to college or work or other adventures – and the memories that flood your brain during a turning point. What does Samantha do when people around her give advice? And how can she move on when certain things hold her back?
Ensemble. Photo by Florence Flick
As besties Samantha and Kelly, Melissa Felps as the smart one and Grace Langford as the wild one sing their hearts out in Kait Kerrigan and Bree Loudermilk’s off-Broadway musical theatre sensation. This contemporary drama is laced with humor and isn’t going for easy answers or tying things up neatly, but rather a process of discovery, which can feel overwrought because of the intense material.
This four-person show taps into choices, grief, and loss, and how the detours of life just force us off the road – even when we’re just getting started. Three of the four performers make their Tesseract debut, in line with the company’s mission to include fresh voices and new perspectives. (Langford was seen earlier this year in “The Last Five Years.”)
While Felps and Langford, both tremendous belters, are a dynamic duo as the oh-so-dramatic BFFs, Sarah Gene Dowling as Sam’s mom Beverly and Cody Cole as Sam’s boyfriend Adam are also noteworthy.
Dowling conveys warmth and wisdom as sometimes overbearing Beverly, strong in her touching “Miles to Go” solo, and zealous in “I Know My Girl” accompanied by the ensemble. Cole, while not on stage that much, works to make dim-bulb Adam more than the one-note character as written. His “Run Away with Me” reveals a tender side.
Sarah Gene Dowling and Melissa Felps. Photo by Florence Flick.
The characters are rather sketchily drawn, but the performers work overtime to make them relatable. The book could use some tweaking – as the non-linear story arc can be clunky in disclosure and sometimes murky.
However, the propulsive songs are exceptionally expressive, and the ensemble delivers them with a deeply felt commitment, especially “Moving On,” “Drive” and “Remember This.” They have fun introducing themselves in “We’re Just in Your Head.”
Once dialed in, the production is more than crossroads and “On the Road” references (title included). No need for spoiler alert– but expect life to happen while they’re busy making other plans.
Felps, in her best performance to date, exhibits plenty of verve, but also frets in the way that teenage girls do, with moms and boyfriends to deal with – and with a pesky live-wire best friend judging her decisions and nudging her out of her comfort zone.
Her poignant delivery of “The Girl Who Drove Away” and “There Was a Party” aptly captures her impassioned but sensible valedictorian character, while she excels in the duets, smoothly collaborating with her partners.
With Cole as the not-as-intelligent beau, the couple is playful in “Simple as That,” funny in “The Proposal,” and sweet and hopeful in “Say the Word.”
The mother-daughter relationship is humorously captured in “My Mom Is a Statistician” while she’s learning to drive, a running plot point.
Cody Cole, Melissa Felps, Grace Langford. Photo by Florence Flick.
But the calling card here is puckish Langford and earnest Felps’ stupendous harmony. Their heartfelt vocals are best in a song grappling with life’s blows – “Ordinary Senior Year,” and revisiting memories and dreams in “Freedom.” They really have fun with “Top Ten” – you must listen to the lyrics. (A dig about Sting’s musical?! Hilarious. More Sting jokes to come (?!)
Both high-spirited actresses have worked together before, in a regional production of “Urinetown” in summer 2022, and they have an easy chemistry that allows their characters to resonate emotionally. The two singers reach a zenith with their power in “Go Tonight” (written as a shouting match, it seems – some of the bombastic delivery could have been more nuanced to mix up the intensity).
Lyricist Kerrigan and composer Loudermilk’s musical has inspired a cult-like following, in a similar way that “Dear Evan Hansen” did in 2017. As this work has been in development for many years, several numbers went viral on YouTube. More than 15,000 pieces of digital music from the score have already been sold since 2009.
The work of high-octane director-choreographer-performer Kevin Corpuz, a big fan of Kerrigan-Loudermilk, always has an energy to it, and in his directorial debut, has maintained a noticeable momentum in The Marcelle space. The staging, to use a driving reference (that are plentiful in this show), has muscular power.
Music Director Joe Schoen’s interpretation of the score has both a fleetness and a sleekness to it, with Schoen conducting and playing keyboard, and superb sound from Adam Rugo on guitar, Chuck Evans on violin, and Zach Neumann on a second keyboard.
The creative crew has contributed to outstanding production values – Jacob Baxley on sound design, Brittanie Gunn on lighting design, and Todd Schaefer’s striking scenic design that allows a fluidity, while Stage Manager Sarah Baucom keeps the action smooth.
Photo by Florence Flick.
Gunn, co-founder and creative director, and Corpuz, also creative director, are ushering in a new era at the 12-year-old Tesseract that promises to be exciting as they reach new goals with musical productions and continue their commitment to new voices with their summer play festival.
“The Mad Ones” is a crowd-pleasing choice after positive response to “Kinky Boots,” “Ordinary Days,” and “The Last Five Years,” yet still taking risks and meeting challenges. Next up is “The Inheritance,” the 2020 Tony Award winner for Best Play, in April, New Musical Summer Fest in July, and the musical “Anastasia” in November 2024.
In the iconoclastic words of Jack Kerouac: “The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or a saw a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”
Tesseract Theatre Company presents “The Mad Ones” Nov. 3-12, with performances on Fridays and Saturdays at 8 p.m. and Sundays at 4 p.m. at The Marcelle, 3310 Samuel Shepard Dr, St. Louis, 63103, in Grand Center. The show is 1 hour, 40 minutes, without intermission. For more information, visit the website: www.tesseracttheatre.com
Melissa Felps as Samantha. Photo by Florence Flick
Stylistically resonant with absorbing performances from Cailee Spaeny and Jacob Elordi, director Sofia Coppola’s “Priscilla” is emotionally removed, eschewing a deeper dive into its subject’s headspace for dreamlike stasis with little payoff and, ultimately, not much of note to say.
Based on the book “Elvis and Me” by Priscilla Presley (who also executive-produced the film), Coppola’s adaptation charts the whirlwind romance between young Priscilla (Spaeny) and the insecure, hip-gyration-loving King of Rock and Roll himself (Elordi). We’re introduced to 14-year-old Priscilla (then Beaulieu) in 1959, when she’s a high school student living with her parents (Ari Cohen and Dagmara Dominczyk) on a U.S. Air Force Base in Wiesbaden, Germany. A chance encounter at a diner leads to her being invited to a house party hosted by 24-year-old Elvis, who’s currently serving in the Army.
Priscilla is thrilled and, after battling her anxious, apprehensive parents, is allowed to attend. Once she arrives at the party in Bad Nauheim, which the film frames like a moody jazz club radiating from the powerful man at its center, Elvis (again, 10 years Priscilla’s senior) almost immediately falls for her; she reminds him of home.
Thus begins their deeply problematic courtship. Elvis leaves Germany for The States, which tears the crestfallen Priscilla apart: she spends her days anxiously awaiting letters and calls, daydreaming through classes and growing increasingly jealous hearing about Elvis’s tabloid headlines involving other women. In 1963, she’s summoned to Graceland, indulging in extravagance (and prescription drugs, instigated by Elvis) with his posse of rowdy friends who became known as the Memphis Mafia.
After returning to Germany, she and Elvis convince her parents to let her move to Graceland to finish her senior year of high school. Everything seems like a fairy tale in Priscilla’s eyes, at least at the beginning, but deep cracks begin to form in their relationship. Denied intimacy and manufactured to be Elvis’s porcelain doll of a wife, Priscilla is sapped of independence – trapped in a glossy cage with an emotionally unintelligent artist grappling with his own identity at the expense of hers, until she decides that she’s had enough.
Indeed, “Priscilla” is a depressingly bleak look at a relationship steeped in toxic behaviors and feelings of claustrophobia. While Coppola effectively conveys the story’s saddening atemporality, in which Priscilla’s lack of development reflects her captor’s attempts to mold her, the intentionally distant approach backfires. The film jumps erratically through time without meaningful buildup to Priscilla’s rebellion, or, oddly, real insight into who she is and hopes to be.
The performances, however, are difficult to fault, even when delivering Coppola’s occasionally clunky dialogue. Spaeny precisely embodies Priscilla’s wide-eyed youthfulness and growing maturity. We observe her longing, euphoria, and disillusionment with a celebrity she’s idealized and who has trapped her in cycles of loving and abuse, tenderness and chaos. “Priscilla” is largely framed through her eyes, as we watch her enduring situations where others talk at her and she, often nonverbally, emotes multitudes through subtle facial expressions and body language. Stacy Battat’s costume design further helps emphasize Priscilla’s separation from her past and from her true self, fashioned to appease Elvis’s demands. Her frustration and yearning is efficiently portrayed by an actor deserving of all the accolades (hopefully) headed her way.
Elordi is similarly effective, taking a far different approach than Austin Butler’s flamboyant (and highly entertaining) turn in Baz Luhrman’s 2022 biopic, “Elvis.” Elordi nails Elvis’s voice and physique, towering over Spaeny in an on-the-nose reminder of their age gap and power dynamic. Elordi’s Elvis is charismatic, trouble-making, and selfish, a victim of stardom grappling with his own image and expectations forced on him by people like Colonel Tom Parker.
While “Priscilla” is more focused on his direct interactions (or lack thereof) with Priscilla, we infer outside drama and betrayal through conversations Priscilla overhears and headlines she reads. The victimization and mental struggles that Elvis experiences seep into his personal life. He might love Priscilla on some level, but sees her as someone to be controlled. Elvis holds her back to retain her purity, perhaps as a way for him to appease his own regrets and status as a sex symbol while he lives a life of stardom singing and acting in Hollywood (sleeping with many women along the way).
With such committed performances from Spaeny and Elordi, it’s a shame that “Priscilla” is such a cold viewing experience – which might be the point. This is a dark story of fantasy brought down to earth, less about empowerment than disempowerment.
The film’s first half unfolds like a dream, hazy and ethereal, as Sarah Flack’s editing conveys the whirlwind romance with a sense of inertia that Priscilla finds difficult to break free from. What starts out as unexpected, surprising, and thrilling devolves into tedious cycles of mistreatment and placation. We feel for Priscilla, mostly thanks to Spaeny’s acting, but the film’s second half sags due to Coppola’s seeming refusal to dig deeper into Priscilla’s psyche; more based on vibes than genuine insight as the years tick by and Priscilla becomes a bride and mother.
Frequent Coppola collaborator Philippe Le Sourd’s cinematography is murky and cloudy, echoing Priscilla’s stagnation – never drawing too much attention to Tamara Deverell’s period-accurate set design. Coppola frequently resorts to montages to depict the passing years, emphasizing how little has changed in Priscilla’s fraught situation.
This minimalist approach to Priscilla’s rebellion is muted to a fault. There’s little crescendo to her final decision, besides viewers knowing from the outset that she eventually divorces Elvis. As a result, Coppola’s restrained approach to the material seems like checking off boxes instead of organically telling a story about one woman’s resilience in the face of adversity. The reasons Priscilla continues to stay with Elvis are complex and worthy of exploration, though the film holds her at arm’s length.
Combined with a jarringly abrupt ending and a soundtrack that too often tries to sell emotions through lyrics (with no Elvis tunes in the lineup), “Priscilla” stays afloat thanks to the magnetic performances of its two leads. For Spaeny and Elordi, especially Spaeny, “Priscilla” is worth a look, but it remains a missed opportunity for a filmmaker capable of greatness.
“Priscilla” is a 2023 drama directed by Sofia Coppola and starring Cailee Spaeny, Jacob Elordi, Ari Cohen, and Dagmara Dominczyk. It is rated R for drug use and some language, and runs 1 hour, 50 minutes. It opened in theaters November 3. Alex’s Grade: B-
Think of it as ‘80s performance art meets a ‘60s Be-In. An experimental “happening” play, “White Rabbit, Red Rabbit” by Nassim Soleimanpour, is being presented by the Black Mirror Theatre Company for a brief four-performance run just to do something different.
And unique it is – interactive with the audience and performed without a set, director, or rehearsals. A different actor reads the script cold – for the first and last time – at each performance, and their name goes on a list so that they can never perform it again.
If it sounds fringy, it appeared at the St. Louis Fringe Festival in 2021.
When he was 29, Soleimanpour was forbidden to leave his country, Iran. He can’t leave because he is a conscientious objector who has refused to take part in mandatory military service. Barred from travel, he turned his isolation into an absurdist theatrical experience that brings actor and audience together through uncharted terrain.
But above all, it’s his voice, coming through different actors.
On opening night, Jarek Templeton was the actor who opened the script that had been sealed in a manila envelope and given to him by producer Michelle Zielinski. He then read the pages in a folder as instructed. He immediately took control and guided audience members on what they had to do, and he performed the actions the playwright requested.
Because of its unusual structure, the focus is on how the performer handles the on-the-fly aspect and tapping into the innovative playwrighting. The audience was game – applauding and participating when called upon.
On Friday, Evan Turek will be the actor, Dorothy LaBounty on Saturday, and Ellie Schwetye on Sunday.
Part comedy, part drama, the playwright is involved in each production – he communicates with notes to the people involved in putting on the show. They were told 48 hours before the show to have water on stage, and two glasses.
It may start out light-hearted, or a bit daffy, but included are some serious topics to mull over. Because of its spontaneity, the less you know going in, the better.
The Black Mirror’s earnest commitment to creating interesting theater took a leap forward with this intriguing concept.
The Black Mirror Theatre Company presents “White Rabbit/Red Rabbit” on association with Aurora Nova Productions and Boat Rocker Entertainment Nov. 2-5 p.m. at 7 p.m. Thursday, Friday, and Saturday, and 2 p.m. on Sunday at The Chapel, 6238 Alexander Drive, St. Louis, MO 63105. For more information, visit blackmirrortheatre.org
More information is also available” https//www.facebook.com/WhiteRabbitRedRabbit
Jarek Templeton, Michelle Zielinski after first performance. Photo by Lynn Venhaus.
“Mindgame” is one of those clever psychological thrillers that keeps you guessing through two acts, as the twists and gasps mount.
Set in an experimental maximum-security asylum for the criminally insane, a feeling of dread permeates the drab walls of Fairfields, which is located in an isolated part of the English countryside. In the director’s office, you can only imagine what horrors are on the other side of the door.
The program notes state that “nothing is what it seems.”
The 1999 play written by Anthony Horowitz is a rather verbose exercise, but the tension builds as we question who is legit and who is unhinged, and why the psychopaths who live undetected next door send chills up our spines.
It takes place in the summer at the turn of the 21st century, hence the modern references instead of the dated Agatha Christie-Arthur Conan Doyle tropes.
When Act One begins, a journalist has an appointment to see the director in hopes of gaining permission to interview a notorious serial killer named Easterman for a true-crime book. Easterman’s terrifying string of murders were grisly – and we’ll hear about them in more detail. Would you go near Hannibal Lecter or Ed Gein?
We will also hear about more cases, and while Easterman is fictional, the other stories are based on real murderers. For instance, sadist Andrei Chikatilo who is mentioned killed more than 50 women and children.
As presented by Albion Theatre, “Mindgame” is a tour de force for its two leading actors, Chuck Winning and Nick Freed, who are reminiscent of Michael Caine and Laurence Olivier going toe to toe (or head-to-head) in the brilliant 1972 film “Sleuth,” which was based on Anthony Shaffer’s Tony-winning play. (Fun fact: Both were so captivating that they were nominated for Oscars, losing to Marlon Brando for “The Godfather.”)
The third cast member, Nicole Angeli, is Nurse Paisley, and as always, she delivers a multi-layered performance in a smaller supporting, but pivotal, role.
Winning, Angeli and Freed. Photo by John Lamb
Winning, as Doctor Farquhar, and Freed, as writer Mark Styler, are on stage nearly the whole time, and work so well together that it’s like watching a 5-set tennis match at the Wimbledon finals, such are the nimble verbal volleys and quicksilver shifts of power between their characters.
Earlier this year, both actors stood out in Albion’s second play, “The Birthday Party.” As a pair of menacing villains, Winning was a revelation and Freed, who moved here from Chicago, made a stunning debut.
Winning’s Farquhar is garrulous, pompous, and brainy, displaying contempt for the patients and superiority in his psychoanalysis and therapy skills. When he pontificates about his perception of how to treat the mentally ill, Winning’s hot-air blathering teeters on that fine line between ridiculous and expertise.
Freed’s Styler is confident, cocky, and skeptical at first, then increasingly unsettled by the surroundings and peculiar behaviors. His instincts are finely tuned as his moods change.
The play is elaborate in how it threads the needle from point A to point B – and that can get a little tedious as dynamics flip. However, the actors hold our attention and bring out the best in each other as scene partners, and Robert Ashton ups the ante with his adroit direction.
In British slang, the mystery’s a corker, and Ashton, a nimble theater veteran with a flair for crisp and purposeful staging, masterfully controls the suspense.
To give more away would be to spoil the plot, and the fun part of being in the audience is the discovery. Because you know something’s not quite right, and deceit and delusions are there for the deducing.
It’s a credit to all involved that they never tip us off, stay in the moment and do not anticipate what’s ahead, making us fascinated by what’s unfolding.
The technical sight and sound work are also sharp, with Erik Kuhn the tech director and set designer, and an expert fight choreographer. Eric Wennlund’s lighting design is both functional and artful while Jacob Baxley’s sound design adds layers of fright. Stage Manager and Assistant Director Gwynneth Rausch keeps the danse macabre taut.
It’s only Albion’s fourth show, and they have impressed with their well-staged productions featuring strong performances and outstanding production values. Founded in 2022 to explore the rich history of playwrighting in Britain, with regular trips across the sea to Ireland, they not only entertainan audience, but strive to inform them of the social, political, and cultural influences of the time. So far, they are nailing every facet of the archetypes of a good drama/comedy.
One thing is always a given – that the accents will be spot-on, and the trio’s work here is superb. Albion provides a word and phrases guide for us in their programs, too.
If you like hair raised and minds bent, this is a dandy way to spend 2 hours and 15 minutes.
Chuck Winning as Dr Farquhar. Photo by John Lamb.
Albion Theatre presents “Mindgame” by Anthony Horowitz from Oct. 20 to Nov. 5 at the Kranzberg Arts Center, 501 N. Grand in Grand Center. Performances are Friday and Saturday at 8 p.m. and Sunday at 2 p.m. For more information, visit www. albiontheatrestl.org.
